Watching: Blacula

Recently I had the amazing opportunity to watch the film Blacula, as part of Eureka Video’s ‘Masters of Cinema’ series. I have been informed about the ‘Masters of Cinema DVD/Blu Ray series for a while and I find the choices of films particularly interesting, exploring films which have merit from a cinematic point of view significantly varies from what we might consider as the popular opinions of the public on cinema.

 

Blacula was a film that I heard about a few years ago, and I thought just by the name and discovering it was part of the blaxploitation genre, was comedic and not serious. How wrong I was, although there are comedic elements, much of the humour comes from being distant from the 1970s and observing how things have changed. Which leads me to my main consideration of the film.

 

Blacula is a story of an ‘African Prince’, Mamualde. Mamualde has impressed many of the 18th Century intellects of the time and has gained a deserved modicum of respectability. Mamualde, visiting one ‘Count Dracula’ (many of the tropes and lores of vampires are assumed familiar by the audience) who acknowledges the cultural capital and sophistication (i..e. Eurocentric things of value) but ultimately rebuffs and rejects Mamualde’s calls for an end to the slave trade.

 

Dracula entirely unconvinced or unwilling to seriously consider this, traps Mamualde in a tomb after transforming the prince into one of his own kind. Mamualde is given the additional indignity of being buried in a sarcophagus with his wife. Skip 200 years and the Prince now Christened ‘Blacula’ is discovered by a pair of gay antique dealers (one white, one black). It is established and much is made upon that these dealers are both homosexual and presumably partners.

 

Perhaps watching this film in 2014, in an age where we ‘call out’ microaggressions, injustices and the way that our culture of yesteryear was less sensitive to our own time, is the blatant and ubiquitous homophobia of the Blacula world. I am convinced that the homophobia is purposeful as a metaphor to the way that racism against the Black American was ubiquitous in the decades leading to the 1970s.

 

In one scene, a police officer seeking out the antiquities dealers asserted that ‘they all look alike’, making a generalisation about homosexuals that would be familiar to any person of colour who grew up in a white majority and unfavourable society. The way in which many black characters were in varied professions is quite progressive as a part of the story, such as the female cab driver (who refers to Blacula as ‘boy!’) and the coroner/funeral director who described the police pathologist (Thalmus Rusala/Dr. Gordon Thomas) looking into Blacula’s killings as ‘…the rudest nigger I’ve ever seen in my life!’. These are notable black-on-black racial slurs while conversely the white police chief while suspicious of the pathologist’s pet theory does ultimately trust Dr. Thomas professionally as competent at his job.

 

There’s something that I dare say aspirational about Blacula, in the way that the world depicted gives a sense of distinction to many of the black characters who are all doing a job who happen to get drawn into the Vampiric killings. The real thing to make an audience of today think is the homophobia rampant and even presented as comedic. If we can see one form of oppression, we can surely be sympathetic to another. That, I think, is one of the salient messages of Blacula.

 

Blacula: The Complete Collection is released in the UK from the 27th October 2014 as part of Eureka Classics: Masters of Cinema.

 

On things that weren’t made to last

One of the things that I absolutely hate doing is getting new electronic devices. On the other hand there is a sense in which we are invariably forced to doing so as electronics are designed to have a limited lifespan and there is the other factor of predetermined obscolescence.

I had to get a new computer recently,well, I ‘needed’ it a year ago but was only in a position to get it recently. I was looking at specs of computers and remembering when I used to read PC magazines about 18 months ago and what were ‘hot’ features and what comes as standard these days. I found a desktop on ebay (used stuff eases my conscience) which had specifications that seemed absurd to me. 16GB ram (where the standard ‘high’ spec is 8) and a processor with 6 cores. It is a clear comparison that this machine was like an American Muscle car.

There’s a lot of talk about the latest Apple announcement. The Cult of Apple’s press conferences seem to get more attention and interest than when the Pope makes a statement on a social justice issue. Plus Bono is linked to both institutions. I was thinking about the notion of a smartwatch lately and I felt unconvinced.

The reasons are as follows: firstly, until the need has been ‘invented’, like my ‘need’ for a tablet computer that can check email anywhere at home. I currently work in an arrangement where responding to emails quickly gets me money and so my lifestyle has been oriented around the effiency of being contactable on email.

The other issue is that I already have a watch. I liked the idea of a tablet because it added to my life in a way that genuinely made things easier. It did have a cost of course, of having to charge it all the time and the one time where I actually went back to work on a weekend to find my lost computer (never again, never again).

As a man, a watch is one of those pieces of fancy bling that are socially acceptable and sanctioned without attracting too much attention. Such as wearing a chain might be considered gaudy or most jewellery in general seems gender subversive, but that’s a whole other issue. Watches have become for men signifiers of status and class, sometimes signifiers of what kind of person you are. I have to admit that one of the things I was socialised into was the cult of watch-fascination. I think it started from the fancy laser watch that Bond played by Pierce Brosnan had in Goldeneye. I’ve always wanted a laser watch and when that is invented and on a commercial market I will have a need invented for myself.

The other aspect of the ‘cult of watches’ is the durability of a watch. I love automatic watches or watches that don’t need battery replacements. I’m attracted to the longevity of watches and in an age where everything is supposedly replaceable and designed to break, there’s the notion that getting something that can last is a statement against it.

The idea of a watch that everyone else might recognise and have is contrary to the signifiers of watches as status-symbols. The iPhone has ceased to be a status signifier insofar as most everybody has one. Indeed it is true that watches can be prohibitively expensive signifiers and hardly the sort of thing that expresses a revolutionary temperament.

I do like that my watch has been repaired a few times over the years. I do like that I can keep my watch if it is repaired and its functionality remains. I would really wish that we could own things that we could repair easily and upgrade with ease. Of course, that seemingly doesn’t make money for these brand leaders nor is it in their interests to make something that lasts.

I remember hearing somewhere (probably from a comedian) that ‘it’s possible to make a toaster that lasts 20 years but nobody will make it’ because of the sudden loss of a market once everyone has it. There seems to me this fundamental tension, of having things that have amazing utility but in order to live in that economic zeitgeist, we must support the production chain of its production by buying it. I would wish there was an alternative to having to re-buy things every 3 years. I am bemoaning of a situation that I am very much contributing to and consciously so. I have so much electronic waste.

Schliesser on the Use of Earlymoderntexts.org

Originally posted on The Mod Squad:

Eric Schliesser has some remarks about the role of Jonathan Bennett’s translations at Earlymoderntexts.org in scholarship:

[…]

First, all translation is an interpretation. Translating complex philosophical texts is much, much harder than figuring out ‘gavagai.’ This is so, even if you have written the text yourself and are fluent in both languages. You should try translating some time; even if you are not a meaning holist, you’ll discover that a lot of philosophical jargon is not stable and uniform across cultural and temporal contexts. (Surprisingly enough, this is even  true of works in the history of physics.) So, leaving aside honest mistakes, all translations involve non-trivial judgments and trade-offs with a complex interplay among style, content, jargon, sentence structure, and even argumentative structure (this list is not exhaustive).

In earlymoderntexts.org, Jonathan Bennett, who is one of the greatest historians of philosophy of his generation and who should be praised for…

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Philosopher-Celebrity Lookalikes

Originally posted on Daily Nous:

Brian Talbot (Washington University in St. Louis) has been pairing up well-known philosophers with the celebrities who look like them. He kindly agreed to let me share the idea with you. Here’s my favorite so far:

HumeLovitz

That’s David Hume and Jon Lovitz.

This match, owed to Julia Staffel, is also quite good:

Descartes Sambora

Descartes and Richie Sambora, of course.

Your additions welcome in the comments, but let’s try to not insult any living philosophers.

UPDATE: It turns out that it may be rather difficult, and perhaps impossible, for some people to add images in the comments as the site is currently configured. So if you mention the links to the images in the comments, I will add them to this post below the fold.

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In praise of John Coltrane

For the past 6 months I’ve been trying to organise my music listening through some kind of ordered fashion. Sometimes I explore things through genres or sometimes I explore the complete corpus of a musician or composer’s work. This often requires said musician to be dead usually, and the hope that no new works or recordings are found.

 

Early on in the year I began to listen to the early Jazz musicians. At points Jelly Roll Morton is indistinguishable to Ragtime, not dissimilar to how the likes of the Rolling Stones were very much in the feet of Rhythm and Blues (as opposed to Rock), or Black Sabbath’s Black Sabbath could easily be seen as a Blues song.

 

I recently discovered John Coltrane and reading bits about him and I thought I would listen to contemporaries. Coltrane’s work has often been associated with Bebop or hard bop. I decided to check out the wikipedia page and find who were his contemporaries. I listened to the likes of Al Haig, Lee Konitz and Walter Davis Jnr and the only similarity they have to the eminence of Coltrane is that they happened to live at the same time as he.

 

Are they stylistically similar? There is an extent to which they are. But Al Haig and Walter Davis’s recordings are exceptionally pedestrian compared to the freedom and rule-breaking of John Coltrane’s tenor sax work.

 

Coltrane’s playing classifies as genius. I can hear how the saxophonist simultaneously invents new forms of expression, exploring modalities and at the same time smashing the new forms of jazz tonalities that he has invented, through the dissonances and tangentially related melodies to the background harmonies.

 

Coltrane elevated the potential for Jazz to heights that the contemporaneous classical art music would wish to aspire to at the time. With the mid-century movement of neo-classicism and the more simplistic forms such as minimalism, it could hardly be said that some classical music aimed to be daring or avant garde. Coltrane stands as the example, to me, of an eminent form of expression that a critical perspective on culture should acknowledge. If Adorno followed his own principled objections to mass culture consistently I would have thought that he was correct about the blandness of much of Jazz — except when the bright stars such as Coltrane appear.

 

Coltrane moves beyond the standard boredom of chord progressions and the formulaic character of Jazz that makes everything so samey. The experimental nature of using modes and improvising in what appears to be atonal is evocative of Schoenberg. But I have been insisted upon by many commentators that Coltrane’s style emerged independently from any influence from the second Viennese school.

 

In the hopelessness of Adorno’s cultural picture of the world, I would contend that Coltrane, and figures like him, provide cultural, and moral hope.

 

Watching La Boheme

This weekend I had the lucky opportunity to see La Boheme, of HeadFirst Productions. I saw the production at LOST Theatre in South London and was quite impressed. The composer was one Kelvin Lim and the Opera was Directed by Sophie GIlpin and designed by Jason Southgate.

 

The Opera was led by 4 musicians. At first I was concerned at how thin the textures might be musically given the acoustics. On the other hand it sort of reminded me of how this presented a very authentic and historically resonant challenge as a performer. At times the singers matched the fortes and fortissimos and the less said about a high latency digital piano against an acoustic one the better! The instrumentation was daring and scoring worked sufficiently well.

 

I was impressed at the power of the characters. Although I do not find the story of La Boheme as convincing as a tragedy and love story, the farcical nature of parts of it were excellently carried by the ensemble. I could tangibly grasp the 19th century cultural Italian humour of it and in some ways, even if I may critique or challenge it, I must say it does very much chime in with the blokey bravado and the men of our age and, perhaps many of us know a Musetta  in our own lives.

 

I was taken by the technical prowess of Mimi’s vibrato, which definitely moved the audience. Basses were very powerful too. I couldn’t help but consider this production more of an etude or technical study, of how to overcome space and time. In this regard of space, they succeeded in making a very small musical ensemble fill the acoustics of the physical space, I think that the doubling (in terms of scoring) role of the Clarinet worked spectacularly. The use of an Eb (sopranino) clarinet was masterful.

 

In trying to bridge a gap of time, however, between 19th Century Italy and today? I think the verdict of the audience was that of a success. In most of the press releases about this production, the ending is already given away: Mimi’s death is not of TB but of a drug related incident. As the story reaches its end, it begins to seem very dark and less like the 19th Century but more the malaise of our present day. I was not sure of the use of modern substance abuse as a supplanting theme to the 19th Century artist-hero archetypes that La Boheme explores, in doing so it tells a different but perhaps more important story. Furthermore, I was kind of thrown off a bit at the use of actual cigarettes on the stage! I initially thought they were vaping ones but there were actual roll ups! Not a good time to be given an inhaler for the first time this week I must say.