The silver screen is not just a window, it is occasionally a mirror as well.
The cinematic gaze reveals a lot. Not just about the object in focus, but about the filmmaker (and the audience) behind the gaze. Although independent and arthouse cinema is thriving in the twenty-first century, and though home media is fundamentally changing the way that people consume media, the cinema will always be a communal space. A group of people sitting in a room together, bathed in projected light. There are obviously debates to be had about to what extent cinema reflects culture as much as it acts upon it, but there is undoubtedly a symbiosis there.
Cinema reveals a lot about contemporary culture, and not just “worthy” cinema that tends to get cited by critics as “the most important” or “the most timely” media of its particular moment. Indeed, there is perhaps something more revealing in looking at media that doesn’t consciously invite these comparisons, that doesn’t trumpet the manner in which it speaks to a particular moment. Sometimes it is more revealing to look at the films that aren’t saying anything, or at least are not consciously or overtly saying anything, about the current political moment.
In fact, it’s often a lot easier to get a sense of what is bubbling through the popular consciousness (or even the popular subconscious) by looking at low-budget “disposable” fare like horror movies than it is be interrogating more respectable and self-conscious fare. It is no coincidence that the past decade has seen a resurgence in haunted house and home invasion horror like The Conjuring, The Strangers, The Purge or even Don’t Breathe, reflecting anxieties about the American home as a site of horror in the wake of the subprime mortgage crisis.
Popular cinema is similarly a fascinating prism through which to examine contemporary American culture, to get a sense of how the United States sees both itself and its relationship with the rest of the world. It’s a glimpse into the nation’s psyche, offering a messy and dynamic dive beneath the polished exterior. It cuts through a lot of contemporary politics, foregoing accuracy in favour of a general aesthetic. It is a sketch more than a portrait, but that sketch can be instructive and revealing of itself.
In particular, the twin releases of Black Panther and Crazy Rich Asians over the past year suggest something interesting about modern conceptions of the American Dream.
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Filed under: Movies | Tagged: american dream, Black Panther, crazy rich asians, donald trump, foreigner, home, hope, ideal, immigrant, immigrant experience, melting pot, minority, other, outsider, subculture, the shining city on the hill, trump | 4 Comments »
The X-Files – Home (Review)
This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.
Home is a big one.
It is an episode that is frequently ranked among the best that the show ever produced. It is an episode that many viewers remember quite clearly, even if they only saw it once years earlier. It was the first episode of the show to receive a viewer discretion warning on initial broadcast and was famously never repeated on the Fox Network. “It had one airing and then it was banned,” writer Glen Morgan quipped. “Jim and I don’t get rerun money for that.” It is also one of the rare episodes of The X-Files that is not explicitly paranormal in its subject matter, instead wandering into the macabre and the taboo.
Here there be monsters…
Home also marks the return of writers Glen Morgan and James Wong to the series, following the cancellation of Space: Above and Beyond. With the debut of Millennium looming, the production team on The X-Files was under pressure. Fox had convinced Morgan and Wong to return to Ten Thirteen in return for producing a pilot for The Notorious Seven, one the duo’s long-gestating ideas. Morgan and Wong would produce four episodes of the fourth season of The X-Files and three episodes of the first season of Millennium.
Home is the first of their four scripts for the fourth season of The X-Files, and it sets the mood quite well. Returning from Space: Above and Beyond, the two seemed to be bristling with an electric energy and a palpable frustration. While not all four scripts are unqualified masterpieces, they each serve to push The X-Files further than it has gone before. Perhaps the most surprising thing about Home is that it is the most conventional of these four explosive scripts.
The mother of all problems…
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Filed under: The X-Files | Tagged: commentary, family, fourth season, friday nights, Glen Morgan, home, horror, inbreeding, Incest, James Wong, kim manners, peacock, return, schlock, sheriff taylor, the peacock family, the x-files, viewer discretion, x-files | 3 Comments »