We are developing the social individualist meta-context for the future. From the very serious to the extremely frivolous... lets see what is on the mind of the Samizdata people.
Samizdata, derived from Samizdat /n. - a system of clandestine publication of banned literature in the USSR [Russ.,= self-publishing house]
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The new film, V for Vendetta, based on the British comic strip (like so many movies are these days), is an absolute crackerjack of a production, in my view. I watched it last night, having already acquired an outline of what the plot is about from scanning comics over the years, but unlike some transfers from comic to the screen, this film works very well.
It is set in a Britain about 20 or so years from now, a Britain governed by a regime obsessed by managing the citizenry for their own good (sounds familiar), hooked on propoganda and the management of expectations (ditto), scornful of history and traditions (see above), deeply corrupt (recognise anything?) and also quick to resort to violence. Against this is a masked character modelling himself on Guy Fawkes, a character who, in the early 17th Century, attempted to blow up the Houses of Parliament.
And that is what exactly is the aim of the character “V” in this film. Now, in an age of justifiable fears about terrorism, my first instinct was to recoil at the plot, but in fact if you read this film on a certain level, it is great propoganda against overmighty, corrupt authority, and a celebration of freedom, rather than the sort of totalitarian agenda espoused by the likes of radical Islamists in our own day. It may not be an explicitly libertarian film, but it is unquestionably an anti-authortarian one.
Also, any film that contains the following line has to be a must-see for Samizdata regulars:
“People should not be afraid of their governments. Governments should be afraid of their people.”
Not bad, not bad at all.
UPDATE: Objectivist writer Bob Bidinotto, a man who is a fine judge of films, dissents from my positive take on the movie, at least as far as this comment suggests. I agree that this is a flawed film – some of its points are a bit silly – but its overall message is about the need to keep vigilant against the abuse of power, something that a citizen living in a country framed by Jefferson, Madison and Adams would surely understand. Remember, the Founding Fathers were all thought of as subversive pains in the ass in their day. → Continue reading: A fine film
Actorist Susan Sarandon is in negotiations to play Cindy Sheehan in an upcoming telemovie portraying the latter’s life.
(Via Drudge)
“This film cost $31 million. With that kind of money I could have invaded some country.”
Clint Eastwood. I wonder what particular country he had in mind.
First off, as if it is not entirely obvious, I am not the least bit unbiased about the album and people who made it as I have known most of them for fifteen years. Some of them are amongst my closest friends. With that said… if you like Irish traditional music, watch this space for information on how to buy “Tripswitch” the new album by Johnny McSherry, Donal O’Connor and friends.
The tripswitch, by the way, was in a country town recording studio I know well. A ‘to remain un-named’ member of the band attempted to light a cigarette from the toaster and somehow managed to trip the main breaker. I have been led to believe the eponymous tune was composed in the dark whilst efforts were made to figure out what had happened.
While I am on the subject of album release parties, if you are in New York City, another very dear friend, NIamh Parsons, has a release show for her new CD ‘The Old Simplicity,’ on Tuesday March 14 7:30PM at the Cutting Room, 19 W.24th St.
But now back to Belfast on on with the fun and festivities! → Continue reading: Tripswitch album release party
Well, this does not come as a great surprise, to be honest:
The US television audience for the 78th Academy Awards was down by eight per cent compared with last year.
The ceremony, which saw Crash shock the favourite Brokeback Mountain by taking best film, was watched by 38.8m people, the third lowest audience in 20 years.
I do not know to what extent this decline has been caused by the decline in the number of adults watching movies, as has been reported in various parts, or the increasing refusal of ordinary people to sit watching preening showbiz types mouth platitudes while receiving their gongs. Probably some combination of the two, I think. The film industry is fracturing, partly I think because of technologies that mean you can watch great films in the comfort of home in tremendous quality. A friend of mine recently bought a high definition big screen television for just over one thousand pounds and the quality was magnificent. And there were no annoying chatty couples sitting behind me, bad air conditioning and annoying preliminary announcements and adverts.
The Oscars are nearly upon us. (Okay, please try to keep reading) One thought prompted by this circus and what goes on in films is how films can carry messages very different from the intentions of the film-maker. A classic example is the 1987 film, Wall Street, in which Michael Douglas gave what I thought was his greatest performance as Gordon Gekko. Gekko is what your average lefty Hollywood producer imagines is a capitalist: incredibly greedy, callous and crooked, stamping the lives of good honest hardworking people, blah, blah, blah. And yet we know that in the course of the speech, Gekko gives his tremendous “greed is good” speech, which I sometimes think reads like Ayn Rand on acid.
A friend of mine, Libertarian Alliance founder Chris Tame, once told me that during this stage of the movie, he burst into applause, much to the surprise of the other cinema-goers. I wonder how many other folk have had the same reaction to a speech or line in a film where without realising it, a pro-capitalist point has been made in a way the director probably had not intended? Has anyone got any examples?
What European unity really means to most people.
Very nice writeup here of a vast retrospective of the paintings of the Frenchman Ingres, who worked around the time of Napoleon Bonaparte. Even as I put aside my distaste for Bonaparte, I cannot but admire the man who painted so much of life in Napoleon’s era so cleverly. A good excuse to take that long weekend to Paris and check out some art (not that I usually need many excuses). And meanwhile it is the 400th anniversary of the birth of Rembrandt. A nice appreciation here by Robert Hughes.
Oh, and I can seriously recommend this to China art fans.
I watched a bit of The Apprentice on the BBC last night, the show featuring UK tycoon Sir Alan Sugar, who among other things owns a large stake in Tottenham Hotspur FC. The programme, like the American version, is engrossing and it nicely builds up the tension as Sugar confronts his teams of wanna-be businessfolk with their performance and fires one of them.
I have mixed views overall about the show. As pure entertainment, it succeeds in drawing the viewer in, although I am not sure in fact how well it really explains the qualities needed to be a good entrepreneur. The message seems to be that business is a dog-eat-dog, zero-sum game in which if some people win, others must lose. Which is wrong since everyone benefits from trade, otherwise why else trade in the first place? If a person who is smarter than me gets a job I covet, then the overall economic pie gets bigger than it otherwise would, so we all benefit, even though I might feel disappointed.
The Apprentice also seems to celebrate aggression to a considerable degree, and yet businessmen and women in my experience come a cropper if they stop listening to what their customers want and refuse to learn from experience. A degree of humility is actually smart. A quality I do not see much of in the show is that of sheer courage in taking business risks, something that is not sufficiently appreciated except by writers such as George Gilder.
I wonder whether Sugar (what an ill-suited surname he has!) is really a great advocate of business, at least as far as this show goes. Yes, I can admire how he rose from nothing in London’s East End to become one of Britain’s richest men (he has a net personal worth of 800 million pounds, according to the TV commenter), but he comes across as a bit of a braggart, the sort of bore one might encounter in a pub bragging to his mates about how ‘ard he is and how ruthless he can be. Yawn. I suspect that many of the greatest businessmen, while undoubtedly workaholics, ruthless and driven people, have to be able to rub along with other people. Maybe in Britain’s anti-business culture someone like Sugar stands out and he feels the need to put himself about.
Or perhaps Sugar is just hamming it up for the cameras and is a delightful fellow. You can never tell with these sort of ‘Reality TV’ shows. I would certainly watch some of the other shows in the series.
Here is a powerful new rationale for gun control from the macho actor, Daniel Craig, who is playing 007 in the upcoming James Bond release. Perry, it is time to change that Samizdata banner pic. Argument over:
I hate handguns. Handguns are used to shoot people and as long as they are around, people will shoot each other <...> Bullets have a nasty habit of finding their target and that’s what’s scary about them.
Prominent movie actors; under-informed and over-exposed since 1898.
In 1982, Disney released the movie Tron, the first film incorporating large amounts of computer graphics. (Actually it only included about 15 minutes of actual graphics. The rest of the film was drawn art designed to look like computer graphics, whereas today’s films are often full of computer graphics being used to look like more naturalistic things). The film was not successful at the box office, possibly because as well as being made by computer nerds, the film was also about computer nerds, and what might be referred to as the Silicon Valley culture was at that point extremely marginal, particularly in pop cultural terms. (Having said that, the film was set in Los Angeles, but I will forgive it that). However, for those of us that saw it, the film was rather mind blowing. It became a tremendous influence on many people working in computer animation and special effects today, and on people who were inspired by that technological culture in general. When these things did become mainstream, many of the people who were behind the scenes were people who had loved Tron.
However, the people who made Tron itself generally did not prosper from it. The film was too far ahead of its time, and Hollywood did not know what to make of it or what to do with the people who had made it. In what now seems staggering given that this is possibly the most groundbreaking film ever made from a special effects point of view, the film did not receive an Academy Award nomination for Best Visual Effects. This was partly because the film was perceived as a failure, and the academy doesn’t often reward failure, but it also had to do with a peculiarity of the Academy Awards nomination process, which is that (usually) the people who nominate films in a particular category are those who have been nominated in that category before. In 1982 “Special Effects” meant mattes (ie drawn artwork) and models. Using computer graphics was seen almost as “cheating”, and as a minimum an entirely different thing from what members of the Visual Effects branch of the Academy did. So, no nomination. (Things have changed since then. A couple of years ago I made an observation to another blogger that Master and Commander had excellent effects, and in response I was told that they were “not special effects”, because it was done with models in a tank in Mexico rather than with computer graphics.
To many people today, “special effects” means computer graphics, and that is that). That said, Master and Commander does use some computer graphics, just nowhere near as intensively as, say, The Lord of the Rings). However, as far as I am concerned Master and Commander does use special effects, computer based or not, and in fact it uses them dazzlingly, as I felt that a 19th century ship in the Royal Navy was really like that. Getting this kind of thing right is breathtakingly hard, which is why that film a couple of years ago deserved the visual effects Academy Award. But (although it was nominated) it didn’t get it. (It did win a very well deserved Academy Award for cinematography, however).
If Tron had been nominated for an Academy Award when it was released in 1982, it might or might not have actually won. And this may even have been fair. It would have been up against Blade Runner, possibly the greatest achievement ever in matte based special effects. However, although that film was nominated, it didn’t win either. (Steven Spielberg’s E.T. The Extra-Terrestrial won). Such once again is the academy’s reluctance to give awards to movies not perceived as successes. But in retrospect the lack of a nomination was a travesty.
And as sometimes happens in Hollywood, it has been decided to acknowledge retrospectively that it was a travesty. Gary Demos, who was largely responsible for the computer graphics in “Tron”, has been awarded an honorary Academy Award this year. This may be ultimately unimportant and trivial, but it is nonetheless about time.
From the ever informative Dave Barry blog, I learn that a Hollywood type superhero is joining in the fight against al-Qaeda:
Batman may utilise his extensive knowledge of caves to fight his latest foe – al-Qaeda.
Batman writer, Frank Miller, has told a comic-book convention that his upcoming novel, “Holy Terror, Batman!” is a piece of propaganda.
“Batman kicks al-Qaeda’s ass,” Miller said.
Miller said the comic was: “an explosion from my gut reaction of what’s happening now” and “a reminder to people who seem to have forgotten who we’re up against.”
So how many Batman movies have there been so far? Is it four? What’s the betting that the next one does not feature al-Qaeda as the villains?
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Who Are We? The Samizdata people are a bunch of sinister and heavily armed globalist illuminati who seek to infect the entire world with the values of personal liberty and several property. Amongst our many crimes is a sense of humour and the intermittent use of British spelling.
We are also a varied group made up of social individualists, classical liberals, whigs, libertarians, extropians, futurists, ‘Porcupines’, Karl Popper fetishists, recovering neo-conservatives, crazed Ayn Rand worshipers, over-caffeinated Virginia Postrel devotees, witty Frédéric Bastiat wannabes, cypherpunks, minarchists, kritarchists and wild-eyed anarcho-capitalists from Britain, North America, Australia and Europe.
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