home / subscribe / donate / tower / books / archives / search / links / feedback / events / faq
The New Print Edition of CounterPunch, Only for Our Newsletter Subscribers! ISRAEL'S IRON HEEL It began when Harry Truman was in the White House. It has continued under every U.S. President since, and in this extended report we lay out the consequences of 60 years of brutal Israeli occupation of Palestinian land. Feroze Sidhwa details the human price of systematic, intentional destruction of the Palestinian social and economic fabric: physical and mental deterioration, traumatized youth, a savaged environment. Nancy Glass and Reem Salahi describe the Kafka-esque conditions in which Palestinian lawyers try to defend their people in Israel's courts. Get your copy today by subscribing online or calling 1-800-840-3683 Contributions to CounterPunch are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! CounterPunch books and gear make great holiday presents.
Order CounterPunch By Email for Only $35 a Year and Receive a Free Copy of
"Imperial Crusades: a Diary of Three Wars" by Cockburn and St. Clair
|
Today's Stories December 12, 2007 Patrick
Cockburn
Uri
Avnery Debbie
Nathan JoAnn
Wypijewski Steve
Kelly Donna
J. Volatile
December 8 / 9, 2007 Alexander
Cockburn Brenda
Norrell Saul
Landau R.
F. Blader Ray
McGovern Allan
Nairn Linn
Washington, Jr Paul
Craig Roberts
December 7, 2007 Sean
Penn Arthur
Versluis M.
G. Piety Pam
Martens Alan
Farago Allan
Nairn Col.
Dan Smith Alice
Slater Robert
Weissman Website
of the Day
December 5, 2007 Mike
Whitney Sharon
Smith James
Petras Ron
Jacobs Dave
Zirin John
V. Whitbeck Peter
Zinn Niranjan
Ramakrishnan Alan
Farago Heather
Gray Website
of the Day
December 4, 2007 Alexander
Cockburn Andy
Worthington Paul
Craig Roberts Ray
McGovern Winslow
T. Wheeler Allan
Nairn Russell
Mokhiber Nikolas
Kozloff John
V. Walsh Ghada
Ageel Stephen
Soldz Website
of the Day
December 3, 2007 Tariq
Ali Bill
Quigley Eric
Walberg Uri
Avnery Marjorie
Cohn Dave
Lindorff Stephen
Fleischman Martha
Rosenberg Website
of the Day
December 1 / 2, 2007 Alexander
Cockburn Jeffrey
St. Clair Mike
Whitney Shemon
Salam Roger
Burbach Benjamin
Dangl Brian
M. Downing Greg
Moses Sonja
Karkar Saul
Landau Margaret
Kimberley John
Ross Reza
Fiyouzat Judith
Scherr Lance
Olsen Christopher
Brauchli Robert
Fantina Dan
Bacher Michael
Donnelly Website
of the Weekend
November 30, 2007 Peter
Stone Brown Wajahat
Ali Allan
Nairn Alan
Farago John
Ross Corporate
Crime Reporter Lucia
Alvarez James
Rothenberg Website
of the Day
November 29, 2007 R.
F. Blader Ismael
Hossein-Zadeh Stephen
Soldz Sheldon
Richman George
Wuerthner Felice
Pace Col.
Dan Smith Harvey
Wasserman Nikolas
Kozloff Paul
Krassner Dave
Lindorff CP
News Service Website
of the Day November 28, 2007 James
Petras Jeff
Halper Pam
Martens Peter
Morici Mohammed
Khatib Helen
Redmond William
S. Lind Ben
Tripp Liaquat
Ali Khan Jeff
Berg Website
of the Day
November 27, 2007 Joe
DeRaymond Paul
Craig Roberts Marjorie
Cohn Mike
Whitney Ron
Jacobs Col.
Dan Smith Ralph
Nader Karim
Makdisi Christopher
Ketcham Ronan
Bennett Website
of the Day
November 26, 2007 Kathleen
and Bill Christison Paul
Craig Roberts David
Macaray Sameer
Dossani Roger
Burbach Mark
Scaramella Brian
McKinlay Rick
Kuhn Binoy
Kampmark Monica
Benderman Brenda
Norrell Website
of the Day
November 24 / 25, 2007 Alexander
Cockburn Robert
Fisk Saul
Landau Jeffrey
St. Clair Rannie
Amiri Christopher
Brauchli Daniel
Gross Mike
Whitney Marjorie
Cohn David
Rosen David
Michael Green Kenneth
Rexroth Muhammad
Iqbal Website
of the Day
Gary
Leupp Laura
Carlsen David
Macaray Andy
Worthington Clifton
Ross Seth
Sandronsky Dan
Bacher William
A. Cook Website
of the Day
November 22, 2007 Alan
Farago Greg
Moses Dave
Lindorff Mike
Ely Omar
Azfar
November 21, 2007 Vijay
Prashad Martha
Rosenberg Manuel
Garcia, Jr. John
Ross Brian
McKenna Stephen
Soldz Monica
Benderman Ben
Terrall Website
of the Day
November 20, 2007 Oren
Ben-Dor Wajahat
Ali Alan
Farago Marjorie
Cohn Ralph
Nader Andy
Worthington Sara
Olson Dave
Lindorff Paul
Krassner Website
of the Day November 19, 2007 Winslow
T. Wheeler China
Hand Allan
Nairn Uri
Avnery David
Macaray Dave
Lindorff Bill
Quigley Ron
Jacobs Sunsara
Taylor Binoy
Kampmark Heather
Gray Website
of the Day
November 17 / 18, 2007 P.
Sainath David
Rosen Mike
Whitney George
Wuerthner Brenda
Norrell George
Ciccariello-Maher Karim
Makdisi Marie
Trigona Valerio
Volpi Fred
Gardner Robert
Fantina Mike
Ferner Missy
Comley Beattie Kenneth
Couesbouc Patrick
O'Hayer Poets'
Basement
November 16, 2007 Cockburn
/ St. Clair Dave
Zirin Gary
D. Barnett Alan
Farago Dave
Lindorff Russell
Mokhiber Robert
Ovetz Brenda
Norrell David
Swanson Peter
Letheby Website
of the Day
November 15, 2007 Cockburn
/ St. Clair Adolfo
Gilly Peter
Bohmer Andy
Worthington Gray
/ Derks Liaquat
Ali Khan Dave
Lindorff Christopher
Brauchli Anthony
Papa Martha
Rosenberg Ben
Terrall Website
of the Day
Cockburn
/ St. Clair James
Petras Al
Giordano Paul
Craig Roberts Andy
Worthington Stephen
Lendman Fatima
Bhutto Martin
Smith Jeff
Leys Website
of the Day November 13, 2007 Alexander
Cockburn Jeffrey
St. Clair Robert
Bryce David
Macaray Mike
Whitney Ralph
Nader Nikolas
Kozloff Jordan
Flaherty B.
R. Gowani Website
of the Day
November 12, 2007 Vicente
Navarro Ben
Brown Omar
K. Sadia
Abbas Farzana
Versey Richard
W. Behan Paul
Krassner Cindy
Sheehan Peter
Stone Brown Dave
Lindorff Website
of the Day
November 10 / 11, 2007 Alain
Gresh Mike
Whitney Ron
Jacobs Jeffrey
St. Clair Alan
Farago Binoy
Kampmark Robert
Fantina Fred
Gardner Ayesha
Ijaz Khan Nicola
Nasser Philip
Rizk Michael
Dickinson Joel
S. Hirschhorn Paul
Krassner Wadner
Pierre /
November 9, 2007 Patrick
Cockburn Mohammed
Hanif John
Ross Mike
Whitney Tom
Barry Corporate
Crime Reporter Badruddin
Khan David
Macaray Martha
Rosenberg Website
of the Day
November 8, 2007 Kathleen
& Bill Christison William
Loren Katz Mike
Whitney Sheldon
Richman Liaquat
Ali Khan Marc
Gardner Jackie
Corr Brenda
Norrell Dave
Lindorff China
Hand Sen.
Russ Feingold Website
of the Day
November 7, 2007 Paul
Craig Roberts Russell
Mokhiber Vijay
Prashad Niranjan
Ramakrishnan Alan
Farago David
Macaray Nikolas
Kozloff Charlotte
Laws Daniel
White William
Cook Website
of the Day
November 6, 2007 Mike
Whitney Ralph
Nader Andy
Worthington Pam
Martens Liaquat
Ali Khan William
Schroder Stephen
Lendman William
Blum Former
US Intelligence Officers
November 5, 2007 Alexander
Cockburn Russell
Mokhiber David
Macaray Gary
Leupp Dave
Lindorff Ludwig
Watzal Patrick
Cockburn Peter
Stone Brown Michael
Simmons Website
of the Day
November 3 / 4, 2007 Tariq
Ali David
Price Jeffrey
St. Clair Alan
Farago Paul
Krassner Rannie
Amiri P.
Sainath Ayesha
Ijaza Khan Robert
Fantina Seth
Sandronsky Ron
Jacobs Ramzy
Baroud Heather
Gray
November 2, 2007 Dr.
Mary Pipher Saul
Landau Andy
Worthington Sharon
Smith Gary
Leupp Gregory
Harms Christopher
Brauchli Peter
Morici Dave
Lindorff David
Penner Website
of the Day
November 1, 2007 Paul
Craig Roberts Patrick
Cockburn Dave
Lindorff Jonathan
Feldman Mike
Ferner William
S. Lind Diana
Johnstone Jacob
Hornberger A..K.
Gupta Lyuba
Zarsky / Felice
Pace Website
of the Day
October 31, 2007 Bill
Quigley Rev.
William E. Alberts Ray
McGovern Eric
Walberg V.
G. Smith Luis
J. Rodriguez Sheldon
Richman Walter
Brasch Website
of the Day
David
Price M.
Shahid Alam Andy
Worthington Patrick
Cockburn Anthony
Papa Floyd
Rudmin Sherwood
Ross Website
of the Day
October 29, 2007 Lisa
Hajjar Joe
DeRaymond Patrick
Cockburn Isabella
Kenfield / Fred
Gardner Farzana
Versey Stephen
Fleischman Marcelle
Cendrars Eamonn
McCann Martha
Rosenberg Website
of the Day
October 27 / 28, 2007 Alexander
Cockburn Jeffrey
St. Clair James
Bovard Ralph
Nader M.
Reza Pirbhai Robert
Sandels Jacob
G. Hornberger Missy
Beattie John
Ross Robert
Fantina Ron
Jacobs Ali
Moayedian David
Michael Green Poets
Basement Website
of the Day
October 26, 2007 Brian
Cloughley Saul
Landau Ahmad
Al-Akras Franklin
Lamb Mike
Whitney Dave
Lindorff Alan
Farago Yifat
Susskind Website
of the Day
Jeffrey
St. Clair / Manuel
Garcia, Jr. Paul
Craig Roberts Col.
Dan Smith Alan
Farago Chris
Kutalik Brian
McKinlay Cindy
Sheehan Website
of the Day
![]()
![]()
Subscribe Online
|
December 12, 2007 Todd Haynes' "I'm Not There"Tangled Up in DylanBy KIM NICOLINI If you go to I'm Not There expecting to see a standard biopic about Bob Dylan where you can learn about his personal life, struggles, successes and failures, forget it. Todd Haynes' new film was inspired by Bob Dylan, but it is not about Bob Dylan. The trailer states the film is "Inspired by true, false, authentic, exaggerated, real, imagined, stories." So while inspired by Dylan, the movie is actually an absolutely brilliant treatise about the artificial construct of identity and the fallacy of authenticity. It is about the human tendency to project identities onto people like Bob Dylan and create fictions that they mistake for fact. It is about how identity is a malleable thing which is constructed by its environment and morphs and changes depending on how we interact with and are reflected off others and even off ourselves. The trailer for the film begins with the Bob Dylan quote: "All I can do is be me. Whoever that is." The film then deconstructs the idea of a "me," and in its deconstruction, I'm Not There offers one of the very best, most innovative and intelligent movies of the year. Todd Haynes and his cinematographer Edward Lachman (Far From Heaven) use the medium of film itself to challenge the audience's perception of identity, art and film. Manipulating genres, actors, histories, and styles, the movie does not allow us a fixed position in relation to its content. Just as we think we know the character and the movie being presented, it shifts gears and we lose our ground. In a recent article in American Cinematographer, Haynes talks about how Dylan liked "taunting the audience and generating friction rather than adoration." Indeed this is just what Haynes' film does. It undermines our expectations and fucks with our perception of the movie and its characters. As we watch the film and impose our interpretations and assumptions on the characters and the genres, we are asked to acknowledge that our projections are flawed, that identity is not a fixed form but changes according to outside influences, including our own reflection in the mirror. Our assumptions about the movie shift constantly in relation to our personal experiences of film and music. The audience becomes complicit in the manipulation of the film's identity as our expectations and perspectives constantly shift in relation to genre and style shifts. The movie opens with an 11 year old black boy named Woody Guthrie in a depression era boxcar scene. The rich greens of the countryside evoke a kind of nostalgic pastoral narrative, while the boy's interactions with "hobos" on the train are laden with a kind of cliché Capraesque social dialogue. By starting the movie with a black boy as Dylan, Haynes immediately pulls the rug out from under our feet in relation to our identification with the lead character. What movie are we watching anyway? We question "how" we are going to watch this film as we struggle to get hold of the narrative. I personally wondered if I could make it through a movie that was operating in such clichés and overt philosophizing. The boy's name further fucks with our perception. Is this a movie about Bob Dylan or Woody Guthrie? To complicate things further, we learn that the boy is not actually living during the depression but during the 1950's. Our knowledge of racial tensions during the 50's projects another consciousness onto the film as this young black kid ends up in a suburban Caucasian household that is barely one step removed from the house in Far From Heaven. We try to get our grounding and wonder if we're watching a melodrama, social realism, or a biopic. The social conscious narrative imposes itself on the white melodrama narrative. Our knowledge of Haynes' films adds yet another twist to our perspective as we recall the lush cinematography and the racial tensions in From Heaven. We are acutely reminded that more than anything we are watching a "Todd Haynes" film and are also asked to question our perception of Haynes as a director, (which may be the ultimate question in the film). Further, the boy's historical confusion adds yet another layer of mutability as we question history as a construct itself. So in this one opening scene Haynes is not only manipulating our perception of Bob Dylan, but of film, race, genre, and history itself. Haynes then busts the movie wide open and we find ourselves experiencing a dizzying array of characters, genres, and styles. In one moment we are in the middle of a black and white Fellini-esque romp in which Dylan is named Jude and is played by a woman Cate Blanchett. In another we are thrust into a revisionist Western with Dylan (Richard Gere) as Billy the Kid. Next thing we know, we are in the home a 1970's movie star (Heath Ledger) as we watch the disintegration of his marriage. Then we are in gritty documentary style realism as we see the folk singer turned preacher Jack Rollins (Christian Bale) belt out some gospel. In between, Dylan as Arthur Rimbaud (Ben Whishaw) sits in a minimalist scene and philosophizes on the inherent malleability of identity and the fallibility of truth. In between all this, the film is punctuated by absolutely brilliant segments of "faux documentary" footage in which Julianne Moore (a utterly hysterical parody of Mimi Farina) reflects on her experiences with Jack Rollins. In these scenes, we have a fictional documentary about a fictional version of Dylan which further manipulates our sense of "truth" about the characters we are watching and the film itself. This manipulation of identity extends itself into other characters as well. For example, Allen Ginsburg makes an appearance with Jude. When we see him, he looks just like Allen Ginsburg, yet we are very conscious that he is not Allen Ginsburg. Still our knowledge of Ginsburg projects onto the character in the film. We want him to be Allen Ginsburg, so there is tension between "knowing who Ginsburg is" and knowing that the man in the movie is not Ginsburg. Because the character looks so much like the Ginsburg we see in photographs, we are forced to question the solidity of the identity of Ginsburg himself, and in the end Ginsburg appears to be more of a concept than a person. And that is the basic premise of the film that identities, especially of artists and public personae, are concepts and constructions that only exist in relation to the projections of others. Despite the movie's conscious manipulation of the audience in its attempt to undermine our "identification" with the identities of the characters and scenes, the film also manages to bring some amazingly strong musical performances to the screen. But then those performances also turn on themselves. For example, when Woody and Richie Havens sing "Tombstone Blues" together, it's like the movie opens at the seams. Suddenly all this real raw music and energy pours out, and we lap it up hungrily. The music sounds so "authentic" and "honest," yet we are reminded of the construction of Woody and have to pull back from the appearance of sincerity by reminding ourselves that it's "not real." Likewise, in the Billy the Kid sequence when Jim James from My Morning Jacket sings "Goin' to Acapulco," we again experience this relief and catharsis in relation to the music. James's performance is so laden with authentic feeling that we feel relief in his sincerity. It gives us something to hold onto. But then I realized that my personal relation to this scene was manipulated by the fact that I was projecting my relationship to the music of My Morning Jacket and my love for their music, and that my relationship to the scene had little bearing on any relation to Boy Dylan or even the movie. And it is that "personal relation" that ultimately causes false identity constructs. An utterly brilliant scene in which Christian Bale as the preacher Jack Rollins sings "Pressin' On" has a similar manipulative effect. The music is beautifully heart breaking in its unrelenting faith, yet the sincerity of the song is undermined by Haynes' almost parodic construction of the scene. He uses grainy 16mm documentary type film which produces a kind of self-conscious exaggerated tawdriness to the scene, so we end up laughing instead of crying. The self-conscious staging deprives us from any true identification. Not to mention, we can't trust the performance itself. On the soundtrack John Doe sings the song, so we have to ask is it John Doe, Christian Bale or Bob Dylan? Certainly Todd Haynes' vision is the true star of this movie (along with the impeccable cinematography of Edward Lachman). Haynes' manipulation of genre, styles, sets, gender, and race poses infinite questions about identity and perception that we as the audience must try to answer. Haynes pulls out all the cinematic stops -- from black and white neo realism, to lush revisionist Westerns and pastorals, to faux documentaries, and lavish melodrama and shows us how the morphology of identity is unfixed. Like the highway that threatens to tear apart the idyllic landscape of Billy the Kid's Western oasis, our preconceptions and assumptions rip through the people we meet, the art we experience, and the films we watch. Richard Gere as Billy the Kid says, "Me, I can change in the course of the day. When I wake up, I'm one person, and when I go to sleep I know for certain that I am someone else." And that is true for everyone. Who we are when we are alone, when we are at work, when we are fucking, writing, performing, or screaming changes according to how we are perceived, and those perceptions are based on a constantly changing bank of experiences, like seeing this movie for example. Ultimately the movie questions the notion of authenticity in people and art. It asks if identity is inherently false or if there is a neutral place to be "me." Certainly according to this movie, identity is a plurality. It is not a movie about Bob Dylan, but about the human desire to form and contain concepts like Bob Dylan and to try to ascribe a fixed identity to art itself. I'd have to agree with Haynes. We are never who you think we are. At least I know I'm not. Kim Nicolini is an artist, poet and cultural critic.
She lives in Tucson, Arizona with her partner, daughter, and
a menagerie of beasts. She works a day job to support her art
and culture habits. She is currently finishing a book-length
essayistic memoir about growing up as a punk sex worker in 1970s
San Francisco. Her work has appeared in Bad Subjects, Punk Planet,
Bullhorn and Berkeley Review. She can be reached at: knicolini@gmail.com. ![]()
|
How the Press Led the US into War ![]() Buy End Times Now! CounterPunch Books of the Crossroads: HOW THE IRISH INVENTED SLANG By Daniel Cassidy AMERICAN BOOK AWARD! ![]() Click Here to Buy! Click Here for Dates & Venues Michael Neumann's Devastating Rebuttal of Alan Dershowitz ![]() Click Here to Buy! Saul Landau's Bush and Botox World with a Foreword by Gore Vidal ![]() Click Here to Order! How They Made a Killing on the War on Terrorism ![]() |