Free time is no longer available

Freedom is no longer available, or at least the video in which Adorno discusses the lack of freedom is no longer freely available.

Why? because of copyright.

The critique of freedom is itself property that is not freely available to anyone.

Wilder Still

Sometimes you think that all film scholars are grumpy people with chips on their shoulders about not getting the respect they feel they lack

And then you read Gerd Gemünden’s delightful book on Billy Wilder: A Foreign Affair: Billy Wilder’s American Films (Berghahn Books, 2008).

Good cheer, wit and irony are the by-products of watching a Billy Wilder movie, and Gemünden does not spoil anything with his light, fast, smart analysis. As the title suggests, Gemünden shows how Wilder brings an immigrant’s perspective to Hollywood, the foreign affair is not in Berlin but LA. Not only does Gemünden compare Wilder to Adorno in SoCal exile, he sustains the juxtaposition across the book, so that the academic heavy-weight reader starts recognizing the cultural critique in Wilder’s fast-paced success.

Wilder’s Weimar Berlin career has always loomed just over the horizon in my mind. Wouldn’t it be wonderful to find an archival trove of early, early movies, screen plays from Wilder in 1920s Berlin. Gemünden carries that idea into the famous Hollywood films. We will surely never be able to download Wilder’s early screenplay credit Der Teufelsreporter: Nebel in der Grossstadt. Wilder and Gemünden assure us that it is crap, but I always want to believe that there is a dissertation’s worth of urban modernity in that film.

No need for such fantasies, Gemünden finds that same sensibility in Wilder’s American movies. More than Adorno, Gemünden’s argument seems motivated by Georg Simmel’s essay on The Stranger—that alien figure who resides amongst us, knows us perhaps too well and never quite stops being other. The outsider as insider does not just have to write Minima Moralia, he can also direct Marilyn Monroe.

Resistance is futile

Resistance is futile but not for the usual reasons. The old Marxist model saw avant-garde culture as the last holdout against an all consuming culture industry. Back then it seemed that talent scouts were about searching for the newest art in order to incorporate it into mainstream entertainment. Now there is no such tension. Avoiding appropriation is easy, no one in Hollywood is paying attention anyway. Political critiques of entertainment are shrugged off as irrelevant, queer readings are welcomed.

What does this mean for academic criticism? While it once seemed surprising to apply the critical tools of academic commentary to popular entertainment, this sort of cultural studies hardly seems challenging anymore. It is so easy to make a critical political reading of a contemporary film that even the most ardent old school leftist must suspect something. The culture industry does not worry that critics will unveil the neo-liberal message implicit in children's cartoons. The screenwriters worked hard to put it there, they're flattered some professor noticed.

Increasingly the purpose of cultural criticism is to show that art today can have political importance and that once upon a time it did have a social charge. History is the last refuge of criticism. "No one worries about the avant-garde anymore. But they used to seem explosive." Criticism needs to show how art could be radical, shocking, inspiring. We don't need to only use the language of the avant-garde either. This newest historicism seeks to explain the tensions in earlier historical periods, in order to make clear that it could be so once more. Romanticism was once revolutionary, in fact "revolution" used to be revolutionary--the very word has been tamed.

Academic criticism followed the path of the avant-garde in the 1970s by adopting increasingly complex and arcane procedures which separated it from ordinary culture. This specialization was less an attempt to legitimate theory by giving it a jargon than it was an attempt to insist on an academic version of aesthetic autonomy through the use of experimental writing techniques.

In the end, autonomy has brought with it dismissal and ignorance. "You can keep your autonomy" has been the attitude of such institutional voices as the New York Times. That academic writing is dismissed by the Times and so many other mainstream outlets is partially the result of the theory movement's disdain for compromised writing, its insistence on a purity of language even as it demonstrated its impossibility. The age of theory is over not just because that entire generation has died, but also because the shock value of highly complex thought has worn off. Couple that with a political culture that celebrates populist ignorance of history, grammar and logic, then you have the current gulf between the university and the rest of society. So the trick is to write sophisticated commentaries in a new manner.

Adorno on Vacation

A wonderful essay about Theodor Adorno's vacation habits, indeed about the word "Urlaub" and its historical formation. As time goes by, and more material is published, we get to read his lectures, his letters to his parents, his childhood biography so that Adorno and company become historical beings. Someday we read about his Hollywood romances, no doubt. It makes them all the more fascinating, in their particularities. High theory goes down well with a dash of gossip.

http://www.faz.net/s/Rub5C2BFD49230B472BA96E0B2CF9FAB88C/Doc~EDA119C6AA77044DEA602233FC505CAD2~ATpl~Ecommon~Scontent.html