“Once I saw it, I was offended: I was offended as a woman, I was offended as a conductor, I was offended as a lesbian…”
Tár, Todd Field’s new film about an eminent female conductor, is splitting the musical crowd. The superstar conductor, woman and lesbian Marin Alsop, was offended in the Sunday Times, while UK conductor Alice Farnham applauded Field in the Guardian, for helping to “normalise the image of a woman on the podium”.
Both responses are quite funny, though arguably Farnham’s response edges it. To watch Tár and leave the cinema thinking that the cause of female conductors has been significantly helped is a bit like thinking that Cinderella generally improves the public image of stepmothers. As played by Cate Blanchett, the film’s protagonist Lydia Tár is a ruthlessly ambitious, amoral narcissist. Major character flaws include deceit, habitual philandering with junior acolytes, and an unrepentant taste for revenge. Not only does she fail every purity test going, she also explicitly rejects attempts to classify her as a “female conductor”, behaving in general much more like a stereotypical man than woman. She insists on being called “Maestro” not “Maestra”, boxes fiercely to work off excess aggression, launches a violent attack on a rival at one point, and at another introduces herself straight-faced as the father of the child she co-parents with her long-suffering wife.
Although Alsop’s negative response to the film is quite different to Farnham’s enthusiastic one, they apparently at least agree that Tár stands or falls by how well it serves the goal of positive representation of female conductors. For her part, Alsop excoriates the director for his “antiwoman” artistic choices, saying: “To have an opportunity to portray a woman in that role and to make her an abuser — for me that was heartbreaking. There are so many men — actual, documented men — this film could have been based on but, instead, it puts a woman in the role but gives her all the attributes of those men.”
Ludicrous as it is to think that, in some alternative universe, the general public might have flocked to cinemas to see propaganda on behalf of the female conducting industry, these responses of Alsop and Farnham are hardly out of step with the zeitgeist. Elsewhere too, there’s a tendency to take a work’s fictional focus upon a particular character as having real-life implications for some wider group, and then to rate the work on that basis. Incorporating a cross-dressing murderer into a novel plot — as did Robert Galbraith (aka J.K. Rowling) in Troubled Blood or Thomas Harris in The Silence of the Lambs — was taken by some to convey something negative about trans people generally, resulting in a quick dismissal for the works in question. More recently, dramatically illuminating the life of a gay serial killer — as the Netflix series Monster did, about the cannibalistic Jeffrey Dahmer — was interpreted as pathologising gay men. (The thoughts of common-or-garden serial killers about how bad the series made them look remain unrecorded.)
There are other signs too that, as a culture, we’re increasingly incapable of reacting to art except in the crudest of moralised or politicised terms. For one, there’s all the trigger warnings and the censored university reading lists. For another, there’s the perceived prohibition on authors writing “outside of their own identities”. Only women should tell stories from the point of view of women, only black people should fictionalise what it’s like to be black, and so on — apparently ignoring the fact that human beings have imaginations, and that it’s a traditional goal of both writing and reading fiction to use them.
And then there’s the habit — seemingly endemic to Gen Z audiences but by no means limited to them — of treating the grossest of personality traits of an artist as relevant to assessing the value of his output, whether or not those traits have left any visible trace on the work. The list of entire oeuvres we are collectively implored to jettison because of the moral transgressions of their creators grows longer every day. Cases like Pound, Polanski, Allen, Hemingway, and Picasso spring to mind, but — such is the degree of churn these days in standards of public decency — practically no artist or creator living prior to 2010 is immune.
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SubscribeOutstanding – The Universities loss is UnHerd’s gain…
Outstanding – The Universities loss is UnHerd’s gain…
“Only women should tell stories from the point of view of women, only black people should fictionalise what it’s like to be black”
Woke makes me want to write a novel as a white man about an African tribal chief with a bone in his nose and a plate in his lip and a great big cauldron in which he cooks white explorers wearing pith helmets.
Look forward to reading it.
Likewise!
Likewise!
Had the same thought.
I remember in prep school, in composition classes etc., that we were told to tell a story from another point of view, to try to see the world through our characters eyes.
It was a highly useful experience to write a story about a poor Asian sailor in the 19th century. It took research and then struggling to try and write as that person perceived the world. I have found that to have been great practice for what I deal with in my career, where I very often have to deal with people of very different backgrounds and negotiate with them or lead them on a project.
I remember having to do this at school, too. We all had to pick a subject out of a bowl without seeing what it was; if I remember correctly I had to write about a rich, blind boy in the present day. Not much research done really, I made it all up; I can’t remember if I got a good mark or not, probably middling.
What did your research reveal?
I remember having to do this at school, too. We all had to pick a subject out of a bowl without seeing what it was; if I remember correctly I had to write about a rich, blind boy in the present day. Not much research done really, I made it all up; I can’t remember if I got a good mark or not, probably middling.
What did your research reveal?
You can call it “I’m Gonna Get You, Succotash!”
The same rules seem to apply to acting these days. Apparently, all productions of Hamlet are on hold as neither of the two current Princes of Denmark are interested in a career in the theatre.
I saw an all-female production of a Shakespeare play on TV the other day – and about half the cast were non-white.
It occurs to me that if they had been better actors I would not have noticed……….
Right? The Washington, DC Shakespeare Company has been on this kick for the last few years, with Falstaff being played by fat lesbians.
Right? The Washington, DC Shakespeare Company has been on this kick for the last few years, with Falstaff being played by fat lesbians.
I propose that the next Hamlet should be played by the exciting new star Sparrow X a brilliant triracial obese transgender obese dwarf raised in San Francisco,USA by two autistic lesbian mothers who were always very support of their aspiration to become an actor.
I saw an all-female production of a Shakespeare play on TV the other day – and about half the cast were non-white.
It occurs to me that if they had been better actors I would not have noticed……….
I propose that the next Hamlet should be played by the exciting new star Sparrow X a brilliant triracial obese transgender obese dwarf raised in San Francisco,USA by two autistic lesbian mothers who were always very support of their aspiration to become an actor.
Oh c’mon please, publish and be damned!
Methinks it’s all been done before, brilliantly or indifferently.
The whole point of being a great author is that you should be able to write any story from any point of view. Note: Great author. I don’t need to genderise this as it’s not necessary.
Exactly! Best suicide scene written ever is Anna Karenina. Poor Old Tolstoy – if only he knew his book wouldn’t be read in the 21st century because he wrote Anna from a man’s perspective. Come to think of it I’d had to burn 70% of novels on my shelf that use something terribly old fashioned called imagination.
Exactly! Best suicide scene written ever is Anna Karenina. Poor Old Tolstoy – if only he knew his book wouldn’t be read in the 21st century because he wrote Anna from a man’s perspective. Come to think of it I’d had to burn 70% of novels on my shelf that use something terribly old fashioned called imagination.
Witty.
Look forward to reading it.
Had the same thought.
I remember in prep school, in composition classes etc., that we were told to tell a story from another point of view, to try to see the world through our characters eyes.
It was a highly useful experience to write a story about a poor Asian sailor in the 19th century. It took research and then struggling to try and write as that person perceived the world. I have found that to have been great practice for what I deal with in my career, where I very often have to deal with people of very different backgrounds and negotiate with them or lead them on a project.
You can call it “I’m Gonna Get You, Succotash!”
The same rules seem to apply to acting these days. Apparently, all productions of Hamlet are on hold as neither of the two current Princes of Denmark are interested in a career in the theatre.
Oh c’mon please, publish and be damned!
Methinks it’s all been done before, brilliantly or indifferently.
The whole point of being a great author is that you should be able to write any story from any point of view. Note: Great author. I don’t need to genderise this as it’s not necessary.
Witty.
“Only women should tell stories from the point of view of women, only black people should fictionalise what it’s like to be black”
Woke makes me want to write a novel as a white man about an African tribal chief with a bone in his nose and a plate in his lip and a great big cauldron in which he cooks white explorers wearing pith helmets.
What the culture warriors and modern-day Puritans do not realise is what they themselves are artistically producing today (as a socially-just reaction to the oppressive tenor of previous creative types) may well be deemed morally unacceptable tomorrow due to the forces they have unleashed. The Revolution always eats its children.
Absolutely brilliant comment, friend. Kudos!
Absolutely brilliant comment, friend. Kudos!
What the culture warriors and modern-day Puritans do not realise is what they themselves are artistically producing today (as a socially-just reaction to the oppressive tenor of previous creative types) may well be deemed morally unacceptable tomorrow due to the forces they have unleashed. The Revolution always eats its children.
In commenting before delving into the links to differing opinions on this film which might seem central to Kathleen’s usual outstanding exegesis, there’s the core point to be made about how each generation interprets artistic products.
At the core of any creation of lasting value is the extent to which it evokes our common humanity, irrespective of the particulars of our individual birth and life circumstances. For anyone to apply a reductive template to artistic merit is, therefore, to somehow diminish and deny their own being. Perhaps that’s the point: the self-disgust which characterises much of critical theory by its projection onto specific groups instead of seeking to understand and come to terms with its well-spring.
To seek to understand oneself can, of course, be painful, and for some seemingly impossible, but the old adage about an unreflective life and the imperative to “know thyself” applies to us all, and one of the key ways to help us unlock ourselves is through immersion in art. Rejection of works which are recognised for their unlocking potential tells us a great deal. Those who do so simply can’t bear their own reflection.
the extent to which it evokes our common humanity
Could not have been put better. I have just finished a book written by a Nigerian writer, set in Nigeria with all the characters being Nigerian The milieu may have been exotic and allowed me to get a glimpse into Nigerian life, but the humanity of the characters was something I, as reader, shared, and I could understand their problems, and even see a little of my own life in theirs. This, I think, is the sign of a good novel, not whether it strikes the “correct” political or moral note; I have been able to have sympathy for characters who are morally repulsive in some ways because of the skill of the writer (I’m particularly thinking of William Faulkner, here), Our common humanity with all its faults, this what a great work stirs.
Absolutely.
Absolutely.
WOW! It’s hard to find people in the United States who can so succinctly and state a position such as yours without it turning into idiotic propagandistic Newspeak. Thanks!
the extent to which it evokes our common humanity
Could not have been put better. I have just finished a book written by a Nigerian writer, set in Nigeria with all the characters being Nigerian The milieu may have been exotic and allowed me to get a glimpse into Nigerian life, but the humanity of the characters was something I, as reader, shared, and I could understand their problems, and even see a little of my own life in theirs. This, I think, is the sign of a good novel, not whether it strikes the “correct” political or moral note; I have been able to have sympathy for characters who are morally repulsive in some ways because of the skill of the writer (I’m particularly thinking of William Faulkner, here), Our common humanity with all its faults, this what a great work stirs.
WOW! It’s hard to find people in the United States who can so succinctly and state a position such as yours without it turning into idiotic propagandistic Newspeak. Thanks!
In commenting before delving into the links to differing opinions on this film which might seem central to Kathleen’s usual outstanding exegesis, there’s the core point to be made about how each generation interprets artistic products.
At the core of any creation of lasting value is the extent to which it evokes our common humanity, irrespective of the particulars of our individual birth and life circumstances. For anyone to apply a reductive template to artistic merit is, therefore, to somehow diminish and deny their own being. Perhaps that’s the point: the self-disgust which characterises much of critical theory by its projection onto specific groups instead of seeking to understand and come to terms with its well-spring.
To seek to understand oneself can, of course, be painful, and for some seemingly impossible, but the old adage about an unreflective life and the imperative to “know thyself” applies to us all, and one of the key ways to help us unlock ourselves is through immersion in art. Rejection of works which are recognised for their unlocking potential tells us a great deal. Those who do so simply can’t bear their own reflection.
I can understand loathing Polanski & Allen as people (which I do) but that does not change the fact that they made some excellent films. But I also reject the reverse idea that “because someone is a good artist we excuse their sadism & cruelty” I can hate Polanski & Allen as people (which I do) I can hate Weinstein as a person (which I do) but all three of these men have made good art that I enjoy. Why is that considered a complicated position? Creativity is not a moral virtue & never has been.
How many great film directors do you believe were not cruel & sadistic?.Maybe it went with the job.Although of course there would be exceptions.Maybe Allen & Polanski ended up the way they did because as short ‘ugly’ men they could not pull the females they fancied in their youth.Many the ladies in NY and Paris looked down on them.And then Allen & Polanski noticed that the same ladies would throw themselves at any film directors no matter what they looked like.Recommend Paulo Coelho’s ‘The winner stands alone’
Never met ‘em, so personal hate and loathing not an option for me. Disapproval of their behaviour yup, but I feel more strongly about the ‘enablers’ around them who did nothing at the time.
I’m in total agreement with you, Penny.
How many great film directors do you believe were not cruel & sadistic?.Maybe it went with the job.Although of course there would be exceptions.Maybe Allen & Polanski ended up the way they did because as short ‘ugly’ men they could not pull the females they fancied in their youth.Many the ladies in NY and Paris looked down on them.And then Allen & Polanski noticed that the same ladies would throw themselves at any film directors no matter what they looked like.Recommend Paulo Coelho’s ‘The winner stands alone’
Never met ‘em, so personal hate and loathing not an option for me. Disapproval of their behaviour yup, but I feel more strongly about the ‘enablers’ around them who did nothing at the time.
I’m in total agreement with you, Penny.
I can understand loathing Polanski & Allen as people (which I do) but that does not change the fact that they made some excellent films. But I also reject the reverse idea that “because someone is a good artist we excuse their sadism & cruelty” I can hate Polanski & Allen as people (which I do) I can hate Weinstein as a person (which I do) but all three of these men have made good art that I enjoy. Why is that considered a complicated position? Creativity is not a moral virtue & never has been.
You can’t expect much from a generation of consumers whose favorite musical artists are Beyonce and Taylor Swift, whose favorite movies are based on comic books and favorite television shows consist of two-hour ideas stretched to ten. Children raised on Harry Potter and Twilight books will not have very sophisticated views on art. Corporate packaged culture has triumphed and the worst thing art can be now is provocative. To be provocative is to be offensive. To be offensive is to be unprofitable.
This is not the fault of post-modern philosophers who no one has read. We live in a world where people just want to believe, they don’t want to think, and it is our own fault for coddling two generations of children.
Middle class snobbism isn’t dead then I see. Many of us were raised on Enid Blyton and listened to the Bay City Rollers and the Osmonds (Oooh, I really fancied Donny)
Middle class snobbism isn’t dead then I see. Many of us were raised on Enid Blyton and listened to the Bay City Rollers and the Osmonds (Oooh, I really fancied Donny)
You can’t expect much from a generation of consumers whose favorite musical artists are Beyonce and Taylor Swift, whose favorite movies are based on comic books and favorite television shows consist of two-hour ideas stretched to ten. Children raised on Harry Potter and Twilight books will not have very sophisticated views on art. Corporate packaged culture has triumphed and the worst thing art can be now is provocative. To be provocative is to be offensive. To be offensive is to be unprofitable.
This is not the fault of post-modern philosophers who no one has read. We live in a world where people just want to believe, they don’t want to think, and it is our own fault for coddling two generations of children.
“..ruthlessly ambitious, amoral narcissist. Major character flaws include deceit, habitual philandering with junior acolytes, and an unrepentant taste for revenge.
Sound like a profile of 95% of very successful people.
That is what it takes
Hahaha, that’s right!
Hahaha, that’s right!
“..ruthlessly ambitious, amoral narcissist. Major character flaws include deceit, habitual philandering with junior acolytes, and an unrepentant taste for revenge.
Sound like a profile of 95% of very successful people.
That is what it takes
“There are other signs too that, as a culture, we’re increasingly incapable of reacting to art except in the crudest of moralised or politicised terms.”
Thus then time to jettison the “big lie” and return to the glories of the Ancient World?
“The unexamined life is not worth living“- Socrates.
“know thyself” – Aeschylus.
That seems to have gone down better than last time.
Yes indeed Ms Emery, but only because ‘they’ are probably pondering about what the ‘big lie’ is.
Still a disappointing plus 10 when I expected minus 20. Must try harder!
I agree. Plus 12 now though!
Bring back the Classics.
Too late I’m afraid!
Unless off course you are ‘home schooling’.
Too late I’m afraid!
Unless off course you are ‘home schooling’.
I agree. Plus 12 now though!
Bring back the Classics.
Yes indeed Ms Emery, but only because ‘they’ are probably pondering about what the ‘big lie’ is.
Still a disappointing plus 10 when I expected minus 20. Must try harder!
That seems to have gone down better than last time.
“There are other signs too that, as a culture, we’re increasingly incapable of reacting to art except in the crudest of moralised or politicised terms.”
Thus then time to jettison the “big lie” and return to the glories of the Ancient World?
“The unexamined life is not worth living“- Socrates.
“know thyself” – Aeschylus.
It must have been very unpleasant for Kathleen Stock to suffer what she did at the hands of the cowardly university where she was employed. I wouldn’t wish that on anybody, yet out of this quagmire has emerged a writer of spectacular quality and insight. The academy has therefore (unwittingly) performed a valuable service to us all.
It must have been very unpleasant for Kathleen Stock to suffer what she did at the hands of the cowardly university where she was employed. I wouldn’t wish that on anybody, yet out of this quagmire has emerged a writer of spectacular quality and insight. The academy has therefore (unwittingly) performed a valuable service to us all.
“To have an opportunity to portray a woman in that role and to make her an abuser — for me that was heartbreaking. There are so many men — actual, documented men — this film could have been based on but, instead, it puts a woman in the role but gives her all the attributes of those men.”
I’ve no idea about the production process this movie went through, but my guess courtesy of William of Ockham is this. It was originally intended to be a male protagonist but the Diversity Inclusion and Equity team got involved and pointed out they needed a female lead (possibly also pointing out it would help with the ESG risk score). The script was hastily rewritten and the main character was gender swapped.
On a more serious note, I think you’ve linked to the wrong Monster – you have the Japaenese anime, Naoki Urasawa’s Monster. That one is actually worth watching, IMO.
“To have an opportunity to portray a woman in that role and to make her an abuser — for me that was heartbreaking. There are so many men — actual, documented men — this film could have been based on but, instead, it puts a woman in the role but gives her all the attributes of those men.”
I’ve no idea about the production process this movie went through, but my guess courtesy of William of Ockham is this. It was originally intended to be a male protagonist but the Diversity Inclusion and Equity team got involved and pointed out they needed a female lead (possibly also pointing out it would help with the ESG risk score). The script was hastily rewritten and the main character was gender swapped.
On a more serious note, I think you’ve linked to the wrong Monster – you have the Japaenese anime, Naoki Urasawa’s Monster. That one is actually worth watching, IMO.
Are there any movies being made that are simple entertainment? Fun, in other words? This one sounds like yet another endlessly long rant by someone nobody really cares about. Yet the movie makers wonder why people aren’t going to the cinema any longer.
Are there any movies being made that are simple entertainment? Fun, in other words? This one sounds like yet another endlessly long rant by someone nobody really cares about. Yet the movie makers wonder why people aren’t going to the cinema any longer.
I think this is all rubbish. Who cares about a super-heroine conductor? Fake, fake, fake.
What I want is an opera about “The Life of Nietzsche.” Obviously the soprano would be his rich Russian love interest Lou Salomé, and the contralto would be his Nazi sister Elizabeth.
But I think that the music should be a collaboration between a “white” composer, an East Asian composer and a South Asian composer.
It is high time that we blend these great music traditions, and the fact that we haven’t thus far is out-and-out racist. And I blame the global educated class for its out-and-out bigotry.
Heavy-handed but amusing satire upon second reading. The Global Educated Class–ha! Thumbs up in defiance of the elite commentariat.
Heavy-handed but amusing satire upon second reading. The Global Educated Class–ha! Thumbs up in defiance of the elite commentariat.
I think this is all rubbish. Who cares about a super-heroine conductor? Fake, fake, fake.
What I want is an opera about “The Life of Nietzsche.” Obviously the soprano would be his rich Russian love interest Lou Salomé, and the contralto would be his Nazi sister Elizabeth.
But I think that the music should be a collaboration between a “white” composer, an East Asian composer and a South Asian composer.
It is high time that we blend these great music traditions, and the fact that we haven’t thus far is out-and-out racist. And I blame the global educated class for its out-and-out bigotry.
Comment removed because I wrote absolute rubbish.
Do you mean “true to life”? The character is fictional.
Do you mean “true to life”? The character is fictional.
Comment removed because I wrote absolute rubbish.
I recently finished reading The Expanse science fiction series; an excellent collection of books from two very talented authors. I’ve now returned to The Game of Thrones collection, which has so much more to offer than the television production.
I’m pretty sure that the authors did not write any of these books from personal experience. It would certainly be a great loss if writers, musicians and artists were only permitted to generate works based on lived experience.
But they probably did write using the lived experience of someone else, whom they read about.
Really no other source.
The lived experience for the Expanse?
Never mind.
Never mind.
The lived experience for the Expanse?
But they probably did write using the lived experience of someone else, whom they read about.
Really no other source.
I recently finished reading The Expanse science fiction series; an excellent collection of books from two very talented authors. I’ve now returned to The Game of Thrones collection, which has so much more to offer than the television production.
I’m pretty sure that the authors did not write any of these books from personal experience. It would certainly be a great loss if writers, musicians and artists were only permitted to generate works based on lived experience.
It’s the media! We no longer have journalists or real news sites with any integrity. They are nothing but propaganda sites, staffed by folks who sold their integrity and souls a long, long time ago for a few shekels. Gen Z is no worse than any other generation, it is the folks whose critical thinking skills are either non-existent or have sacrificed them to how they “feel”.and that is spread over every generation.
The media, coupled with our slimy politicians, bureaucrats, and tech parasites are in lockstep on their agenda. They are doing it very well and unless folks start “feeling” about the state of their communities, not just their little bubbles, it ain’t gonna get better any time soon.
It’s the media! We no longer have journalists or real news sites with any integrity. They are nothing but propaganda sites, staffed by folks who sold their integrity and souls a long, long time ago for a few shekels. Gen Z is no worse than any other generation, it is the folks whose critical thinking skills are either non-existent or have sacrificed them to how they “feel”.and that is spread over every generation.
The media, coupled with our slimy politicians, bureaucrats, and tech parasites are in lockstep on their agenda. They are doing it very well and unless folks start “feeling” about the state of their communities, not just their little bubbles, it ain’t gonna get better any time soon.
If the character, actions and morals of artists were the preeminent criteria of the worth of their art, I fear there would be very few to appreciate. Artists as a whole are a notoriously flakey bunch.
They are also… human, with all the qualities and flaws this entails.
They are also… human, with all the qualities and flaws this entails.
If the character, actions and morals of artists were the preeminent criteria of the worth of their art, I fear there would be very few to appreciate. Artists as a whole are a notoriously flakey bunch.
The last movie I saw in a theatre was “1917”. This will be the next one. Thanks, Kathleen!
The last movie I saw in a theatre was “1917”. This will be the next one. Thanks, Kathleen!
The ‘Death of the Author craze’ – It never ceases to amuse me how pop songs are ignorantly reinterpreted by listeners. A great example is “Every Breath She Takes” by The Police, which most people view as a romantic song – it’s even played at weddings! It’s about a person obsessively stalking his lover, and an impressively strong piece on that subject too.
On the re-evaluation of artists – I saw Gary Glitter live at University in the seventies, when his act was viewed as a ironically cool in its campiness, and he was brilliant. It’ll never be despoiled in my memory by his subsequent misbehaviour.
I was thinking about him as I read the article and comments. He has been convicted of some serious crimes… and I can’t recall hearing any of his songs played on the radio since then. So clearly someone has been unable to separate the man from his works.
I was thinking about him as I read the article and comments. He has been convicted of some serious crimes… and I can’t recall hearing any of his songs played on the radio since then. So clearly someone has been unable to separate the man from his works.
The ‘Death of the Author craze’ – It never ceases to amuse me how pop songs are ignorantly reinterpreted by listeners. A great example is “Every Breath She Takes” by The Police, which most people view as a romantic song – it’s even played at weddings! It’s about a person obsessively stalking his lover, and an impressively strong piece on that subject too.
On the re-evaluation of artists – I saw Gary Glitter live at University in the seventies, when his act was viewed as a ironically cool in its campiness, and he was brilliant. It’ll never be despoiled in my memory by his subsequent misbehaviour.
I actually feel differently than most people. I found it refreshing, honest and elevating to women to say, hey, power can corrupt them, too. I had trouble with the editing of the movie, the slow, slow, slow opening and set up that didn’t mesh with the action ending.
Haven’t seen the movie but I agree with your point. Women won’t have equal rights until horrible people who are female are seen simply as horrible people and not a retrograde outlier / betrayer of our sex. Being a part of an oppressed group doesn’t confer goodness, let alone sainthood – you can have been harmed by an “ism” and still be a terrible person ( isn’t that why criminals are afforded lawyers, no matter how obvious their guilt?).
Haven’t seen the movie but I agree with your point. Women won’t have equal rights until horrible people who are female are seen simply as horrible people and not a retrograde outlier / betrayer of our sex. Being a part of an oppressed group doesn’t confer goodness, let alone sainthood – you can have been harmed by an “ism” and still be a terrible person ( isn’t that why criminals are afforded lawyers, no matter how obvious their guilt?).
I actually feel differently than most people. I found it refreshing, honest and elevating to women to say, hey, power can corrupt them, too. I had trouble with the editing of the movie, the slow, slow, slow opening and set up that didn’t mesh with the action ending.
“For another, there’s the perceived prohibition on authors writing “outside of their own identities”. Only women should tell stories from the point of view of women”
Is this really the case in academic and artistic circles?
If so, this should qualify as an exemplar of trans exclusion.
“For another, there’s the perceived prohibition on authors writing “outside of their own identities”. Only women should tell stories from the point of view of women”
Is this really the case in academic and artistic circles?
If so, this should qualify as an exemplar of trans exclusion.
In the academic and snooty world of nose cutting and face spiteing, just re-read Brer Rabbit and the Tar Baby. Or is that too American ? It’s not about excellence any more. And maybe it never has been. We’re all of us, male and female, grand and petty at the same time.Lydia got replaced by a male conductor, and a second rate one at that, in her opinion. Lydia was left in the briar patch where she started from. The question is – who is the fox and who is the rabbit ?
In the academic and snooty world of nose cutting and face spiteing, just re-read Brer Rabbit and the Tar Baby. Or is that too American ? It’s not about excellence any more. And maybe it never has been. We’re all of us, male and female, grand and petty at the same time.Lydia got replaced by a male conductor, and a second rate one at that, in her opinion. Lydia was left in the briar patch where she started from. The question is – who is the fox and who is the rabbit ?
Alsop did a great job at whipping the previously distinctly mediocre Bournemouth Symphony Orchestra into shape. Pity she can’t let her baton speak for her.
Alsop did a great job at whipping the previously distinctly mediocre Bournemouth Symphony Orchestra into shape. Pity she can’t let her baton speak for her.
Why do we have to endure these ridiculous articles about ridiculous people and ridiculous goings on?
Why do we have to endure these ridiculous articles about ridiculous people and ridiculous goings on?
One reason I can think of why “as a culture, we’re increasingly incapable of reacting to art except in the crudest of moralised or politicised terms”: what we call “art” is commerce. And I agree with Marin Alsop. Because the orchestra world is so very small, representations like this take on larger meaning. “Tar” puts a narcissistic, male conductor in drag and calls him a lesbian. Tiresome.
One reason I can think of why “as a culture, we’re increasingly incapable of reacting to art except in the crudest of moralised or politicised terms”: what we call “art” is commerce. And I agree with Marin Alsop. Because the orchestra world is so very small, representations like this take on larger meaning. “Tar” puts a narcissistic, male conductor in drag and calls him a lesbian. Tiresome.
Tar? what as in ” Tar Guv’nor when one gives ones cabbie a tip? or, if one is a more sophisticated heome ceounties aspirant wonne says ” Asphalt” or ” Tarmacadam”, of course…
Tar? what as in ” Tar Guv’nor when one gives ones cabbie a tip? or, if one is a more sophisticated heome ceounties aspirant wonne says ” Asphalt” or ” Tarmacadam”, of course…
It’s a kitsch fantasy of the artist, with a kitsch ending. No one so serious and self-important would ever end up conducting film scores before an audience of autistic cosplayers. She’d be conducting Shostakovich in Krakow and Budapest and writing in Unherd. Field belongs with Todd Haynes: the misogynist fetishizing of women, turning them into f*****g drag queens.
It’s a kitsch fantasy of the artist, with a kitsch ending. No one so serious and self-important would ever end up conducting film scores before an audience of autistic cosplayers. She’d be conducting Shostakovich in Krakow and Budapest and writing in Unherd. Field belongs with Todd Haynes: the misogynist fetishizing of women, turning them into f*****g drag queens.