Tag Archives: France

Fame Day: France Against Child Beauty Pageants

Look at that image on the right. Look at it. Falling back on that whole idea that “a picture is worth a thousand words” that should really be all I need to present to make the point that child beauty pageants are really not a good thing.

I like to fall back on facts, though, so I went out of my way to Google the words “how child beauty pageant facts” and clicked on an article helpfully titled “5 reasons child pageants are bad for kids.

This article had some pretty standard stuff like how these girls are too young to refuse and how they’re clearly being sexualized through these pageants [I’ll be referring to the latter article again later]. What surprised me the most was their fourth reason, which was that hair spray can actually act as a hormone disruptor and stunt growth or cause lung cancer. Continue reading

Europe and Racism

I’ve mentioned on more than a few occasions that Europe is grappling with issues of racism, which is something of a euphemism for “full fledged white supremacy movements.” What with my repeated references and the major role that this obviously plays on a cultural and political field, I figured it’s high time I actually break it down for ya.

The UK

You’d think that a nation that’s invaded all but 22 countries, maintained the largest empire of all time, and started multiple wars with underdeveloped nations to force them to buy drugs would be a bit more understanding when the people from those countries tried moving to the UK to build better lives for themselves. Instead, the flow of immigrants into Britain has resulted in a massive backlash from the “native” English (you know- the ones descended from Angles, Saxons, Jutes, and Norman immigrants). United under the fear that the empty house next door might be rented out by a family with brown skin and funny accents instead of a family with white skin and funny accents, Britain has seen the rise of bigoted groups in both the forms of political parties, such as the “British Nationalist Party” [BNP], to straight up gangs of violent racist thugs, such as the self-proclaimed “English Defense League” or “EDL”. But hey- we’ve got similar problems across the pond- what’s the big deal (other than, you know, the attempts to turn Britain into a whites-only nation, through violence and intimidation if necessary)? Continue reading

Evan and Gordon Talk: Naps [And Also the Hours in a Day]

GORDON: Ladies and gentlemen, because we are men of our word, today’s Evan and Gordon discussion will be based off a suggestion left by you, the readers. 

Specifically, Joe Chinn, who asked us to talk about rest and leisure time in this crazy modern world.EVAN: The irony is not lost on me, as I embark on a forty-five minute chat at around 11:15 pm with work the following the morning.

GORDON: So I’m guessing we’re stating right off the bat that we don’t have enough hours in the day?

EVAN: Well, let’s see- Continue reading

Why I Like Captain America vs. Why Other People Do

I’ve been wanting to do a post about Captain America for some time now, and with the breaking news that the Star-Spangled Avenger will be taking over the presidency of the United States, what better time than now?

To backtrack for all you non-comic-readers, this will be taking place within Earth-161, or the Ultimate Universe [the standard canon is Earth-616]. This is also the universe in which Spider-Man is black, so things are very, very different.

Captain America is my one of my favourite heroes. As a Canadian, I love the fact that he exists as a character that exemplifies the ideals of a country but does not in fact represent all of its actions. He’s neck and neck with Superman as being comic books’ most wholesome, and the words “boy scout” are used to describe him more than just a little.

The character, as he exists in the Ultimate Universe, is none of the above. Someone on the Marvel subreddit put up an image a few months ago in honour of the Fourth of July, citing it as their “favorite Captain America line.” Blown up, for your viewing convenience, is that image:


Clicking on the image will bring you to a fuller version in which Cap yells the question “SURRENDER??!!” Compare this to the 616 Captain America who stars in the following panels:

I could leave those two images to sum up the difference between the two heroes, but there’s more. Ultimate Cap has an affair with a married woman. Ultimate Cap is a bully. Ultimate Cap has no qualms whatsoever when it comes to killing his foes, and in fact brutally murders Azerbaijani superhuman the Colonel at the climax of Ultimates 2 Vol. 12.

Abdul Al-Rahman had once been a scrawny teenager enraged at the invasion of Iraq by American super-soldiers, who as the Colonel later led a group known as the Liberators in an invasion of DC. After he has been literally disarmed by a shield thrown by the Hulk he is knocked into the fountain of the World War II memorial and impaled by Captain America with his own weapon.

This man who did that has apparently been inducted as President of the United States.

It’s difficult for me to understand how Marvel got away with publishing Ultimates 2. It’s even harder for me to understand how fans were okay with the Living Legend becoming a xenophobic jingoist, and how some even liked it. At the heart of the character is something that the film made abundantly clear: Captain America is a good man.

“Whatever happens tomorrow, you must promise me one thing: that you will stay who you are. Not a perfect soldier, but a good man.” -Dr. Abraham Erskine

The fact that the image of Ultimate Captain America pointing at his forehead and slamming an entire nation is cited by more than a few as being their favourite Cap moment is, well, disappointing. Especially when panels like the following, from the Marvel Civil War event, exist:

Fascists, Skinheads, and Nazis (Oh My!)

As you all doubtlessly know, two days ago, a gunman entered a Sikh temple in the little town of Oak Creek, Wisconsin, killing six and injuring four more before being shot dead by police. The killer, one Wade Michael Page, was connected to a number of vicious white-supremacist groups, most notably the “Hammerskins”, a white-supremacist group that focuses on dispersing racist messages and propaganda through music- Page being the founder of one band and a member in another.

Why is this even being brought up here? As strange as it may seem, there’s an argument to be made for the Oak Creek massacre having its origins in culture. Now many of you might be thinking of the Aurora massacre, and no, this isn’t some discussion about our attitudes towards guns, violence in media, or anything of the kind. There’s certainly a good discussion to be had on that subject as well, but it’s not what I’ll be addressing here.

No, what I’m going to be talking about is this:

Fascism.

It’s coming back.

See, the idea that the culture, traditions, and history of specific people group are superior to those of all others and should be promoted and maintained through brute force didn’t die when Hitler blew his bigoted brains all over an underground bunker in Berlin, or when Communist freedom fighters gunned down Mussolini in a picturesque Italian village. It’s been dormant for a long time, but in recent years, it has again shown its ugly face.

Nope- uglier than that…

While there have been plenty of racially motivated murders over the years since Nazism fell (to say nothing of countless lesser hate crimes), what we’re seeing now is a resurgence in full-fledged Fascist ideology- but before we get into that, just a side note.

For many of you, the term “Fascism” probably conjures up images of generic authoritarianism. Obama’s a Fascist. Rush Limbaugh’s a Fascist. That one really strict teacher is a Fascist.

I’ve struggled for a while to come up with a good, succinct definition for what Fascism is all really about, so I’m going to offer this illustration. To a Fascist, his people (often, race) are inherently great and good, and they are inherently great and good because of their traditions, values, and culture, which are all also inherent to them. The greatness of the nation is lost when evil, conniving undesirables start pushing their own cultures, values, and traditions, which are subversive and degenerative to the nation. Therefore, these degenerates who threaten the nation must be stomped out (often quite literally), and the “original” culture/traditions/values must be restored, enforced, and maintained through an all-powerful government, police force, military, etc.

There’s more to it, of course. I could talk about the concepts of autocracy, corporatism, use of ancient Roman symbolism, and the like, but for now, let this all above be the definition we work with.

Now why do I say it’s coming back? Certainly if we disregard the recent massacre and the occasional race-related attack, there doesn’t seem to be any major Fascist threat in the US. The KKK isn’t roaming with impudence in the South. Gangs of Nazis aren’t attacking Jewish stores and businesses. Self-proclaimed defenders of the nation aren’t roaming the boarders trying to-

Oh yeah…

Ok, but it’s not like there’s been any major attack on people for having different skin or heritage or religio-

Ok, fine, but it’s not like any of this bigotry has been legislated or-

…Yeah…

See, that’s how it works. It’s subtle, discreet. The great Sinclair Lewis perhaps said it best:

And this is just America. In Europe, Fascism is even more prevalent and less shameless, simply take a look at France, where the government has instituted laws banning certain forms of Muslim garb, or forcibly expelling the Roma Gypsies.

I recall another guy who took actions to get rid of gypsies…

Over in Germany, Chancellor Angela Merkel declared that “Multiculturalism has failed”

Kinda forgetting about the last time a German chancellor declared the failure of multiculturalism…

…And in Britain, holocaust-denier Nick Griffin, leader of the white-supremacist British Nationalist Party (BNP) was elected to the European Parliament. That’s about the equivalent of the Grand Wizard of the KKK getting elected to congress.

I’d show you an actual picture of Nick Griffin but **** that guy…

And this is to say nothing of the escalating attacks on immigrants across Europe. Why? Because many Europeans and Americans are buying into the idea that the values, traditions, culture, and beliefs of other people are a direct threat to them. I recall in college on particularly nasty student who asserted that “All immigrants should go home”. Interesting, considering he had an Italian last name. Does he mean that he too will leave America? Of course not. Does he mean the Canadians who attended that school? Not at all. “Immigrants” was simply code for those “undesirable brown people”. But don’t take the words of one bigoted student as evidence of this ugly trend- just look at Congressman Steve King’s attempt to make English the “Official Language” of the US!

Now why on earth would you try to make English the official language of the US? It’s not like the vast majority doesn’t already speak it. And what if we did speak Spanish? How would it make a difference to anyone what we speak… unless English was somehow viewed as “inherent” to America!

There’s really part of the problem. It’s a perspective on society. Back in College, I had a conservative friend whose opposition to gay marriage was that “the traditional family is the building block of society, and changing the family weakens society”. I’m not saying he’s a fascist- not at all, but this view of society as a solid, unchanging thing is what really serves to create so much of the general bigotry and outright fascism that we see today. When society’s well-being is linked to culture, to maintain society is to maintain culture, and while there’s a certain logic there, all too often it’s taken to mean that every aspect of culture, right down to traditional gender roles, religion, and racial demographics, must be controlled. It’s the reason why you see Muslims, immigrants, homosexuals, or as the past couple days have shown us, Sikhs, targeted. And don’t for a minute imagine that it’s just Aryans who take up this line of thought. I recently had an encounter with an Asian immigrant who cited that his country was once upon a time a “Christian country”, and that he was concerned at Hindus, Buddhists, and the like building places of worship in his community.

Only where does it end? Suppose you argue that non-Christians should be excluded from a country because their cultures threaten the stability of the nation- what the minority groups? I always want to bring this up when I hear someone make the argument that America is a “Christian Country”- does that include the Mormons and Jehovah’s witnesses? What about Unitarians? Episcopalians? Catholics? Mennonites?

That’s the crux of the matter. The Fascists- both the self-declared and the self-deluded- would have us believe that we’re all hopelessly divided. That we cannot respectfully disagree with each other. That you can’t speak Mandarin and I can’t speak Arabic and the two of us get along. That multiculturalism is a fantasy. That we can’t have our own practices and perspectives while all agreeing, to some degree, on how to live together. We’re meant to live in constant fear that if we tolerate anyone who doesn’t fit in, there goes our way of life.

So let it go.

This will be harder for some than others…

The title of this blog is the Culture War Reporters, and perhaps what needs to be understood is that the culture war isn’t something that can (or should) be won. There’s always going to be divergence in opinion and in behavior. There’s always going to be new things coming in, and old things struggling to stay on. There’s always going to be good stuff and bad, so at the end of the day, why worry? Don’t buy the idea that culture can be maintained, or that one group has found all the answers. For all the dark content about murders, genocide, and the like, strange a line from Disney’s Ratatouille should fit so appropriately. Defending his lifestyle against the accusation that it’s “against nature”, Remy the rat declares that “Change is nature”.

Hugo: Scorsese Tells a Story and is Awesome at it

source: alualuna.wordpress.comHugo was another demonstration that a large part of Scorsese is dedicated to documentary. His movie plots rarely rely only on a simple story structure, but draw at truth about some world or society or person – in The Aviator, it was the telling of the life of Howard Hughes; in Kundun it was the exile of Dalai Lama Tenzin Gyatzo from India; In Shutter Island it was the mechanics of early 20th century mental health treatment. Scorsese has also made a fair share of documentaries, on topics like Italian cinema, The Rolling Stones, and Bob Dylan.

source: typofile.com

The film tells the story of early and revolutionary filmmaker Georges Melies

In Hugo, Scorsese tells the story of Georges Méliès and the beginning of filmmaking in general. At points the movie goes very far into documentary-land, like in the flashback/exposition which serves as the emotional denoument of the story, which rather adorably self-consciously begins with a full-on direct shot of Ben Kingsley’s face, and involves long clips of Méliès’ original film.

Scorsese uses archetype expertly well, wielding it like a tool and using structure as a support, not a creative hindrance. The plot devices are intentional, elegant, and familiar enough to be pleasant but done well enough to avoid the negative aspects of cliche: the plucky, adorable girl, the awkward side love story, the child-who-is-the-exception-to-the-rule, and the ultimately relatable and flawed authority figure whose villiany is centered on the fact that he does not notice that the child is the exception-to-the-rule [complete with semi-frightening animal companion, physical deformity, past pain, awkward love interest…].

source: hollywoodreporter.com

Hugo and his father, who is briefly and attractively played by Jude Law

The aesthetic themes of the film, too, are constructed elegantly. Hugo is a boy who only sees the world through cracks and holes – through the numbers in the station clocks, through the holes in the vent windows, and through the metal grid of the automaton’s chest. He ultimately enters the world through these cracks, too, when he slips out of the vents or climbs out of the clock face to hang outside. Hugo’s relation to cracks and holes and small spaces mirrors Méliès’ relationship with the camera lens: he sees the world through a lens and ultimately enters it through the lens as well.

The film uses as sort of wheel spokes Hugo’s various relationships with the people surrounding him. The most obvious one is his father, and the automaton which connects them. There’s also, however, the fact that in a fit of frustration he flings himself into his degenerate uncle’s armchair; there’s the moment when the previously hostile bookseller (given gravitas by being played by Saruman) lends Hugo Robin Hood, and there’s Hugo’s emotional infiltration to Georges via Isabelle and Georges’ wife.

The film is ultimately a demonstration of developed connections and necessary maintenances, without which the characters would remain inoperable, like the broken automaton. The relationship aspect of Hugo includes Scorsese’s relationship with the film itself, and the thing reads like a love letter to filmmaking in general.

Worth noting:

source: aceshowbiz.com

Sacha Baron Cohen in Hugo

Sacha Baron Cohen is absolutely brilliant in his complex portrayal of a character which could very easily be buffooned.His stuttering speech is not quite ridiculous enough for us to laugh at, and it complements the familiar crippling self-consciousness that sort of oozes out of his character’s dialogue. He is a fool, but in a relatable sense. He is terribly awkward, but we cringe instead of laugh at his misfortunes. His air of self-confidence is quite transparent and allows us to see the very real human being underneath. Sacha Baron Cohen does excellently.

It seems kind of moot to point out that Ben Kingsley also does a tremendous job. The part spans a huge amount of time and character development, demanding that Kingsley not just play the secretive, intelligent, and broken older Méliès, but also the pre-war inspired artist, delivering platitudes to young boys while wearing a lobster costume. In Hugo, Ben Kingsley is everything that his part should be.

The aesthetics are another solid part of the film. Hugo is (and it does this wonderfully) a war-era film glazed in steam punk. The aesthetic is wrapped in gears, trains, skeleton keys, and old video cameras, and topped with flower sellers in berets and a reassuring sense of the fantastic – lovers of flim noir, steam punk, cyber punk and any aesthetically-intentional style may drool a little. I am unsure about how I feel about 3D – I am too poor and not interested enough to see the more expensive version of the movie – but the fact that directors like Scorsese and Jackson are using it is making me consider itmore carefully. I can at least see how the aesthetic would work well with the round, polished dimension that 3D movies have.

Hugo is a story and, if you Wikipedia Georges Méliès, a true one at that. Its comments on the changing public reception to fantasy and story telling are especially pertinent: the generation that grew up on ultra-ironic media like Shrek, The Office, and SNL are more often receiving stories told unapologetically, like Hugo and Avatar and Harry Potter, and it is interesting to see how we’ll react.