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Notes -
I watched Sinners last night.
It’s a flick about 1930’s vampires set in the American bayou. It’s a black flick. It’s about blackness, being black, black music, black stuff. Very black.
I love black cinema. From Life with Eddie Murphy to exploitation like Sweet Sweetback’s to Don’t Be a Menace to Friday I dunno whatever, even Scary Movie maybe. I’ve seen several dozen of them. They’re all ‘ black ‘ and pretty watchable for anyone. Plus anyone with even a hint of social awareness can watch them just fine.
The movie I’d most compare this to (it’s where my mind went for some reason) is Idlewild - basically OutKast (the musical group) in Atlanta in the 30’s … also very black. I love this movie.
The black characters in all these films are … black. They seem like normal people, just black. Rich black. Poor black. Dumb black. Smart black. Teacher black. Funny black.
I was born in Poland so I e always watched (not enough) a bunch of Polish cinema. Same idea. The Polish characters are Polish characters in a myriad of ways and if you’re Polish then you get it, and if you’re not, you can still be entertained and understand.
Well with Sinners - and even before really over the last few years … it just seems like the blackness is performative. It’s not that I don’t believe Michael B Jordan isn’t black, or that the writer or director don’t know about being black, it’s that I think now they’re starting to act as a fictional black narrative.
Being a 1930’s black man is no longer believable on screen. It was believable in Idlewild. Friday is believable - it’s caricature of course, but believable! I believed Dr Dre … I don’t believe Kendrick Lamar. I believed The Wire … I don’t believe (basically any ‘ black ‘ show I’ve tried to get into lately). I haven’t watched the show Atlanta but I’ve heard good things but mostly from white people, and mostly the writer and actor falls into this land of unbelievability as well.
I think there’s this black (black American) malaise that I can’t describe or catch onto over the last decade or so that makes black entertainers over perform their blackness in a subtle way.
I’ve always felt black Americans are Americans, just black. More recently I feel like they’re trying to be in some way more so.
If I were a pessimist I would say this is part of the ‘ we were kings ‘ meme that has been overloaded into the cultural psyche - if I were an optimist, I’d say it’s a culture trying to find itself and strive for a cohesive core to begin to become something other than ‘ black Americans ‘.
I’m usually optimistic in all respects but I have a lot of negativity towards, in respect to this post, black entertainment. Or at black entertainment that attempts to be mainstream.
This hits on an idea I was thinking about recently. In order to genuinely enjoy any sort of fiction, you have to be able to suspend disbelief. Almost all fiction has fantastic, or at least slightly unbelievable elements. While sometimes these are the crux of the work, other times they serve more mundane functions like the simplification of an overly complex plot.
What I've been noticing as I get older is that I'm able to do this less and less. When you consume new media while young, you are able to gloss over inconsistencies with ease. As you age, these become more jarring, eventually making consumption of new plot lines kind of difficult.
In light of this, I find myself wondering if a lot of new shows are as bad as they seem, or if I'm simply unable to overlook their flaws (or inadvertently comparing them to the best-in-genera alternatives)
No not at all. "Suspension of disbelief", as if you were hoping that you could be "taken for a ride" if you could only make yourself believe that the story really was a window to another world, is an immature way of approaching art (immature in the sense of pre-critical, pre-reflective, pre-self-consciousness).
The mature, critical way of approaching art (which actually just turns out to be straight up more fun) is to start from the recognition that the artwork was deliberately constructed as a product of human intentionality. Like all other artifacts of human labor, it was designed according to certain specifications in order to serve certain purposes. So our analysis begins with questions like, why was this created, what narrative did the artist tell themselves about why it was created and is it in any sense different from the truth of why it was "actually" created, what is the background casual chain of social/material conditions that lead to the production of this specific work in the specific way that it was produced, how are its formal features related to the conditions of its production, how do its formal features relate to its conceptual features, etc...
Some works reveal themselves to be richer and more amenable to this type of analysis than others, which is how the term "genre fiction" came to take on a derisive connotation.
Yeah I strongly disagree that critical analysis is more fun. It is a different type of fun, almost too different to compare, but definitely not more fun than immersing yourself in the media you are consuming. I think, based on your first paragraph in particular, that you have not sufficiently suspended your disbelief. Maybe suspension of disbelief isn't for you? But also maybe you have been poisoned by the media analysis framework. And it is a poison, because embracing suspension of disbelief is not pre-critical or pre-reflective by necessity, that's just critical analysis promotion, the willing, deliberate and conscious suspension of disbelief is a sacrifice the viewer makes to fully engage with the story's world and emotions. It is prioritising emotional connection over intellectual dissection and emotional connection is the heart of good art.
Personally, I see no reason the two are mutually exclusive. You don't have to turn off your brain to feel things and keeping your brain turned on doesn't stop you from feeling. A really great movie watching experience, to me, is seeing something that makes me feel strongly, understanding why and how it's making me feel those things, and then layering that intellectual appreciation of the technique on top of the emotional appreciation of the scene. I picture the scene in "Amadeus" when Salieri describes Mozart's music. His appreciation of the art is enhanced by technical understanding, not diminished. Understanding the camera tricks that make Hannibal Lector so intimidating doesn't make the scene boring, it makes watching the scene more compelling. When you see a brilliant musician play a great piece of music, there is beauty in both the sound of the music and in the masterful playing itself. Noticing one doesn't preclude noticing the other, they enhance each other. For me, it's the same with movies.
Immersing yourself in the media is not switching your brain off though. I would like to think my post history proves that critical analysis of media is one of my primary passions, I am not trying to shit on it - by prioritise I didn't mean to imply they were exclusive.
What I took @wingdingspringking to mean by truly enjoy media, particularly with their comments about struggling with it as they age, is immerse yourself so fully that you forget you exist outside of the media. That is a transcendent experience when it happens, and maybe this is just wingding and me (or maybe just me?) but once you have done it, critical analysis just doesn't compare.
Usually when I find media like that I obsess over it, and then I analyse it endlessly.
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