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Tag Archives: Satire

Satirical Santa Only Visits Talking Heads Who Remember to Bring the Irony

15 Sunday Dec 2013

Posted by danielwalldammit in Politics, Religion

≈ 39 Comments

Tags

Aisha Harris, Christmas, Fox News, Irony, Megyn Kelly, Reza Aslan, Santa Clause, Satire, Slate Magazine

131210_HOL_SantaMakeover.jpg.CROP.original-original

This illustration by Mark Stamaty appeared in Aisha Harris’ original article for Slate.

What so many in the right wing echo chamber do not seem to get is that Satire does not begin the moment you are called out for making an ass of yourself. You cannot simply toss bigoted statements about the airwaves and play the irony card whenever someone says no to your bigotry. Jokes are meant to be funny the first time around, not simply when the whole world finds your position too stupid to take seriously. Even when the humor is intended one always has to content with the with-me or at-me question. And if the point of your joke is to make fun of someone’s race, gender or sexual orientation, all the laughter in the world will not let you off the hook. Humor is NOT a get-out-of-trouble-free card, especially for those who simply weren’t joking to begin with.

Granted, satire can be a tricky game to play (just ask Sarah Silverman), but an ironic intention doesn’t usually materialize out of thin air. We can generally spot some sign of it in the original moment, so to speak, or at least we should recognize that irony when it is pointed out later.

This is what makes Megyn Kelly’s I-was-joking defense of her comments on Santa’s race so ridiculous. In case you’ve been comatose for the last day or three I’ll let Kelly tell you the story, but let me just say one thing first, watch closely for the light-hearted tone of her original comments. In this clip, she tells us that her comments about Santa were meant as a joke, then plays the original clip. When the original clip comes up, let’s watch closely and maybe we can find the signals of humorous intent:

Did you see the humor? Did you hear that light-hearted tone in her treatment of the subject?

Okay neither did I.

There was nothing funny about the original segment, and that is not changed by Kelly’s forced humor in subsequent statements. She wants us to believe she was joking, but dammit, a joke doesn’t look like that, and it doesn’t sound like that. What is hilarious about this pathetic defense of Kelly’s own racism is that the very video clip she plays ought to be a positive refutaion that her own attempt to recast the moment as humor. Everything from her tone of voice in that original clip to her body posture and the complete lack of humor in all of those present should suggest that she (as the others) were taking the issue VERY seriously. …even too seriously. There is nothing in Kelly’s words that suggests any intent to undercut the seriousness of her claims; she does nothing to show us that she didn’t mean exactly what she said. Everything about he original clip suggests that she meant to be taken seriously.

It’s all just a little funnier when you realize that the original article written by Aisha Harris for slate magazine was in fact offered in a satirical tone, as Kelly herself (now) concedes. So, the bottom line is that Kelly and company read a satirical piece about a real issue (racial identification with a major holiday figure), took it as a serious threat to their own racial politics, and proceeded to pronounce, ex cathedra, that one ought not to mess with Santa’s racial identity, because he is white.

He just is.

Just like Jesus.

John Stewart and his guest (Jessica Williams)are spot-on as usual. To watch that, click here.

So irony is playing quite a shell game with us here. It is present in the piece Kelly was talking about altogether absent in her initial comments on the subject, and present only as an effort to save face in her attempt to address the controversy. …which is unintentionally ironic in the extreme. Is this irony fail or irony jackpot? I really can’t say.

Maybe it’s both.

Don’t read the comments of her twitter defenders by the way. …I mean it don’t! You’ll lose faith in humanity, or at least I did, which is odd considering that I didn’t think I really had any faith in humanity before this, but anyway…

Kelly does have one defender worth considering, though his defense is flawed as Hell. Reza Aslan a Professor of Creative Writing and historian of religion at the University of California, Riverside, tells us that Kelly was actually right about something, sort of. He tells us that she was right about Christ, but not Jesus. Jesus, Aslan tells us was the historical person in question. Jesus would most certainly not count as a white person, as Aslan tells us, but Christ, the cultural construction of Jesus as a God is most certainly white. So, Aslan is trying to tell us that the vision of Christ near and dear to Kelly is certainly white whereas the historical reality of any person whose life might have served as the inspiration for that vision is not.

Okay that’s interesting. It just isn’t all that helpful.

See the problem is that Kelly was not just telling us that Jesus is white as he is imagined in western religious traditions; she was telling us that he really was white. Hell she still hasn’t quite wrapped her mind around the fact that he most certainly wasn’t but apparently she has learned enough to concede that the matter is open to question.

It isn’t.

The bottom line is that Aslan is introducing a distinction that his subject matter does not make which is ironic. More ironic still, Aslan is using this highly flexible manner of speaking about Jesus to defend someone who was most emphatically denying any flexibility to the notion of Jesus whatsoever. She wasn’t telling us that Jesus was white to her and a number of others; she was telling us that it was wrong to think of Jesus as anything but white.

This is the sort of thing that has always bothered me about the study of comparative religion. Too often it seems to amount to a claim that religious faith in general is a good thing even if any particular faith is problematic. I can accept that religious institutions may produce a wide range of wonderfully positive values but I expect those fall in an undefined array of social benefits whereas those who study comparative religion often seem to want to locate them in religiosity itself. It’s an ironic form of apologetics that always seems to stop just short of a literal defense. But that’s just my general beef with the academic field of religious studies; it bears a strong resemblance to Aslan’s effort to rescue some value in Kelly’s views even as he acknowledges their inaccuracy as applied to actual history. The trouble is that Kelly herself isn’t really cooperating with his analysis. She was talking about the history even as she was also talking about the religious imaginary.

And that brings us back to Kelly’s disingenuous attempt to hide her bigotry under the guise of humor. She wants to remind us that both she and Harris acknowledged the same thing, that Santa and Jesus has historically been thought of as white but of course this would h=be a half truth if it were even a little truth. Kelly misses the alternative visions that are in fact out there. More to the point, she is opposed to those alternatives.

Make no mistake Kelly was telling us to say no to anything but a white Jesus and Santa, and she was not joking.

I think I prefer to say no to racism.

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Great Movie Villains, Volume IX: That Witch With a Bow!

30 Wednesday May 2012

Posted by danielwalldammit in Movie Villainy, Movies

≈ 11 Comments

Tags

Film, Hunger games, Jennifer Lawrence, Movies, Satire, Sports, Suzanne Collins, Villainy

Katniss Everdeen
(Avoid at all costs!)

Now some of you may think the title to this piece is a little harsh, maybe even disrespectful. But I’m telling you, if you had seen the movie I just saw, you might be calling her something a little to the left of the term I actually used.

There is a word for her kind, and it rhymes with itch!

I’ve been hearing about this movie for months, and I was really looking forward to it. The title alone had me sold from the beginning. It sounded like a nice sports flick, maybe with a bit of a charity angle worked in. How can you not love a movie with sports and philanthropy? I was really looking forward to this.

I missed a minute or two at the beginning, but as I understand it, there were supposed to be 24 kids in this contest; it’s winner take all. Great! I love a nice high-stakes contest. So, I can’t wait to learn how the games are played and watch our hero develop character and depth on the way to becoming a true champion.

What followed was the most vulgar display of brutality and poor sportsmanship that I have ever seen.

Ever!

Run!!!

You see, the lead actress is not down with the plan. Katniss Everdeen (played by Jennifer Shrader Lawrence) doesn’t even want to hold her team-mates hand in the opening ceremonies. With all the people from her home town pulling for the two of them, she has to be talked into this simple gesture of solidarity.

As if that wasn’t enough, you should see what this spoiled little princess does when some television executives don’t give her enough attention. All I can say is you better stay away from the orchard fruit when this girl wakes up on the wrong side of the bed.

I mean seriously, …sounds a bit like glitch!

Katniss doesn’t even stick around for the start of the game. When the pepper meats the paprika, this spoil-sport takes off and runs the opposite direction. It works out in her favor though, because some sort of disaster befalls the other contestants. I really couldn’t figure out what it was that happened, because the cameraman was awfully shaken up by the whole thing. That sequence was really hard to follow, but the one thing that I know about the opening sequence to the games is that while other athletes were playing and dying, our main character was doing her damnedest to get the hell out of Town.

Cowardly stitch!

The people who run the games had to trick little Katniss back out onto the game field, and even then she spent most of her time hiding in the trees. When some of the other boys and girls came to welcome our wayward girl back to the contest, she wouldn’t even come down to meet them. Worse than that, Katniss soon proved just how far she was willing to go to prove herself the worst sport ever to disgrace any game ever. She knocked a big nest of wasps down onto her fellow contestants as they slept below her.

It was awful. One of the girls died. I can only assume the poor girl was allergic or something. That’s right, Katniss killed one of the other contestants. I don’t even think she was sorry.

Knows a guy named Mitch!

In fact, Little Miss spoil-sport was just getting started with the wasp nest. Next, she blew-up the food stores for all the contestants (apparently the games had an endurance element to them). Katniss followed that up by killing yet another of the other contestants just as her new best friend falls prey to some terrible accident. That’s right, while the innocent little girl dies an unfortunate death (the cause of which I never quite understood), our girl Katniss was busy shooting another contestant with an arrow.

Yes, it was fatal.

Rue (Died of an Unfortunate Coincidence)

Up to this point, you could perhaps have given Katniss the benefit of the doubt. She had no way of knowing about the one girl’s allergies, and her friend, Rue? Well Katniss can’t really be blamed for that, …I don’t think. I don’t even think you can blame her for disaster that befell the other contestants. But when you shoot a guy with an arrow, there just isn’t much doubting your intent. By this point it’s damned clear. Our girl Katniss is a damned murderer.

An itchy murderer!

I can only guess as to the intended nature of the games, but what difference could that possibly make? When you invite this girl to the party, it turns into a war of attrition.

The whole thing comes to a head when one of the contest finalists falls prey to a pack of wolves. Guess how our hero helps out!

Go-one guess!

She kills the guy. I mean how cold do you have to be to refuse help to a man being eaten by wolves?

Cold! I tell you. Stone cold pitch!

So, after all the murder and mayhem, the game officials make one very simple request, that our girl and the one person she hadn’t put under the turf should actually play off one final round. You would think the least she could have done is to grant this one simple request, what with a whole nation watching and the fate of the hungry poor hanging in the balance!

How does little miss Ever-mean react? She threatens to poison herself instead.

You have to wonder, what the hell is she afraid of? It’s just a contest! Can’t she just play one round of this game after all that’s happened? Couldn’t she just give the audience just a little taste of the contest they were supposed to be watching all along?

You would think that wouldn’t be too much to ask. But no. With a single injured opponent, this girl STILL wouldn’t step up and give it a go. Instead, she gets out some poison berries, cons the other contestant into some sort of suicide pact, and gets ready to Jim Jones the whole affair.

The Hungry are Still Hungry
Bet on it!

And do you know how the people behind the games respond to this pathetic display of passive-aggressive manipulation? They give-in. they totally give-in! In some typical lefty-liberal display of everybody-wins nonsense, the fools declare a shared victory, thus depriving a whole nation of viewers of the chance to watch even one, JUST ONE, actual game.

I can only assume the hungry didn’t get their donations!

Damned Dirty Ditch!

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Happy Juzo Day, And Damn You to Hell if you Don’t Know What I’m Talking About!

15 Tuesday May 2012

Posted by danielwalldammit in Movies

≈ 19 Comments

Tags

A Taxing Woman, Film, Japan, Juzo Itami, Minbo, Movies, Satire, Tampopo, the Funeral

Juzo Itami

Juzo Itami’s mother inflicted him on the world on May 15th, 1933. Sadly, he chose to show mercy upon that world on December 20, 1997. In the interim, Juzo Itami directed some of the most biting satire ever to hit the movie screen. He was wonderful! Shall we describe a few of his better films?

(Damn right, there are gonna be spoilers!)

***

In Itami’s first film, Chizuko (played by, Nobuko Miyamoto) and her husband Wabisuke (Tsutomu Yamazaki) must hold a services for her recently departed father. THE FUNERAL (1984) takes us through the next three days in the life of this couple and their family. The Shinto traditions may seem strange to those of us unfamiliar with Japanese custom. The experience of loss and the awkwardness of dealing with it in public will not.

The Funeral

The first obstacle Chizuko and Wabisake face certainly rings true for me. Amidst their sadness and loss, our lovely couple must learn quickly what is expected of them during the coming funeral. Luckily, they have a tape which provides plenty of good advice on what to say to guests. With wooden precision, the couple practice their lines, adding a trace of performance anxiety to their grief. The first guests to arrive express their condolences fittingly enough in language perfectly matching the suggestions of the tape.

Itami captures the emotional cycles of a funeral with marvelous sensitivity. One does not stay sad for three days. So when those first guests arrive, the family is in the midst of fond remembrances, laughing and smiling at stories of the departed. then suddenly there they are, outsiders who have themselves screwed up the courage to come and be part of this terrible event, …and suddenly the smiles seem out of place. In but a moment, grief returns to the family and the chain of events continues as one might expect.

…well, for the most part.

This is a slow moving film, one which invites you to linger on the details. In one of my favorite scenes, the whole family kneels down in prayer. As incense burn and a priest chants, the camera pans slowly across the backside of the grieving family members. Moving from character to character, this simple shot provides us with a wonderful study in discipline and loss of cultural knowledge. The elderly are perfectly still, their feet tucked neatly behind them. The middle-aged get by with a little fidgeting here and there. The children? Their posture is a train wreck. (A Japanese high-speed train wreck.) And the whole scene gets comes to a climax when the phone rings in the midst of this solemn ritual. It just keeps ringing. When a family friend finally gets up to answer, he quickly finds that his legs have fallen asleep, and, ….well, it’s just a little awkward.

As a side note: I should mention that I have shown this movie to my students back in Chinle a couple of times. I should say that Navajo ceremonies are all-night affairs during which people are expected to sit cross-legged with their back against the wall of a Hogan. This scene always earned a lot of laughter, and more than a few knowing smiles.

Alright, I’ve ruined enough of this movie for those who haven’t seen it yet. If you want to know more, then you shall have to watch it yourself!

***

Tampopo

Itami’s second movie is TAMPOPO (1985), which has been described aptly enough as “the first noodle western.” The connection is firmly established as we are introduced to Goro (Tsutomu Yamazaki again), a truck driver in a cowboy hat, his big-rig sporting a set of steer horns. When Goro and his side-kick stop at an isolated noodle stand for dinner, he gets in a fight with a number of locals. Goro awakens to find himself sleeping the damage off at the home of the shop owner Tampopo (Nobuko Miyamoto).

Yes, it’s the same couple playing the leads here. The lovely Miyamoto was in fact Itami’s wife. As to Yamazaki, I should think the wisdom of casting him in a lead role speaks for itself.

Let us get back to this wonderful movie!

When Tampopo asks Goro how he likes her noodles, our straight-shooting hero cannot tell a lie. His critique is as thorough as it is devastating, and with that he establishes not only her failure as a cook, but his own mastery of the subject. Ashamed and impressed, Tampopo begs Goro to teach her how to make a proper bowl of ramen. Reluctantly, he accepts to task of teaching her.

What follows is a perfect parody of a movie theme familiar in both westerns and samurai films, the process by which a true master trains a promising young student. Goro does not merely teach Tampopo how to cook, he subjects her to strenuous exercise, helps to her to put together the perfect recipe, and (with the help of another character) redesigns her whole shop. The two of them will use bribery, espionage, and outright heroism in the effort to get everything just right. At the films end, Goro and his sidekick leave Tampopo with her newly renovated shop full of well-earned and very happy customers, driving their big-rig into the sunset.

Gozo and Tampopo

I am going to resist the temptation to describe any of the scenes here in great detail, but I must say that it is the details that make this movie wonderful. Food does not simply supply the central plot; it serves as the central focus of every single scene. If the characters are not talking about food, they are preparing it, or they are eating it. Most scenes in this film manage to do include all of the above.

If you watch this film, you will hungry when it’s over. Don’t try to fight it! You could stuff yourself full with a feast and watch this movie afterwards. You WILL be hungry again at its conclusion.

It really is in the details of each individual scene that Itami’s humor takes on its biting edge. Itami wanders off of the central plot several times during the course of Tampopo. In some cases the camera literally veers off and follows an apparent extra into the next scene. And in those scenes, everything from the culture of Connoisseurship, to proper etiquette, and even the sanctity of motherhood fall prey to Itami’s ironic treatment. If his main plot-line is a gentle ode to the genres of Samurai films and American westerns, many of these particular scenes are brutally satirically send-ups of Japanese society. Note a few of those send-ups will ring true for the rest of us as well.

Most people do seem to remember the sex scenes (and no I am not telling you why). You may call me a bastard if you wish. I don’t mind.

Tampopo is easily my favorite film of all time. It stole that spot from A Clockwork orange the day I saw it well over two decades past; it has remained there ever since.

***

A Taxing Woman

As one might expect, the lovely Miyomoto plays the lead in Itami’s next film as well, A TAXING WOMAN (1987). As a relentless tax inspector in a land where cheating on one’s taxes is expected, Ryōko Itakura (Miyomoto) has her work cut out for her when she goes after Hideki Gondō (played by… Do I really need to say it? Come on, pay attention!). Gondo owns a string of unsavory hotels, and Itakura is suspicious that he is not paying his full share of the tax rate. So, the stage is set for a showdown.

Itakura initially fails to turn up any evidence of tax evasion, a fact which is almost suspicious in itself. …okay, let’s just drop the ‘almost’; it just is. Naturally, she redoubles her efforts. In time, she and Gondo will develop a grudging respect for one another, treating their conflict as though it were a strategy game and each of them a master in their own right.

I will not tell you who wins.

Ha!

I must admit that I have not seen the sequel to this film, A Taxing Woman’s Return. I think that shall have to go on my list of summer projects.

***

Minbo

One could hardly describe MINBO NO ONNA (THE GENTLE ART OF JAPANESE EXTORTION) (1992) as Itami’s greatest film, but it is an amazing accomplishment in its own right. This time, Itami’s target proved to be none other than the Japanese mob. Miyomoto plays a lawyer, Mahiru Inoue. Inoue leads a small team of inexperienced employees in a campaign to thwart a gang of yakuza in its efforts to extort money from a large hotel. It is a long and difficult battle, but she emerges victorious.

What is most striking about this movie is the portrayal of yakuza. Gone are the pretensions to honor and nobility. Forgotten are the images of modern-day samurai or highly-skilled ninjas. These men are simply thugs, brutal, vicious, cruel, and cowardly. Indeed, the yakuza of this film carry little or no redeeming qualities. The one-dimensionality of these villains would normally strike me as a real flaw, and perhaps it is. But set against the backdrop of countless movies depicting mobsters (yakuza among them) in glowing terms, I could not help feeling proud to see someone who had the courage to portray them without all the flattery that usually accompanies the subject. It is a portrayal that took great courage to put on the screen.

Sadly, I do not think Hollywood will be doing anything like this in the near future. The whole of American cinema seems to have a big old girlie-crush on the mob, and it won’t be growing out of it soon.

Sadder still, Itami seems to have paid the price for his courage. He was attacked, beaten and slashed in retaliation for making Minbo. As Itami lay in the hospital recovering from his wounds, the public outcry led to crackdown on criminal activities associated with the yakuza. Rumors that his death by apparent suicide may actually have been a murder circulate to this day. The facts surrounding Itami’s death are something of a mystery at this point. The only thing for certain about it is that it came way to soon, except perhaps for the yakuza.

But of course today is not Itami’s Death Day. It is his birthday. And it is a damned good day to celebrate the work of this incredibly brilliant film-maker.

***

Treat yourself to something brilliant today and watch Tampopo.

Be sure to leave room for desert.

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