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Ed Webb

Endtime for Hitler: On the Downfall of the Downfall Parodies - Mark Dery - Doom Patrol:... - 1 views

  • Endtime for Hitler: On the Downfall of the Downfall Parodies
  • Hitler left an inexhaustible fund of unforgettable images; Riefenstahl’sTriumph of the Will alone is enough to make him a household deity of the TV age.
  • The Third Reich was the first thoroughly modern totalitarian horror, scripted by Hitler and mass-marketed by Goebbels, a tour de force of media spectacle and opinion management that America’s hidden persuaders—admen, P.R. flacks, political campaign managers—studied assiduously.  A Mad Man in both senses, Hitler sold the German volk on a racially cleansed utopia, a thousand-year empire whose kitschy grandeur was strictly Forest Lawn Parthenon.
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  • Hitler, unlike Stalin or Mao, was an intuitive master of media stagecraft. David Bowie’s too-clever quip that Hitler was the first rock star, for which Bowie was widely reviled at the time, was spot-on.
  • the media like Hitler because Hitler liked the media
  • Perhaps that’s why he continues to mesmerize us: because he flickers, irresolvably, between the seemingly inhuman and the all too human.
  • His psychopathology is a queasy funhouse reflection, straight out of Nightmare Alley, of the instrumental rationality of the machine age. The genocidal assembly lines of Hitler’s death camps are a grotesque parody of Fordist mechanization, just as the Nazis’ fastidious recycling of every remnant of their victims but their smoke—their gold fillings melted down for bullion, their hair woven into socks for U-boat crewmen—is a depraved caricature of the Taylorist mania for workplace efficiency.
  • there’s something perversely comforting about Hitler’s unchallenged status as the metaphysical gravitational center of all our attempts at philosophizing evil
  • he prefigured postmodernity: the annexation of politics by Hollywood and Madison Avenue, the rise of the celebrity as a secular icon, the confusion of image and reality in a Matrix world. He regarded existence “as a kind of permanent parade before a gigantic audience” (Fest), calculating the visual impact of every histrionic pose, every propaganda tagline, every monumental building
  • By denying everyone’s capability, at least in theory, for Hitlerian evil, we let ourselves off the hook
  • Yet Hitler, paradoxically, is also a shriveled untermensch, the protypical nonentity; a face in the crowd in an age of crowds, instantly forgettable despite his calculated efforts to brand himself (the toothbrush mustache of the military man coupled with the flopping forelock of the art-school bohemian)
  • there was always a comic distance between the public image of the world-bestriding, godlike Fuhrer and his Inner Adolf, a nail-biting nebbish tormented by flatulence. Knowingly or not, the Downfall parodies dance in the gap between the two. More immediately, they rely on the tried-and-true gimmick of bathos. What makes the Downfall parodies so consistently hilarious is the incongruity of whatever viral topic is making the Fuhrer go ballistic and the outsized scale of his gotterdammerung-strength tirade
  • The Downfall meme dramatizes the cultural logic of our remixed, mashed-up times, when digital technology allows us to loot recorded history, prying loose any signifier that catches our magpie eyes and repurposing it to any end. The near-instantaneous speed with which parodists use these viral videos to respond to current events underscores the extent to which the social Web, unlike the media ecologies of Hitler’s day, is a many-to-many phenomenon, more collective cacophony than one-way rant. As well, the furor (forgive pun) over YouTube’s decision to capitulate to the movie studio’s takedown demand, rather than standing fast in defense of Fair Use (a provision in copyright law that protects the re-use of a work for purposes of parody), indicates the extent to which ordinary people feel that commercial culture is somehow theirs, to misread or misuse as the spirit moves them.
  • the closest thing we have to a folk culture, the connective tissue that binds us as a society
  • SPIEGEL: Can you also get your revenge on him by using comedy? Brooks: Yes, absolutely. Of course it is impossible to take revenge for 6 million murdered Jews. But by using the medium of comedy, we can try to rob Hitler of his posthumous power and myths. [...] We take away from him the holy seriousness that always surrounded him and protected him like a cordon.”
  • risking the noose, some Germans laughed off their fears and mocked the Orwellian boot stamping on the human face, giving vent to covert opposition through flüsterwitze (“whispered jokes”). Incredibly, even Jews joked about their plight, drawing on the absurdist humor that is quintessentially Jewish to mock the Nazis even as they lightened the intolerable burden of Jewish life in the shadow of the swastika. Rapaport offers a sample of Jewish humor in Hitler’s Germany: “A Jew is arrested during the war, having been denounced for killing a Nazi at 10 P.M. and even eating the brain of his victim. This is his defense: In the first place, a Nazi hasn’t got any brain. Secondly, a Jew doesn’t eat anything that comes from a pig. And thirdly, he could not have killed the Nazi at 10 P.M. because at that time everybody listens to the BBC broadcast.”
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    Brilliant
Ed Webb

A woman first wrote the prescient ideas Huxley and Orwell made famous - Quartzy - 1 views

  • In 1919, a British writer named Rose Macaulay published What Not, a novel about a dystopian future—a brave new world if you will—where people are ranked by intelligence, the government mandates mind training for all citizens, and procreation is regulated by the state.You’ve probably never heard of Macaulay or What Not. However, Aldous Huxley, author of the science fiction classic Brave New World, hung out in the same London literary circles as her and his 1932 book contains many concepts that Macaulay first introduced in her work. In 2019, you’ll be able to read Macaulay’s book yourself and compare the texts as the British publisher Handheld Press is planning to re- release the forgotten novel in March. It’s been out of print since the year it was first released.
  • The resurfacing of What Not also makes this a prime time to consider another work that influenced Huxley’s Brave New World, the 1923 novel We by Yvgeny Zamyatin. What Not and We are lost classics about a future that foreshadows our present. Notably, they are also hidden influences on some of the most significant works of 20th century fiction, Brave New World and George Orwell’s 1984.
  • In Macaulay’s book—which is a hoot and well worth reading—a democratically elected British government has been replaced with a “United Council, five minds with but a single thought—if that,” as she put it. Huxley’s Brave New World is run by a similarly small group of elites known as “World Controllers.”
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  • citizens of What Not are ranked based on their intelligence from A to C3 and can’t marry or procreate with someone of the same rank to ensure that intelligence is evenly distributed
  • Brave New World is more futuristic and preoccupied with technology than What Not. In Huxley’s world, procreation and education have become completely mechanized and emotions are strictly regulated pharmaceutically. Macaulay’s Britain is just the beginning of this process, and its characters are not yet completely indoctrinated into the new ways of the state—they resist it intellectually and question its endeavors, like the newly-passed Mental Progress Act. She writes:He did not like all this interfering, socialist what-not, which was both upsetting the domestic arrangements of his tenants and trying to put into their heads more learning than was suitable for them to have. For his part he thought every man had a right to be a fool if he chose, yes, and to marry another fool, and to bring up a family of fools too.
  • Where Huxley pairs dumb but pretty and “pneumatic” ladies with intelligent gentlemen, Macaulay’s work is decidedly less sexist.
  • We was published in French, Dutch, and German. An English version was printed and sold only in the US. When Orwell wrote about We in 1946, it was only because he’d managed to borrow a hard-to-find French translation.
  • While Orwell never indicated that he read Macaulay, he shares her subversive and subtle linguistic skills and satirical sense. His protagonist, Winston—like Kitty—works for the government in its Ministry of Truth, or Minitrue in Newspeak, where he rewrites historical records to support whatever Big Brother currently says is good for the regime. Macaulay would no doubt have approved of Orwell’s wit. And his state ministries bear a striking similarity to those she wrote about in What Not.
  • Orwell was familiar with Huxley’s novel and gave it much thought before writing his own blockbuster. Indeed, in 1946, before the release of 1984, he wrote a review of Zamyatin’s We (pdf), comparing the Russian novel with Huxley’s book. Orwell declared Huxley’s text derivative, writing in his review of We in The Tribune:The first thing anyone would notice about We is the fact—never pointed out, I believe—that Aldous Huxley’s Brave New World must be partly derived from it. Both books deal with the rebellion of the primitive human spirit against a rationalised, mechanized, painless world, and both stories are supposed to take place about six hundred years hence. The atmosphere of the two books is similar, and it is roughly speaking the same kind of society that is being described, though Huxley’s book shows less political awareness and is more influenced by recent biological and psychological theories.
  • In We, the story is told by D-503, a male engineer, while in Brave New World we follow Bernard Marx, a protagonist with a proper name. Both characters live in artificial worlds, separated from nature, and they recoil when they first encounter people who exist outside of the state’s constructed and controlled cities.
  • Although We is barely known compared to Orwell and Huxley’s later works, I’d argue that it’s among the best literary science fictions of all time, and it’s highly relevant, as it was when first written. Noam Chomsky calls it “more perceptive” than both 1984 and Brave New World. Zamyatin’s futuristic society was so on point, he was exiled from the Soviet Union because it was such an accurate description of life in a totalitarian regime, though he wrote it before Stalin took power.
  • Macaulay’s work is more subtle and funny than Huxley’s. Despite being a century old, What Not is remarkably relevant and readable, a satire that only highlights how little has changed in the years since its publication and how dangerous and absurd state policies can be. In this sense then, What Not reads more like George Orwell’s 1949 novel 1984 
  • Orwell was critical of Zamyatin’s technique. “[We] has a rather weak and episodic plot which is too complex to summarize,” he wrote. Still, he admired the work as a whole. “[Its] intuitive grasp of the irrational side of totalitarianism—human sacrifice, cruelty as an end in itself, the worship of a Leader who is credited with divine attributes—[…] makes Zamyatin’s book superior to Huxley’s,”
  • Like our own tech magnates and nations, the United State of We is obsessed with going to space.
  • Perhaps in 2019 Macaulay’s What Not, a clever and subversive book, will finally get its overdue recognition.
Ed Webb

S. Korea's dilemma? North's unschooled masses, not nukes | McClatchy - 0 views

  • should the North collapse, millions of undereducated, traumatized and malnourished North Koreans might come flooding across the border
  • a nation of people who would be startled, if not stunned, by the bright lights and hustle of Seoul, and might in turn overwhelm South Korea's ability to absorb them
  • Officials in Seoul acknowledge the myriad issues that a reunification of the Korean Peninsula would present, though the list of problems is more obvious than their solutions
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  • After spending much of an hour trying to describe the Italian Renaissance to a classroom of North Korean defectors — "Can you imagine where Italy is?" — and having to stop to explain what she meant by "far," one teacher at the Yeomyung School said reunification would be tough.
  • "The reason that she was tortured was that her children had escaped,"
Ed Webb

The migrant caravan "invasion" and America's epistemic crisis - Vox - 0 views

  • The intensity of belief on the right has begun to vary inversely with plausibility. Precisely because the “threat” posed by the caravan is facially absurd, believing in it — performing belief in it — is a powerful act of shared identity reinforcement, of tribal solidarity.
    • Ed Webb
       
      See (obviously) Orwell. Also Lisa Wedeens' great book on totalitarianism in Syria, Ambiguities of Domination.
  • Once that support system is in place, Trump is unbound, free to impose his fantasies on reality. He can campaign on Republicans protecting people with preexisting conditions even as the GOP sues to block such protections. He can brush off Mueller’s revelations and fire anyone who might threaten him. He can use imaginary Democratic voter fraud to cover up red-state voter suppression. He can use antifa as a pretext for deploying troops domestically.
  • Trump does not view himself as president of the whole country. He views himself as president of his white nationalist party — their leader in a war on liberals. He has all the tools of a head of state with which to prosecute that war. Currently, he is restrained only by the lingering professionalism of public servants and a few thin threads of institutional inertia.
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  • The epistemic crisis Trump has accelerated is now morphing into a full-fledged crisis of democracy.
  • As Voltaire famously put it: “Anyone who has the power to make you believe absurdities has the power to make you commit injustices.”
  • The right, in all its organs, from social media to television to the president, is telling a well-worn, consistent story: Opposition from the left and Democrats is fraudulent, illegitimate, a foreign-funded conspiracy against the traditional white American way of life.
  • Having two versions of reality constantly clashing in public is cognitively and emotionally exhausting. To an average person following the news, the haze of charge and countercharge is overwhelming. And that is precisely what every autocrat wants.
  • every aspiring tyrant in modern history has made the independent media his first target
  • Then they go after the courts, the security services, and the military. Once they have a large base of support that will believe whatever they proclaim, follow them anywhere, support them in anything — it doesn’t have to be a majority, just an intense, activated minority — they can, practically speaking, get away with anything.
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