#Rich in Pounds Poor in Sense (trope)

[inspectorspacetimerevisited]

Ultimately, the Inspector and Emerald were unable to save anyone from AceSpace,

since the AceSpacers believed that their youth was enough to protect them from whatever the world outside of the dome had in store for them.

‘We could save you lot, if you just let us. You don’t know what’s waiting for you out there.’

[lastsonlost]

NO SHIT SHERLOCK!

What fucking took you so long!

The story: ALSO- spoiler warning

Midway through a screening of Joker this weekend at a Chicago theater, I leaned over to a friend seated next to me and whispered: “Is this the same movie that everyone has been talking about?”

I asked because what I was witnessing on-screen bore little resemblance to the ode to angry, young, white, “incel” men that I had heard so much about in media coverage of Joker leading up to its release. Instead, we got a fairly straightforward condemnation of American austerity: how it leaves the vulnerable to suffer without the resources they need, and the horrific consequences for the rest of society that can result.

This message is so blunt that even I, a Marxist and philistine, found its message a bit too clobbering. How mainstream commentators have missed it and drawn the exact opposite conclusion is baffling.

Arthur Fleck, the protagonist and eventual Joker, is a poor, young, white, mentally ill man who works as a clown and seems to enjoy it. In the film’s opening scene, he is beaten up by a rowdy group of teenagers, some of whom appear to be teens of color..

Watching this opening, I thought, here it is: in the very first scene, teenagers running wild on the streets of New York City, a classic rightwing trope in American cinema depicting a society (and its racialized underclass, in particular) that is out of control. We’ll soon be told it needs to be reined in by some old-fashioned law and order and cracking of skulls.

Yet in the locker room of the clown agency, when a coworker calls the teens “animals” and “savages”, Arthur explicitly rejects dehumanizing the teens. “They’re just kids,” he responds. Bruises visible on his body – a body for which Joaquin Phoenix lost 52 pounds ahead of filming, with a disturbingly protruding spine and ribs, that is physically ravaged by the austerity-racked society Arthur lives in, wasting away in front of our eyes – he defends his assailants and rejects his coworker’s racist epithets.

Since critics depicted this as a film for the far right, whose overtly racist views are well-known, I expected the depictions of characters of color to be bigoted. But interestingly, almost all of the violence he eventually metes out as he sinks deeper and deeper into a full breakdown – save for the movie’s final scene, at which point Joker’s nihilistic brutality has fully blossomed, now wanton and indiscriminate – is against white men, many of them wealthy.

A passing interaction with a neighbor, a single black mother who lives on his floor, leads to a disturbing and delusional romantic obsession with her . This culminates in a tense scene in which – on the verge of a full breakdown and after we realize the previous scenes of the two of them on a date and sitting at the hospital bedside of Arthur’s mother were completely imagined by him – he walks into her open apartment.

The viewer expects an act of violence against her, perhaps even a horrific scene of sexual assault, by the lonely man who wants the beautiful woman but can’t have her. In other words, the ultimate incel revenge fantasy. Instead, startled, she asks him to leave. He does.

Likewise, in a scene whose political message was so blunt that it could have appeared in a mid-century Stalinist propaganda film, his social worker and counselor – another black woman – with whom he has a tense but clearly significant relationship, is forced to tell him that due to recent budget cuts, their office will be shutting down. Arthur asks her where he’s going to get his medication; she has no answer for him.

“They don’t give a shit about people like you, Arthur,” she tells him, referring to those who cut the budget. “And they don’t give a shit about people like me either.”

The black, female public-sector worker is telling the white, male public-service user that their interests are intertwined against the wealthy billionaire class and their political lackeys who are slashing public services. Across racial and gender boundaries, the two have a common class enemy.

You can’t get much less subtle, or much more diametrically opposed to the right’s worldview, than this.

It is those budget cuts that drive Arthur deeper into madness. Similar attempted cuts likely drove sanitation workers to strike, resulting in the piled-up garbage constantly visible on Gotham’s streets. These are clear allusions to New York City’s 1975 fiscal crisis and the austerity it produced, which soon spread to the rest of the country.

Elites’ condescending responses to the widespread suffering make things worse. Billionaire Thomas Wayne condemns Arthur’s murder of his three employees (representing young, arrogant, rich Wall Street types) on the subway by calling the average person seething in the streets “clowns”. Don’t they know that he wants to help them, the ultra-rich mayoral candidate asks. He is irritated he even has to explain this. His comments merely stoke the already burning fires of resentment, with Wayne’s obliviousness at their misery rubbing salt in the wounds of average Gotham residents and driving them to the streets to protest Wayne and elites like him in clown masks.

And, of course, when Arthur sneaks into a high-class theatre and confronts Wayne about what Arthur has been led to believe by his ailing mother – that Wayne, her former employer, is Arthur’s father – the genteel billionaire, dressed in a full tuxedo, literally punches Arthur in the face. Again, political subtlety is not this film’s stock and trade. How could reviewers miss this?

What Arthur – and scores of others like him in Gotham and our own society – needs is a fully-funded Medicare for All or NHS-style health system that includes robust mental health services that provide him with the counseling services and medication that can save him (and others around him) from his unceasingly “negative thoughts” and violent impulses.

He needs public programs that can provide a warm, encouraging environment for his creative impulses, allowing him to perform standup comedy or perform as a clown without becoming a laughingstock on national television or getting canned by an uncaring boss. He needs wages for his care work for his infirm mother or a robust elder care system that can respectfully take her under its care. He needs high-quality housing he can afford.

Arthur has more than his share of problems, but a few of them would have been solved, or at least adequately and humanely managed, in a society whose budgets were oriented more towards people like him than Wayne. But he does not live in that society, and neither do we. Instead of public services and dignity, he gets that most American of consolation prizes: a gun, and the sense of respect that, while ultimately hollow, has long eluded him.

Joker’s ending is bleak and one whose general thrust we knew going into the film: in addition to the three Wall Street types, an old mother, a coworker, a talkshow host and a billionaire couple have been murdered in cold blood; rioters in clown masks are running wild in the streets, cheering Joker on the hood of a cop car. In the final scene, Arthur is again speaking to a social worker, but now in handcuffs in an asylum. But it’s too late to reach him, because he’s no longer Arthur – he’s the Joker, and the Joker has no qualms about killing her, too.

Rosa Luxemburg once famously framed the choice for our future as that of socialism or barbarism. Joker is a portrait of a society that has chosen barbarism. No one wants to see violence erupt in such a situation, but we shouldn’t be surprised when it does.

In the real world, we aren’t yet at that breaking point. And unlike Gotham, we have alternate paths on offer – represented best by the Vermont senator Bernie Sanders, whose presidential campaign speaks to that roiling anger but channels it into humane and egalitarian directions. If we don’t take it, and that anger continues to find a home in reactionary outlets, the barbarities we see in Joker might start looking horrifyingly familiar.

[zayrickyear2jh]

13/12/19 BA2a Research: Session 4 The nightmare city and the urban laboratory

Plot Summary: Chapter 3

We meet Dr Jekyll at last. A large, well made smooth-faced man of fifty, although

In this chapter - Jekyll reassures Utterson he can be free of Mr Hyde whenever he wants. He says it’s a private matter and he asks Utterson to let is sleep. He calls Dr Lanyon hide bound, meaning narrow minded.

Plot summary:The Carew Murder Case Chapter 4

Nearly a year passes peacefully.

The Hyde commits murder. HIs victim is Sir Danvers Carew, a respected member of parliament.

The events witnessed and somewhat strongly described

Consider the careful setup

Before the coming of the ever-present fog, the night was cloudless and brilliant lit by a full moon. Why might the full moon be important to mention?

Stevenson writes in rapturous terms:

The maid servant sat at her window and fell into a dream of musing.

Carew appears to her as an aged and beautiful gentleman with white hair and a very pretty manner of politeness

The moon shone on his face as he spoke

Such an innocent and old world

Hyde

A great flame of anger

Broke out of all bounds

Ape like fury

Why do you think Stevenson sets up the murder scene in such a romantic way? Its the contrast between the elements of good but evil. The scene represents tduality in action.

The association of Carew with innocent and beauty makes the violence more shocking by contrast.

It has the effect of turning Carew into a martyr-like figure. His death can be seen as symbolic.

Utterson exhibits his usual self-control (ego; reality principle)

He is ever the gentleman: refusing to draw hasty conclusions.

Uttterson travels through the chocolate-coloured fog towers Soho, accompanied by the police, to Mr Hyde’s lodgings the witness has identified him. It seems to Utterson like some city in a nightmare.

Mt Hyde has done a runner but the policeman is optimistic. Several thousand pound are found in Hyde’s bank account: surely the man will call to collect  it. All they have to do is lie in wait for him.

So the chapter ends on a cliff-hanger with a clear hook to chapter 5.

Carew ‘accosts’ Hyde with ‘a very pretty manner of politeness’

What might Stevenson be hinting at here?

Elaine Showalter calls the novella a fable of findesiecle homosexual panic. She notes that working class men of the ear were sometimes seen as erotic object by their aristatic superiors.

Hyde is classless rather than working class this itself would have been disturbing and bewildering.

‘Blackmaile’s Charter’

-Known as the Blackmailer’s Charter’s this was the piece of legislation that led to arrest of Oscar Wilde in 1895.

Urannian- The word homosexual wasn’t used in English til 1892 in a translation of a German sexology manual Psychopathia Sexualis. Victorian mainly used the word Uranian for them, this actually meant having a female psyche in a male body. Ironically the 1885 act helped create the concept of a homosexual identity.

The duality of Rober Louis Stevenson

Stevenson himself was a man of contradiction

Effeminate but straight

Wealthy but dressed down )stuffy with bad teeth)

Born to strictly religious parents but lived a bohemian life as an adult.

Played at being lower class but exploited upper class connection.

Not conventionally handsome, he was said to have mesmirizing eyes and drew many male admirers including folklorist Andrew Lang and novelist Henry James. Stevenson appeared to enjoy the attention of his male admirers. And, whether he intended it or not, Uranian men of the era did find sympathetic undertones in his work. To use mourned parlance, could this be a type of queer baiting?

There is no biographical evidence that Stevenson himself experienced any same sex attraction, but Claire Harman suggest.

Social Taboos in Gothic horror

Jekyll and Hyde: The Gothic revival.

Stiles notes the Gothic conventions of Stevenson’s novella: the nocturnal settling, the theme.

The birth of Gothic horror

Horace Walpole’s dream Castel of Qtranto

Place and time

Power/Sexual power

Note how Walple’s The castle of otranto was also inspired by dream.

Key features of the Gothic

Wild landscapes vs improsonment. The re-emergece of the past within the rest.

Fascination with obscene patriarchal figures figures

Explores the limits of what is is to be human: internal desires or forces outside your control.

full of perverse weird and dangerous kinds of sexuality.

The vulnerability of women in the 19th century

The Gothic genre had scope to explore the lives of the 19th century woman.

The genre often depicts the triumph of young women over seemingly impossible forces.

If you’ve your story female protagonist you may like to explore the tropes of Gothic horror in your critical analysis.

The Uncanny

Gothic horror is all od uncanny moments.

Figures that are not quite human such as dolls, waxworks, automat

Strange, mysterious, unsettling, unnerving, unearthy

Meaning Un heimlich means un-homely

Therefore we don’t feet at home with the uncanny or the home is somehow transformed or changed.

No one can ever quite describe Mr Hyde. A prolonged state of uncertainty.

J and H was fascinated with clockwork autumata. Could be a potential

Tip: If you’re writing a horror film, try making it personal: use your own fears and phobias to make the terror.

And harness the power of the uncanny by focusing on dread and apprehension rather than outright horror.

main it unhomely: unsettle the viewer with sinister hints a radio that turns on by itself a child’s toy that is not where you left it, a writhing maggot in a piece of fruit.

Make it un-secret: show us something that shouldn’t be shown.

Give the view time to feel the fear: You have to allow the sense of underlying unease to intensify over time.

Birth of the city/the urban Gothic

Jekyll and Hyde is seen as the first Urban Gothic novel.

In the mid 1800s huge numbers of people left the country for an excited new life in the city. But many had to live in slums with no sanitation. Disease was rife. Young children worked in factories or cleaning chimneys.

London was the largest city in the world, totalling 4 million inhabitants in the 1880s’. Stevenson chose it as the setting for his ‘urban gothic’ tale but some critics argue it’s real settling is Edinburgh, where Stevenson grew up.

The evil within..

In the tale 19thC Gothic novel the threat is no longer some external force. Instead the evil is sinuously curled around the very heart of the respectable middle-class norm’ This made it more frightening because it made the evil inescapable.

Middle-Class Victorian had a great fear that sexual depravity and other kinds of moral decay would pass from the nocturnal world to the safe space of the home.

Like a district id time city in a night mare ( The Carew Murder Case)

They grew less interested in the wild landscapes of traditional Gothic, and focused instead on the new landscape of the city: an equally appropriate source of desolation and menace.

By identifying and exploring that obsession through art and literature, they sought to control and contain it.

This fear is made visual in Jekyll and Hyde through symbolic use darkness and fog.

The urban labaratory and the strange science of the mind.

The primary figure at the heart of most Victorian fin de siecle texts is the scientist and during the fin de siecle what the scientist tends more and more to dabble.

Questioning boundaries: science, pseudo-science, and the occult.

The greatest pace of advance and change in the fields of science and medicine led Victorians to necessarily suspend disbelief: unlikely things might easily turn out to be true.

As a result the gap between science and the occult was much narrower in Victorian Britain than today.

The dual brain

we’ve already seen that hypnosis suggested the possibility of a hidden self. This concept was reinforced by the victorian theory.

Left brain is seat of logic and reason

Right brain is emotions

Women and savages were strong in the right brain. Hyde is describe as ape-like

Sergeant F: the uncanny quality of the double

In 1875 the Cornhill magazine published the case study of a brain damaged French soldier Soldier F.

Sergeant F was male, and his condition was caused by a wound the battlefield. But the dual or multiple personality was almost overwhelmingly a female condition and still is today its known as Dissociative Identity.

Stles theories that small, puny, right brained Hyde has something of the victorian feminine about him: emotionally unstable.

Victorians also believed that your personality could be read in the shape of your skull.

The Victorian era saw a huge divide between rich and poor, and in essence these types of belief enabled upper class Victorians to feel okay about their unequal wealth.

Phrenology

Developed by Franz Joseph Gall in 1796, this pseudo-science made the claim that your personality and character could be recognised by the shape of your skull.

The Profession Sickist

In letter he described himself as a professional sickest. As a result, much of his work was written in bed.

Strange case of Jekyll and Hyde

The Lancet = medical journal

Jekyll is both physician and patient, call into question the legitimacy and objectivity of scaentific case studies.

As a professional sickest its likely the Steenson experienced it.

Film to watch - The burke and Hare murders