intellect quarterly no.

3 / thinking in colour / winter 2005

IQ

FILM FOCUS PAGE 10

DOCUMENTARY FILM
SONG IN CINEMA
DECONSTRUCTING GROSSE POINTE BLANK

CRASH AND THE CITY

RACE & RAGE ON THE STREETS OF LOS ANGELES

ISSN 1478-7350
03

www.intellectbooks.com
9 77 1 4 7 8 7 3 5 0 1 5
INTELLECT QUARTERLY / WWW.INTELLECTBOOKS.COM

IQ
CONTENTS WINTER 2005

06 ART&DESIGN
THE PURPOSE OF DRAWING

08 INTERVIEW
JOURNAL EDITOR RACHEL MASON

10 FEATURE»FILM
SONG IN CINEMA / DOCUMENTARY FILM

30 EDUCATION
HAND VS. MOUSE BY ROSEMARY SASSOON
22 Q&A DANIEL LINDVALL | 24 CRASH AND THE CITY | 27 INSPIRATION

Cover Image: Publisher/Editor iq

Quote References
This issue’s cover Masoud Yazdani intellect quarterly
pg.4 Baha’u’llah (Prophet)
image comes to us from Associate Editor ISSN 1478-7350
pg.6 G.K. Chesterton (Essayist & Novelist)
Intellect author and May Yao pg.12 David Mamet (Writer & Film-Maker)
digital artist Eduardo Art Director ©2005 Intellect Ltd. No part of this pg.13 Edward G. Bulwer-Lytton (Poet)
Kac. The piece is Gabriel Solomons publication may be reproduced, copied, pg.19 Iris Murdoch (Poet)
entitled ‘Amalgam’ and is transmitted in any form or by any means pg.20 Oscar Wilde (Poet, Writer)
one in a series of images Intellect Ltd. without permission of the publisher. pg.21 Ivy Compton-Burnett (Novelist)
that fall under the PO Box 862 Intellect accept no responsibility for pg.22 Alfred Hitchcock (Film-Maker)
category of Holopoetry. Bristol BS99 1DE views expressed by contributors to pg.24 Barbara Mikulsky (US Politician)
IQ; or for unsolicted manuscripts, pg.25 Dorothy Parker (Author & Poet)
Read more about this Tel: 0117 9589910
photographs or illustrations; or for pg.27 Anthony Robbins (Success Expert)
fascinating typographical Fax: 0117 9589911
pg.30 Smiley Blanton (Success Expert)
experiment on page 28. www.intellectbooks.com errors in articles or advertisements.

intellect quarterly | 3
04 INTRODUCTION»
“SEE THROUGH THINE OWN EYES AND NOT THROUGH THE EYES OF OTHERS...”
How did Intellect books get started?
Intellect started as a hobby while I was
a lecturer in Media Computing at Ex-
eter University. We have been publishing
original ideas in the new and emerging
subjects related to creative media – such
as art, film, television, design and inter-
national culture – since 1986. We wanted
to publish books that other publishers did
not think had a large enough market in
these topics. Intellect relocated its office
in 1999 to Bristol as I had become Pro-
fessor of Digital Media at the University
of the West of England. Three years ago I
came to an agreement with UWE to be al-
lowed to focus most of my time on build-
ing Intellect up as a ‘proper’ business
and these three years have been the most
enjoyable time of my career. In 2005 we
will be publishing 20 academic journals,
25 books and the bimonthly free art and
music magazine DECODE.
What’s it like running a publishing house from
Bristol, and how is the publishing scene here?
Is the city vibrant enough to support your busi-
ness, or is there any pressure to be in London?
Bristol is an ideal home for a publishing
company like us. People are less hung up
 | intellect quarterly
about making money as those in London,
but are just as talented! We can get some
Q & A WITH
of the best writing for our publications
from people in the South West almost free
of charge. That allows us to maintain our
non-conformist commissioning policy
MASOUD
and still pay the bills. We could not afford
to survive a day if we were based in Lon-
don. It is the combination of high talent
and low costs that makes a company like
YAZDANI
us able to grow here.
How do you rate the local intellectual scene?
PUBLISHER
I think Bath, Bristol, Exeter and the rest
of the South West is an untapped intel-
lectual powerhouse. The reason it does
not get the attention it deserves is due to
a lack of resources and a generally more
humble character of the region’s people.
What’s your ‘mission statement’?
Intellect publishes books and journals by
authors and editors with original thinking ‘I THINK BATH, BRISTOL,
they strongly believe in. We commission
regardless of whether there is an estab-
EXETER AND THE REST OF
lished readership for the ideas. We will do THE SOUTH WEST IS AN
our best to get these ideas to be heard as
widely as possible, sometimes by giving
UNTAPPED INTELLECTUAL
our publications away for free! We choose POWERHOUSE.’
05 INTRODUCTION»
MASOUD YAZDANI: PUBLISHER

authors and editors who in backing their ideas, are willing to be part
of our publishing process by investing their energy and resources as
needed.

Are you planning to branch into other genres, or stick with your broadly media/
technology portfolio?
The topics that we cover provide an interesting antidote to tradi-
tional academic publishing. Other publishers are focused on hard
sciences, medicine and law where there is a lot of money and pres-
tige. On the other hand, our subjects do not have a long heritage of
academic research and are seen by some people as ‘soft’. So this pro-
vides a double-edged sword: it makes our publications a challenge to
market since no demand exists, but it also means that we do not have
strong competition from the well-established publishers. We think
the topics that we cover are broad enough and interesting enough
to remain the focus of our attention. However we want to publish
more magazines, maybe in collaboration with other organizations in
creative technologies.

Your books are now available in e-book format. How has that affected sales?
Electronic publishing has become an integral part of Intellect’s
strategy but we do not believe that it will replace other forms of pub-
lishing. We have been publishing e-books since 1999 through third
party distributors. Our limited funds kept us out of the early hype
of the ‘dot com’ race. However, we saw that librarians were becom-
ing interested in electronic resources, and we now have established
relationships with NetLibrary and Ebrary who sell our books in PDF
form.
These companies provide an additional revenue stream without the
need for up-front investment. As we also use PDF files for send-
ing the manuscripts to printers, making books available online does
not add any major extra cost. As such, any income we get from the
sale of our e-books is an incremental and welcome bonus. Interest-
ingly, purchasers of the electronic versions often also buy a printed
copy for the library further down the line. Recently we made all our
journals available online free of charge to those who subscribe to
the print versions. We have also made DECODE magazine available
online free of charge. None of this has harmed our overall revenue
income.

More generally, do you think the Internet is helping publishing or will eventually
bring about the death of books?
I doubt if the e-book will ever replace the printed book. It would just
become another way of reading the book in the same way as audio
books extend the range of readership. For Intellect, e-books are an-
other way of reaching readership for ideas that are novel and may be
difficult to reach via traditional methods. However, I think the web is
going to make life difficult for those publishers that currently domi-
nate the market with expensive books and periodicals. The web has
stacked the odds in favour of the newcomers with new ideas. {

intellect quarterly | 5
06 ART&DESIGN»
“ART, LIKE MORALITY, CONSISTS IN DRAWING THE LINE SOMEWHERE.”

DRAWING CONCLUSIONS
DRAWING AS A PROCESS, PRACTICE AND PURPOSE
‘HOW MANY OF US HAVE EITHER SAID, OR HEARD SAID “I CAN’T DRAW” OR THE MORE
EXTREME “I COULDN’T DRAW A STRAIGHT LINE TO SAVE MY LIFE”?’ TEXT BY LEO DUFF

T
his assumption is usually based on the single preconception cabbage and of a stinging nettle. These she carried out just after her
that the sole purpose of a drawing is for it to resemble the sub- diploma and before joining the Royal College of Art. They underline
ject with a likeness verging on the photographic. her opinion that contemporary students of art and design do not spend
For any practitioner in areas of art and design, these statements cre- enough time on drawing, or on a single drawing. Their favour of speed
ate a familiar feeling, but their interpretation is different. No one ever over consideration and sustained observation halts the development of
feels that they ‘know’ how to draw. It is doubtful that there is an artist or good eye and hand coordination, qualities essential for working in pro-
designer working at present who would say that they feel they know all fessional textiles and fashion studio – or any studio.
they need about drawing, or that their drawing could not be improved in Thus part of the process of drawing which helps the evolution of
several ways, or that it had reached its highest level. Zandra Rhodes’ work is the rigour of sustained drawing – such as the
And of course there is always a ruler if you do need to draw a straight cabbage or stinging nettle in their detailed, life-sized and particular ob-
line. It is via the ruler that we learn much of the information we need servations. Another vital element is practice. Like practicing the piano,
about perspective, scale and proportion in order to achieve a recogni- it gets better. The use of sketch books is a normal activity for many
sable likeness to a subject. The ruler is not used to draw the lines; it artists and designers. Not as one clean page after the other in which to
is held and used as a guide, a guide for the operation of the eye and record holiday locations from a café table or sleepy observations of the
the hand. To quote Peter Barber of the British Library ‘You should be cat on the mat, but as a way of thinking ‘out loud’ and making thoughts
suspicious when you see a straight line on a map’.1 If even a ruler is only on paper. The artist or designers sketch book will include writings, ad-
a guide rather than a template, ditions of collage or paint, shopping
what does the process of drawing lists, doodles, scribbles from phone
really involve? Daisies, 1992 conversations. The drawings made
By Zandra Rhodes
Few artists and designers in the sketch book undergo devel-
have drawing as their sole prac- opment until moving out from the
tice, it is a part of it, and for many sketch book to the next stage in the
a very important part. It is not creation of something new. Practice
the finished piece of work that in this form, as regular and pro-
makes the drawing; it is the pro- gressive working through ideas, not
cess which leads to it. In Drawing only helps the drawing improve, it
– The Process, Zandra Rhodes, helps the maker see what they are
the celebrated fashion and tex- looking at.
tiles artist designer famed in par- Zandra Rhodes uses sketch
ticular for her contribution to the books all the time, and through
creation of Punk, comments that keeping these, has at her elbow the
she wishes that she had time to ‘history’ of her creative life. Here
draw everyday, and that she does you can see from their early stages
draw every day while on holiday the evolution of now famous pat-
or working away from her busy terns and designs for fabrics and
studio.2 She also has in a promi- entire collections. Single ‘snap shot’
nent position in her home (above drawings in sketch books offer new
the Fashion and Textile Museum insights into shapes, dimensions
in Bermondsey) drawings of a and interpretations of the everyday,

 | intellect quarterly
07 ART&DESIGN»
FURTHER INFO. ON INTELLECT BOOKS & JOURNALS: WWW.INTELLECTBOOKS.COM

provide rich pickings for development of ideas. Here we ‘FEW ARTISTS AND DESIGNERS HAVE
can see drawings of real places, living plants, buildings or
rocks, they ‘grow’ as they are drawn over and over again DRAWING AS THEIR SOLE PRACTICE,
until reaching the point where they leave the page and
enter the studio tables for enlargement, reworking and
IT IS A PART OF IT, AND FOR MANY A
eventual production. VERY IMPORTANT PART.’
John Vernon Lord, a traditional illustrator and highly
respected educationalist in illustration in the United Below: Tiny Zen Garden, Kyoto, 1993
Bottom: Austria, 1993
Kingdom describes drawing as being… ‘Visual ideas Both by Zandra Rhodes
about form and space, about lightness and darkness...
drawings have a lot to do with trying to make sense of
the world as we know it and what we have seen, thought
about, or remembered’.3 Each and every drawing that
is made has a different purpose – compare an IKEA
diagram to a Leonardo cartoon, or a page from Zandra
Rhodes’ sketch book to an architects plan. This differ-
ence of purpose is also applied to each drawing made
by any individual. From process to purpose is not such
a long journey in drawing, it meanders through practice
and perseverance, dashes through inspiration and ex-
pression and will lead to the destination, be it a design
for a coat, a car, a table lamp or a piece of art work to ab-
sorb at leisure. The artist and designer need the journey,
and there are no short cuts. {

Leo Duff is Leader of Drawing as Process Research

at Kingston University, Faculty of Art, Design &
Architecture.

1. Davies, J. & Duff, L. (2005) (Eds.),

Drawing – The Process, Bristol: Intellect, p. 94.
2. Ibid., p.128.
3. Ibid., p.30.

Drawing -
The Process
Edited by Jo Davies & Leo Duff
£14.95/$29.95
A collection of papers,
theories and interviews
reflecting a wide range of
approaches to the process of
drawing. Available now.

intellect quarterly | 7
08 Q&A»RACHEL MASON
FURTHER INFO. ON INTELLECT BOOKS & JOURNALS: WWW.INTELLECTBOOKS.COM

THE EDUCATION THROUGH ART EDITOR TALKS TO IQ

What brought you to propose this

journal specifically?
This is something I have always ‘WE ARE
wanted to do for InSEA. I have
been a member since 1981 and
KEEN TO
find the truly international forum DEVELOP
it offers very stimulating, socially
and professionally. The members
IMAGE
really do come from all over the BASED
world. Much of what the society
does is ephemeral, however – like TEXTS BE
conferences: new members who CAUSE THIS
cannot go to conferences need
something more concrete in IS MORE
return for their membership. REPRESEN
Another issue is that provision of
and discourse about art education TATIVE OF
is very varied internationally and
most of it that gets into journals
WHAT THE
is Anglo (European and North FIELD IS
American). There are exciting
and different things happening ABOUT...’
in many other places. There are
educational reasons as well – to
improve and extend discourse
about and within the profession.

How do you feel the reader will see its

unique qualities?
I hope they will respond favour-
ably to its diverse international
focus (the aim is for each paper
in an issue to come from a dif-
ferent country etc.), and see it
as a place for young authors with
new ideas to publish (not the
same ones who dominate writing
about the field everywhere else).
The focus on education through
art rather than in art is different
from other art education journals,
as is broadening the concept of
teaching and learning to reach
beyond the school curriculum.
We are keen to develop image-
based texts because this is more
representative of what the field is
about, but these must have edu-
cational intentions underpinning
them that are clearly explicated.
What else are you working on at
present?
Have just co-edited a book with
Larry O’ Farrell called Issues in
Arts Education in Latin America,
published by Queens University.
I am now co-editing a second
book in the series on African art
education with Elspeth Court. I
am doing a funded project that
is reviewing research on cultural
learning and art – asking how
art education contributes to the
formation of cultural identity and
understanding others. I am kept
busy with doctoral students from
all over the world at my Centre
for Art Education and Interna-
tional Research: they are mostly
researching multi-cultural, cross-
cultural and international issues
in art education.
Tell us about the best stage, screen or
television performance you have seen
in the last twelve months.
My taste is eclectic!! A concert by
primary-age students in Beijing
in December 2004 where they
played traditional musical instru-
ments I had never seen before
both skilfully and amazingly well.
As well as their skilfulness I was
amazed by their lack of interest in
audience response and applause.
I always like watching Six Foot
Under on TV: the black humour,
I guess, reminds me not to take
life – or death – too seriously,
and it is courageous in the way it
explores controversial social is-
sues. Edward Hopper at the Tate
Modern. His paintings have influ-
enced the way I and lots of others
see the American landscape
profoundly and the treatment of
light in his work is amazing. {

 | intellect quarterly
 NEW FOR NEW FOR
2005
£30 Individual subscription
2005
£30 Individual subscription
intellect journals
Education
through Art
ISSN 1743-5234
3 numbers/volume
The International Journal of
Education through Art is a new
English language journal that
promotes relationships between
the two disciplines. The journal
comprises refereed texts in the form
of critical essays, articles, exhibition
reviews and image-text features.
The journal provides a platform for
those who wish to question and
evaluate the ways in which art is
produced, disseminated and interpreted
across a diverse range of educational
contexts through debates on areas
such as art, craft and design education,
formal and informal education contexts,
and pedagogy. Policy and practice,
research, comparative education, and
transcultural issues are all considered
within the journal’s mission to raise
debates in these areas.
NEW FOR
2005
£30 Individual subscription
Media and
Cultural Politics
ISSN 1740-8296
3 numbers/volume
The International Journal of Media
and Cultural Politics publishes
work that directly addresses 'real
world' affairs, relating different
cultures and societies and aiming to
bridge the gap between theoretical/
abstract knowledge and cultural and
social practice.
The journal recognises the importance
of issues that cut across cultures and
nations in the domain of media and
communication, and seeks out innovative
accounts that originate from both
metropolitan and non-metropolitan cultural
locations. There is an understanding of
the need to remain highly attuned to
the politics of international and 'glocal'
communication and cultural processes,
while aiming to respond to real life events
by bridging the (perceptual) gap between
theory and practice.
Performance Arts
and Digital Media
ISSN 1479-4713
3 numbers/volume
The International Journal of
Performance Arts and Digital
Media is a new interdisciplinary
publication drawing contributions
from researchers and practitioners
placed at the rapidly developing
interface of new technologies with
performance arts.
The broad range of topics includes
cultural mediatization, live performance
with interactive systems, and motion
capture technologies, as well as
audience-performer-new media and
interactive performance installations
among many others. The journal is
for lecturers, researchers, students,
practitioners and educators in music,
theatre and dance and performance
as well as researchers and software
developers with an interest in the
performance arts.
10 FEATURE»FILM
SONG IN CINEMA | VISION & VERITÉ: DOCUMENTARY FILMS 19

SHOOTING
BLANKS
JEFF SMITH REVEALS THE MANY
LAYERS OF MEANING FOUND BY
THE USE OF ‘LIVE AND LET DIE’ IN
THE FILM GROSSE POINTE BLANK

 | intellect quarterly
11 FEATURE»FILM
FILM INTERNATIONAL 22 | CRASH AND THE CITY 24
When you were young and your heart was an open book,
You used to say ‘live and let live’
(You know you did, you know you did, you know you did)
But if this ever-changing world in which we’re living
Makes you give in and cry,
Say ‘Live and Let Die’
T
he use of ‘Live and Let Die’ in Grosse Pointe Blank is almost
everything that pop music should be in a Hollywood film: clev-
er, ironic, and rich in its textual and intertextual implications.
Unlike many pop songs in Hollywood films, which are used to make a
simple point about character or setting, ‘Live and Let Die’ functions
here at several different levels simultaneously. In its immediate narra-
tive context, the song conveys the titular hero Martin Blank’s rising an-
ger at learning that his family abode has disappeared. At a much broader
level, however, the song also reinforces the film’s satiric treatment of
commodity culture and competition within corporate capitalism. And
at still another level, the song intertextually links Blank with the James
Bond series, a group of films which provide an implicit contrast between
John Cusack’s verbose, self-abnegating protagonist and the suave, but
deadly English hero.
At the outset, it is worth noting that the Guns N’ Roses record-
ing in this scene fulfills one of the most basic functions of film music,
namely signifying a character’s emotions and point of view. The overall
arc of the music mirrors the growing anger and confusion experienced
by Blank during this scene. As instruments are added to the simple
piano accompaniment that begins the song, the music swells to suggest
this increase in emotional intensity. The instrumental break further re-
inforces Blank’s decision to take action
through the change to a faster tempo and ‘IN THE SAME WAY
the arrangement’s emphasis on Slash’s
heavily distorted guitar melodies. In this THAT THE ROUGHNESS
sense, the film provides a means of reori- AND REBELLIOUSNESS
enting the basic sounds of heavy metal by
situating them within a specific narrative OF AXL ROSE HAS
context. Broadly speaking, the wailing
guitars, thudding backbeats, and thick
BEEN DEFANGED AND
instrumental textures of heavy metal, RESITUATED WITHIN AN
which semiotically connote a mixture of
rage, lust, desire, and hope, are directed
AURAL ENVIRONMENT OF
toward a more particular narrative pur- CONSUMERISM, BLANK’S
pose here, the communication of Martin
Blank’s emotional turmoil. CHILDHOOD HAS BEEN
While the music’s signification of PHYSICALLY ERASED TO
emotion is quite conventional, its appar-
ent shift from score to source music is MAKE WAY FOR BEER,
not. At least initially, the sequence holds
out the possibility that ‘Live and Let Die’
SODA, CIGARETTES, AND
is diegetically motivated as music ema- MICROWAVE BURRITOS.’
nating from Blank’s car radio. After all, the audience has been primed to
expect this from earlier sequences of Blank in his car. For example, an
aerial shot of Blank arriving in Grosse Pointe is accompanied by the Vio-
lent Femmes’ ‘Blister in the Sun’. As is the case with ‘Live and Let Die’,
the Femmes’ tune is used as a sound bridge that begins during the pre-
vious sequence, but is subsequently revealed to be source music when
Blank pops the tape out of his car stereo. Any expectation that the Guns
N’ Roses recording would be handled in a similar fashion is dispelled
when Blank exits the car and starts walking toward the store. The mu-
sic’s status as underscore is further secured by the music’s swell during
Axl Rose’s intonation of the song’s title, a device that fills the space of
the soundtrack and eliminates any competing ambient sounds.
As Blank enters the Ultimart, however, the music abruptly shifts
registers from non-diegetic to diegetic. The easy listening version of
the tune cleverly picks up the last musical phrase heard in the Guns
N’ Roses recording, a technique borrowed from the opening of Rob-
ert Altman’s The Long Goodbye (1973). In that film, Altman moves
back and forth between three different recordings of the title song, all
of them diegetically motivated. Armitage’s deployment of this device,
however, adds a filigree not present in the Altman film. By moving from
non-diegetic to diegetic, from Guns N’ Roses to Muzak, Armitage uses
the music in a manner that replicates the immediate experience of his
nettled hero. The shift from the bombastic style of Guns N’ Roses to
the homogenized, sweet instrumental sounds of Adam Fields paral-
lels the hero’s experience in which the site of his nostalgia has been
converted to a shrine for commodity culture. In the same way that the
roughness and rebelliousness of Axl Rose has been defanged and resit-
uated within an aural environment of consumerism, Blank’s childhood
has been physically erased to make way
for beer, soda, cigarettes, and microwave
burritos. As Blank puts it during a brief
call to Dr Oatman, his psychiatrist: ‘You
can never go home again, Oatman, but I
guess you can shop there’.
The song’s title, ‘Live and Let Die’,
actually amplifies this dimension of con-
sumer capitalism through its apparent
reference to the world of hired killers
depicted in the film. Beyond the obvi-
ous parallel between killing and dying,
the title serves as an apt reference to
the cutthroat environment that these hit
men inhabit. Indeed, the place of hired
killers within the global economy is a
central conceit of the film, one explored
in the film’s central subplot involving
Grocer’s efforts to form a hit man col-
lective.
The need for such an organization
intellect quarterly | 11
12 FEATURE»FILM
“A GOOD FILM SCRIPT SHOULD BE ABLE TO DO COMPLETELY WITHOUT DIALOGUE.”

is established within the film’s opening sequence during which Blank rate marketing strategies. The aforementioned stylistic shift from heavy
assassinates a rival hit man disguised as a bicycle messenger. Although metal to easy listening serves as a neat reminder that contemporary
Blank’s action was ostensibly taken to protect an unnamed man and his consumer culture depends on marketing strategies that frequently seek
bodyguard from the messenger, it proves to be fruitless when Grocer the lowest common denominator in an effort to create unthreatening
(Dan Aykroyd) guns down the two men immediately after Blank has and impersonal shopping environments.
completed his assignment. In a brief meeting afterward, Grocer points Besides refining the meaning of the song’s title phrase, its inclusion
out the obvious wastefulness involved in having three different assas- in Grosse Pointe Blank also hints at certain parallels between Blank and
sins involved in a single assignment. Noting that the fall of the Berlin Bond, between the modern hit man comedy and the classic Cold War
Wall and the breakup of the Soviet Union has flooded the market with espionage series. Indeed, the telephone byplay between Blank and Mar-
suppliers, Grocer suggests that Blank join him in creating a union or cella is strongly reminiscent of the flirtatious dialogues between Bond
trade association of hit men in order to reduce competition for assign- and Moneypenny throughout the 007 series. Likewise, in another scene
ments and thereby increase the asking early in the film, Blank attempts to kill a
price for each job. The analogy between ‘AS BLANK PUTS IT target by slowly dripping poison down a
murder and capitalism is elaborated fur- thread from above such that it falls into
ther when Marcella mockingly suggests DURING A BRIEF CALL the open mouth of his unsuspecting and
that Blank attend his high school reunion TO DR. OATMAN, HIS sleeping victim. The mise en scène and
in order to network and establish new ac- editing of this sequence will undoubtedly
counts. And during the film’s final gun PSYCHIATRIST: “YOU CAN seem familiar to fans of Dr No, in which
battle, when Blank and Grocer team up NEVER GO HOME AGAIN, an assassin sends a poisonous spider
to kill a team of National Security Agents, down a rope so that it will sting and kill a
the latter coyly remarks on the pairs un- OATMAN, BUT I GUESS sleeping James Bond. Finally, the violent
easy alliance by quoting the most famous duel to the death between Blank and a
phrase from The Communist Manifesto:
YOU CAN SHOP THERE.”’ laconic, vaguely foreign-looking thug is
‘Workers of the world unite’. evocative of similar confrontations from
This broader theme of competition the Bond series. Think, for example, of
versus cooperation, thus, impacts our the memorable fight scenes between
understanding of ‘Live and Let Die’ 007 and such villains as Red Grant in
within its narrative context. In the Bond From Russia With Love (1963), Oddjob
film, the title song refers to the brutality in Goldfinger (1964), Jaws in The Spy
and ruthlessness of both Bond and Dr Who Loved Me (1977), and Gobinda in
Kananga (Yaphet Kotto); in Grosse Pointe Octopussy (1981).
Blank, the narrative linkage of crime and These parallels, however, are used
capitalism gives the title an additional Grosse Pointe Blank to establish a more important contrast
layer of meaning by implicitly referring Director: George Armitage, 1997
© Caravan Pictures
between Bond and Blank. Much of the
to the Social Darwinist aspects of a pure humour of Grosse Pointe Blank comes
market economy. Here again, the music’s from its domestication of its ruthless
shift from non-diegetic song to diegeti- and lethal hero. Blank, like Bond, may
cally motivated Muzak reinforces this have ‘state of the art’ weaponry, wear
larger dimension of the film. Within the finely tailored suits, and drive expensive
shift, the rockist authenticity of Guns N’ cars, but unlike Bond, he must handle
Roses is transformed into a pure com- the day-to-day operations of his en-
modity, a lite version of the song used terprise and, even more surprisingly,
to encourage the impulse purchases of he comes ‘from somewhere’ to use
soft drinks, magazines, and candy bars. Marcella’s phrase. Thus, Grosse Pointe
The unseen patrons of the Ultimart are, Blank wrings humour from two differ-
thus, implicated in this Social Darwin- ent strategies through which it recon-
ist ethic as the target market that hears textualizes the familiar Bond persona.
the entreaties of in store Muzak and falls On the one hand, the film gets chuckles
prey to the soft-sell approach of corpo- out of several seemingly ordinary, even

 | intellect quarterly
13 FEATURE»FILM
“IMITATION, IF NOBLE & GENERAL, INSURES THE BEST HOPE OF ORIGINALITY.”

jejune, details of what it takes to run a murder-for-hire operation as a
small business. This motif is established in the film’s first shot, which
shows Blank using eyewash just before an important hit. Although the
juxtaposition initially seems jarring and inappropriate, it springs from
a certain quotidian logic that makes intuitive sense. When lining up a
target in a rifle scope, one doesn’t want to be bothered by redness, blur-
riness, or tearing in one’s eyes. Blank’s use of eyewash, thus, becomes
a mark of his consummate preparation and professionalism as we see
him take steps to ensure that there will be no physical impairment of his
ability to complete the task. Humour also arises from several more of
these quotidian details as we hear Blank order necessary work supplies,
such as ammunition, and are privy to his
arrangements with Marcella to pick up ‘HOW WOULD BOND
his dry cleaning and feed his cat. (Surely,
one never thinks of James Bond having INTERACT WITH HIS OLD
to pick up dry cleaning.) ACQUAINTANCES, WHO
On the other hand, Blank also earns
chortles from its classic ‘fish out of wa- NOW LEAD PERFECTLY
ter’ premise in which a highly skilled, ORDINARY LIVES AS
well-trained professional killer returns
to the place of his origins, an upper mid- PARENTS, TEACHERS,
dle-class suburb in Detroit. As Marcella
puts it, ‘I find it amusing that you came
REAL ESTATE AGENTS, CAR
from somewhere,’ and by returning SALESMEN, AND HOME
Blank to his hometown, the film high-
lights the cultural clash between Blank
SECURITY GUARDS?’
and his former friends and colleagues.
Indeed, Blank’s life is so at odds with the
social norms and life experience of his
suburban past that he is unable to answer
even simple questions about his profes-
sion. As he prepares to go with Debbie
to his high school reunion, Blank prac- Grosse Pointe Blank
tices his party patter, and tries out sev- Director: George Armitage, 1997
© Caravan Pictures
eral alternative career paths in an effort
to craft a plausible cover story for him-
self. Through an almost Freudian chain
of associations, Blank initially describes
himself as a pet psychiatrist, but goes on
to say that he sells couch insurance, that
he test markets positive thinking, and
that he leads a weekend men’s group
specializing in ritual killings. By the end
of his imagined discourse, Blank is left
muttering the brutal truth about him-
self: ‘I’m not married, I don’t have any
kids, and I’d blow your head off if some-
one paid me enough.’ More often than
not, however, Blank simply tells people
the truth about his profession knowing that the truth is so unbelievable
that those asking will assume he is either joking or mocking them. For
example, when Blank says he is a professional killer to Debbie’s father,
the latter presumes Blank is ribbing him and replies dryly that murder
is a ‘growth industry.’
By referencing Bond through ‘Live and Let Die’, Blank implicitly
positions itself as a kind of domesticated version of the 007 persona.
Although the film clearly operates within its own narrative universe, it
also engages in a kind of imaginative speculation that uses Blank as a cy-
pher to explore a series of ‘What if...’ questions about Bond’s cinematic
image. What if Bond came from a perfectly ordinary, suburban, middle-
class background? What if Bond had a
high school girlfriend for whom he still
had feelings? How would Bond interact
with his old acquaintances, who now lead
perfectly ordinary lives as parents, teach-
ers, real estate agents, car salesmen, and
home security guards? What if, instead
of being a government spy with a license
to kill, Bond had been a husband and
father? The latter point is given special
force in the film during a scene in which
Blank is given a classmate’s child. As
Blank awkwardly holds the baby, direc-
tor George Armitage underlines their
unspoken interaction through a series
of brief close-ups that show Blank look-
ing at the child’s wide eyes and innocent
face. Like Bond, Blank has money, fine
clothes, expensive cars, and neat gad-
getry, but also like Bond, he has never
experienced the simple joys of marriage
and fatherhood.
Coming just after Blank’s conver-
sation with an old teacher, the opening
verse of ‘Live and Let Die’ neatly cap-
tures the sense of personal crisis brought
on by Blank’s high school reunion:
When you were young and your
heart was an open book,
You used to say ‘live and let live’
(You know you did, you know you
did, you know you did)
But if this ever-changing world in
which we’re living
Makes you give in and cry,
Say ‘Live and Let Die’

intellect quarterly | 13
14 FEATURE»FILM
FURTHER INFO. ON INTELLECT BOOKS & JOURNALS: WWW.INTELLECTBOOKS.COM

Like the narratee of ‘Live and Let ‘LIKE THE

Die’, Blank’s youthful hopes and op- FURTHER READING
timism have given way to a sense of NARRATEE OF Pop Fiction:
embitterment and lost opportunity. In
LIVE AND LET The Song in
returning to his hometown, Blank begins Cinema
to question his values, particularly his DIE, BLANK’S Edited by Steve Lannin
materialism and solipsism. Here again, and Matthew Caley
whereas in the Bond film, the song seems
YOUTHFUL HOPES £14.95/$29.95
to be a simple reference to its hero’s AND OPTIMISM Pop Fiction’s unique
ruthlessness, it takes on new meanings essays individually
within Grosse Pointe Blank through its HAVE GIVEN WAY consider one song
implicit reference to Blank’s sense of loss within a cinematic
TO A SENSE OF context. Unlike previous collected volumes about
and nostalgia as he searches for an irre-
coverable past signified in the film by his EMBITTERMENT pop music in film where a generalised approach has
absent childhood home. been adopted, it offers instead a close examination
In sum, although it is heard in the film
AND LOST of these two most pervasive and significant media in
for barely more than a couple of minutes, OPPORTUNITY.’ contemporary culture. Within this tight structure,
‘Live and Let Die’ enriches the meanings an international range of authorities from various
of Grosse Pointe Blank at several levels backgrounds, provide fresh insights into these
through its textual and intertextual op- audio-visual constructions. Innovative yet accessible,
erations. At one level, the cue plays with this exciting document gives students, lecturers and
notions of sound space by juxtaposing an researchers a diverse set of models with which to
apparently non-diegetic recording of the investigate the ‘ideogram’ of image/text/sound – a
song by Guns N’ Roses with a diegetically relationship which sits at the heart of most cultural
motivated ‘easy listening’ version of the production. Available now.
song by Adam Fields. Besides manipulat-
ing the spectator’s perception of sound
space, though, the shift from non-dieget-
ic to diegetic, from rock to Muzak, also
encapsulates the import of this narrative
moment by providing an aural parallel Grosse Pointe Blank
to the way in which Blank’s childhood Director: George Armitage, 1997
© Caravan Pictures
home has been converted to a capitalist
shrine to consumer convenience. Finally,
through its intertextual reference to the
James Bond film of the same name, ‘Live
and Let Die’ also establishes a series of
comparisons and contrasts between Bond
as the quintessential British agent and
Blank as his neurotic American counter-
part. In an almost perfect example of in-
tertextual symbiosis, Grosse Pointe Blank
gives new meaning to the famous Paul
McCartney song while the song itself ex-
tends and elaborates Blank’s central nar-
rative conceit. If only all pop songs in film
carried this much emotional weight and
abundance of meaning. {

 | intellect quarterly
 
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Royal West of England Academy

23 October - 10 December
153 Autumn Exhibition
A vibrant exhibition of over 500 works
of painting, print-making, sculpture and
architecture. This popular annual show
comprises an eclectic mix of styles,
media and subjects.
Queen’s Road Clifton Bristol
0117 973 5129
10.00-5.30 Mon-Sat
2.00-5.00 Sunday
Adults £3.00
concession £2.00
Andrew Stonyer ‘Time within the Hour’

children free
Free admission to shows
in the New Galler y
www.rwa.org.uk

Visual Arts
19 FEATURE»FILM
“WE LIVE IN A WORLD OF ILLUSION. THE GREAT TASK IN LIFE IS TO FIND REALITY.”

VISION & VERITÉ

BUT WHAT’S BRINGING DOCUMENTARY
TO A CINEMA NEAR YOU? BY ROSIE GREATOREX

N
ot long ago, I sat in a packed room with no air conditioning and
seats in cramped rows, to watch a no-budget non-fiction film
about the life of a small, impoverished Peruvian family. Actu-
ally, I hadn’t just gatecrashed my little sister’s human geography GCSE
classroom (although the material wouldn’t have been out of place) – I
had queued for almost an hour and paid £6 for the privilege of watching
the film, Compadré, because I was at the ICA’s Human Rights Interna-
tional Film Festival. When the film was over, I dried my eyes as I left the
auditorium, and went to have some over-priced pasta in Covent Garden.
This experience will be familiar to many of you, if the rise and rise of
documentary cinema, even in Bath, is anything to go by.
In the last few years, at the Little Theatre Cinema alone, you may
have had the good fortune to see one or more of a huge number of
quality documentary films: Bowling for Columbine, 2002 (gun culture
in the US), Etre et Avoir, 2003 (school children in rural France), Fog
of War, 2003 (high-level war mongering in the US), Spellbound, 2003
(geeky spelling-bee kids), Capturing the
Friedmans, 2003 (alleged paedophilia
in a typical American family), Touching
the Void, 2003 (fool-hardy Brits escap-
ing mountain-related certain death after
rope-cutting incident), Super Size Me
2004 (Maccy – D related illness), The
Corporation, 2004 (global capitalism as Capturing The Friedmans
Director: Andrew Jarecki, 2003
dominant ideology), and, of course the
biggie, in terms of box-office revenue
(and newspaper column inches) Fahr-
enheit 9/11, 2004 (highly suspect machi-
nations of the Bush empire in the run
up to the Iraq invasion). I haven’t even
mentioned any of the titles in the docu-
mentary strand of the excellent Bath
Film Festival. And any film festival worth
it’s goodie bags (OK, the BFF don’t do
goodie bags) has a doc’s section anyway,
these days – that is, if it isn’t a documen-
tary film festival.
Today, documentary cinema is big
business. And you know the big studios
and distributors have seen gold in them there hills when a subsidiary of
Disney has been persuaded to distribute a documentary undermining
the whole US political system, not to mention the monkey at the top.
Even the sluggish and under-resourced UK Film Council has backed
documentary making here in the UK; it was on to a winner with director
Kevin McDonald? – Touching the Void took a record £1.68m at British
box offices. The story of two adventurers struggling against the ele-
ments on the Peruvian Andes (shot partly in High Definition) beat Mi-
chael Moore’s investigation into the proliferation of pre-adolescent gun
crime (Bowling for Columbine) to the top spot of best selling British
documentary 2004. Never-the-less, it has been that rotund champion
of leftist politics, with his robust, tabloid-style journalism – whether
you’re enamoured of his film-making or not – who has really opened the
flood-gates for the low-budget documentaries making it out of the festi-
val circuit and onto a screen near you in the early twenty-first century.
Cinema’s traditional realm of fantasy, of suspension of disbelief
and acceptance of unreality, seems far
removed from the experience of watch-
ing a documentary feature. Paying to
see a feature length factual film would
seem to give you more in common with
the pre-cinema Victorians than the rest
of the popcorn-munching population.
They too lined the pews (of their lo-
cal churches) to hear a rollicking good
sermon, and have their moral sensibili-
ties and social consciences aroused. In
contrast, the cinema experience has al-
ways been about escapism and spectacle
– ever since the days of silent films ap-
pearing as crowd-pleasing novelties in
music hall acts – and, unlike the small
domestic screen (the cinema’s main
rival for decades now), it’s demanding.
Compare the interactivity, the pause-it-
while-I-get-some-toast-ability of DVD,
to going to the cinema. You’ll sit in that
big dark, space in the silent company
of strangers and that big old flickering

intellect quarterly | 19
20 FEATURE»FILM
“I LOVE ACTING. IT IS SO MUCH MORE REAL THAN LIFE.”
‘CINEMA’S TRADITIONAL REALM OF FANTASY
SEEMS FAR REMOVED FROM THE EXPERIENCE
OF WATCHING A DOCUMENTARY FEATURE.’
screen demands from you what it has from over a century of audiences,
with their upturned faces and craning necks – your undivided attention
(apart from that melting packet of Revels and the flat Pepsi, of course).
March 1895, the dawn of cinema. Louis Lumiere demonstrated his
new invention, the cinématographe. Film theorist Erik Barnouw later
commented, in a charmingly concise and academic way, ‘The familiar,
seen anew in this way, brought astonishment’. The film Erik was talking
about was La Sortie des Usines – a reel of film showing Lumiere’s own
workers leaving the factory. What amazed the audiences in the Vaude-
villes and Nickelodeons was the familiar world being replayed to them
in moving image. It would take a long time before that flickering picture
became so commonplace that the narrative could take the foreground.
Since this first snippet of real-life on film (and what cinephile doesn’t
get goosebumps thinking about the first time those working men filed
nonchalantly across the screen) documentary has been integral to the
development of cinema.
Look no further than the French
New Wave. In fact, watch any sixties Eu-
ropean Art film with those louche, beau-
tiful teenagers lounging around doing
nothing and remember the 1000s of feet
of wasted film of kids goofing about – on
the cutting room floors of humble docu-
Super Size Me
mentary makers everywhere. In fact, the Director: Morgan Spurlock, 2004
mighty Jean-Luc Godard’s first short
film was a doc, Operation Beton, (1954)
– he said he never left behind those el-
ements of the documentary form. That
movement’s term ‘Cinema Verité’,
coined in 1960, is a tribute to the soviet
documentary film-maker Dziga Vertov –
it’s a direct translation of his term ‘Kino
Pravda’.
It has often been the challenges and
limitations peculiar to the documentary
form that have pushed forward innova-
tions in the industry as a whole, and not
just in terms of style. Working flexibly on
location (it took a long time for Holly-
 | intellect quarterly
wood to follow, and cautiously leave the studio behind) in unpredictable
and uncontrolled conditions, under a restricted budget and timescale,
and with a necessity for rigorous research and ground work in pre-pro-
duction, it is hardly surprising that it has been documentary makers
who have innovated first, and best. In the fifties, for example, Auricon
16mm 100ft cameras had their tops sheared off by anthropological
camera crews filming on location, so that they could take up to 400ft of
film, and the natural flow of the interview process not be interrupted.
Only last summer, at the UK opening of The Motorcycle Diaries I heard
director Walter Salles praising the 16mm camera that allowed him to
shoot non-actors with a camera that was not so bulky as to be intrusive
or inhibit natural behaviour. The film, like countless others, has been
heavily influenced by documentary style, and technique. Looking to the
future, the high-definition camera techniques successfully pioneered
in Touching The Void will eventually change the way fiction films are
made forever.
The Little Theatre hasn’t shown
this much documentary cinema since
World War Two – when it was running
as a news cinema with the same reel of
footage and stilted voice-over report-
age being repeated several times a day
and changed two or three times a week.
Twenty, even ten years ago, documentary
was stuff of serious television – a requi-
site part of ‘worthy’ broadcast schedul-
ing – it didn’t play at the cinema, because
you had Panorama (or some hour-long
well-researched programme featuring
John Pilger) instead.
Why the move away from television,
and back to cinema? It’s hard to resist
the simplistic historical parallel. During
the war, in the best interests of war-time
public moral, the BBC were rationing
(and heavily censoring) the news reports
from the front, so the cinema became a
vital source of information for the com-
munity. It would be stretching the point
21 FEATURE»FILM
“REAL LIFE SEEMS TO HAVE NO PLOT.”

‘IT IS TO THE CREDIT OF THE CINEMA GOING

POPULATION THAT THEY ARE PREPARED
TO PAY MORE THAN A FIVER A GO FOR
INFORMATION AND OPINIONS THAT THEIR
LICENSE FEE NO LONGER AFFORDS THEM.’

to suggest that the cheap, crappy state of current affairs television pro-
gramming is a government ploy to pull the fluffy stuff over our collective
peepers, but when the six o’clock news is indistinguishable from genius
spoof The Day Today, is it surprising that we get the feeling we’re miss-
ing something? Documentary has an historical affiliation to the politi-
cal Left – with the dishonourable exception of Nationalist propaganda
films. So at a time when civil liberties are being curtailed in response to
a nebulous threat to national security (illegal wars do tend to make us all
feel a little jumpy, mind), it is to the credit of the cinema going popula-
tion that they are prepared to pay more than a fiver a go for information
and opinions that their license fee no longer affords them.
Television schedules are currently propped up by a swathe of sala-
cious, cheaply-made Reality TV shows. I’m Americas Most Wanted Ce-
lebrity Brother Swap? Get me out of here. But nothing sells like a freak
show. Do you honestly watch Wife Swap because it’s an interesting
social experiment, or to laugh at overweight overworked track-suited
wives arguing with weird uptight snooty husbands? Ironically it’s this
ultra-conservative television programming which has ultimately paved
the way for documentary to move into the mainstream. If you can watch
Bez zoned out on a sofa for hours on end, wandering in and out of a
grainy shot – you’ll be able to watch a foreign language documentary
no problem. {

Rosie Greatorex works in London for Picturehouse Cinemas.

FURTHER READING
The Spectacle of the Real:
From Hollywood to Reality TV
and Beyond
Edited by Geoff King | £19.95 / $39.95
‘A genuinely trans-disciplinary text that Top
Fog of War
provides a rich framework within which
Director: Errol Morris, 2003
to think about spectacle in the 21st Above
century.’ Available now. Spellbound
Director: Jeffrey Blitz, 2003

intellect quarterly | 21
22 FEATURE»FILM
“DRAMA IS LIFE WITH THE DULL BITS CUT OUT.”
Q&A
DANIEL
LINDVALL
PHOTO: MAGNUS ÖHNNER
What brought you to be involved
with the Film International journal?
I met Michael when I started off
as a Ph.D. student at Lund Uni-
versity in the mid-1990s. A couple
of years later, he took over as edi-
tor of what was then Filmhäftet,
and I believe I wrote a review for
the very first issue he edited back
in 1998 as well as a critical essay
on David Bordwell’s and Noël
Carroll’s book Post-theory for the
second. From then on, I’ve been
writing more or less regularly for
what was then Filmhäftet, and,
now Film International. When Mi-
chael introduced the Guest Editor
scheme, I was the first to take this
opportunity, putting together an
issue on questions of class which
was also the second issue of Film
International (2003:2). So when
the idea of forming an Editorial
Board came up it was natural that
I would volunteer to take part.
How do you feel the literature &
broader media, carrying work on
cinema have changed in the last ten
years?
 | intellect quarterly
It seems to me that cinema stud-
ies and intellectual thinking on
film culture has gone through
three stages over the post-war
period. First there was the au-
teur-phase which was all about
establishing cinema as a ‘true’ art
form and the study of it as a ‘se-
rious’ project. Though there was
something superficially rebellious
about studying films and writing
intellectually about them, this was
still a conservative project at heart. ‘I HOPE THAT OUR JOURNAL,
Then came the late sixties and the
seventies with their ‘apparatus’ FILM INTERNATIONAL, WILL
theories and Frankfurt School BE ABLE TO BRIDGE THE GAP
sociology. Ostensibly, this was a
materialist turn, bringing in soci- BETWEEN THE ACADEMY AND
ological and historical interests in THE OUTSIDE WORLD.’
film studies, but unfortunately it
became all theory and no fact, so
reality – social contexts – actually the theories of the seventies. Sud- think the time has come for film
disappeared before they’d arrived. denly audiences were all-powerful studies to achieve a balanced and
Making things even worse was the and the hierarchies turned upside dialectical relationship between
extremely elitist, one-sided, view down. However, as postmodern- fact and theory. This has to do
of (working class) audiences as ism dissolved the material foun- both with film studies having
passive and gullible. Thirdly, the dations of culture, it became as reached a certain maturity – a self
eighties and nineties saw the hey- incapable of dealing with the real confidence with what’s going on
day of postmodernism. Postmod- world as the ‘apparatus’ theories. in the outside world.
ernism tended to simply reverse Today I’m quietly optimistic. I
23 FEATURE»FILM
FURTHER INFO. ON INTELLECT BOOKS & JOURNALS: WWW.INTELLECTBOOKS.COM
‘WE NEED TO KEEP ASKING
SIMPLE QUESTIONS, LIKE WHO
GETS TO MAKE FILMS AND
WHO GETS TO BE REPRESENTED
ON THE SCREEN, AND HOW.’
With respect to these changes,
what are qualities that Film Interna-
tional brings to the cinema media?
I hope that we will be able to
bridge the gap between the acad-
emy and the outside world. That
we will include both presentations
of academic research written in an
accessible style, and good investi-
gative journalism alongside texts
written by those actually involved
with the creative process – wheth-
er in Hollywood or in the ‘indy’
media. We are looking to become
truly international rather than
‘western european’ or ‘transatlan-
tic’. I believe that it may well be
an advantage here that Film Inter-
national is based in a small, non-
anglophone country as this all but
makes it impossible for us to slide
into becoming a pseudo-national
journal. I also like to think of Film
International as a journal dealing
with moving images from a multi-
disciplinary perspective, not just a
‘film studies journal’.
What do you consider to be the
most important debates and discus-
sions that now need to take place
around cinema?
In many ways the most important
issues are the same as they always
were, informed by contemporary
historical circumstances. In the
light of both the ‘war on terror’ and
the consolidation of the distribu-
tion oligopoly, we need to look at all
types of censorship mechanisms –
public, corporate, self-censorship,
religious and community censor-
ship, and so on.
We need to keep asking simple
questions, like who gets to make
films and who gets to be repre-
sented on the screen, and how.
How does the process of globaliza-
tion affect the possibilities of self-
representation for those outside of
the Triad-countries, for instance?
And what new stereotypes are cre-
ated by contemporary political
and economic realities? (In Swe-
den today, a typical ‘pillar of the
community’ was recently allowed
to claim that ‘Serbs have been an
inherently evil people for the last
thousand years’ on national radio,
almost without any public reac-
tion. If he had been talking about
Jews, for instance, he would have
ended up in court.)
We also need to look critically at
new technologies, examine con-
tinuously how they are actually
put to use, without falling into ei-
ther of the naïve prejudices that
they must be either inherently
progressive and democratical, or
the opposite.
I would also like to see more of
reception studies to help cinema
studies take the discussion of how
films actually function beyond the
idealism of both the apparatus
theories of the seventies and the
postmodernism of the eighties
and nineties, and move it into the
arena of real social practice.
What are you and the rest of the
Film International editorial team
working on at present beyond Film
International?
I’m a freelance writer and am also
working on my Ph.D. thesis. The
same goes for Michael, who works
regularly as a film critic for a ma-
jor daily. Anna Arnman recently
completed her thesis, on Clive
Barker’s Hellraiser, and I believe
she is considering a book project
at the moment. Martin and Per
have both studied at Lund Uni-
versity also.
What do you consider to be the
best achievement you have wit-
nessed on screen in the last twelve
months?
A very difficult question. Noth-
ing very recent really jumps to my
mind. My first thought was Walter
Salles’s The Motorcycle Diaries,
though I suppose it’s slightly older
than twelve months by now. Any-
way, I was pleasantly surprised at
how this film managed to give a
very human portrait of Che, rather
than giving us either the pseudo-
divine super hero, or the com-
modified icon of a million branded
T-shirts (perhaps partly because
they did not choose an actor that
resembled Che that much). In-
stead of this, it became a kind of
toned down, reflective epic on
Latin America that felt very timely
considering contemporary devel-
opments (at least from an outsid-
er’s point of view). {
From January 2006 Intellect
will be publishing Film
International as a full colour
bimonthly magazine. To order a
free sample copy please e-mail:
info@intellectbooks.com
intellect quarterly | 23
24 FEATURE»FILM
“AMERICA IS NOT A MELTING POT. IT IS A SIZZLING CAULDRON.”
CRASH
AND
THE CITY
RACE & RAGE ON THE STREETS OF L.A. BY PAUL GORMLEY
T
he French philosopher Jean Baudril-
lard once wrote that ‘the American
city seems to have stepped right out
of the movies’ by which he meant that the
experience of visiting an American city itself
is one that is produced directly by experienc-
ing it at the cinema first. Any tourist who has
seen the steam rising from manhole covers in
New York as yellow cabs roll over them or have
dared to negotiate Los Angeles freeways or
have even stood by the Golden Gate Bridge in
San Francisco will know the feelings to which
Baudrillard is referring – a confusing mixture
of stored memory-images and bodily affect
that can leave the tourist reeling, such is the
intoxicating power of celluloid America.
Yet one of the biggest challenges facing
Hollywood narrative film in the recent years
has been producing the contemporary Ameri-
can city on screen. The fragmented milieus,
different ethnicities, myriad, disconnected
spaces and speed of the late twentieth and
twenty-first century city and urban cultures
do not lend themselves easily to traditional
modes of Hollywood storytelling and images,
concerned as they are with linear narratives,
chronological structures of cause and effect
and the actions of an individual hero or (less
often) heroine at the centre. The films of the
period of so-called Classical Hollywood cin-
ema tended to produce a homogenous space
where an individual could act and affect the
entire milieu of the city whether through the
 | intellect quarterly
Top
Officer Ryan (Matt Dillon) saves a reluctant
Christine (Thandie Newton) from the fire
Bottom
Cameron (Terrence Howard) makes a decision
criminal actions of James Cagney in classic
gangster films like The Public Enemy or the
skewed intentions of the hard-boiled cop and
detective of the more fragmented noir period.
However the most influential films of the
last 30 years have tended to eschew singular
linear plot lines and characters in favour of a
circular structure that plays with chronology
and have multiple characters and plotlines,
with dramatic centres dispersed throughout
rather than as culmination of the narrative.
Arguably Scorsese’s 1970s films such as Mean
Streets and Taxi Driver and Altman’s Nash-
ville have been most significant in this respect
– though the work of John Cassavetes in films
like Shadows influenced both these directors.
These films began to realize that the dream of
the American city as melting point was a fan-
tasy borne out of a repression of racial diversity
and rage.
More contemporary films have tended to
focus on Los Angeles as the city where this
fragmentation is most marked in contemporary
America. Films like Joel Schumacher’s Falling
Down, Tarantino’s Pulp Fiction, Altman’s own
Short Cuts and Paul Anderson’s Magnolia have
produced Los Angeles as a city where individ-
ual actions and causes and effects are localized
and often disconnected. Bubbling beneath (or
in Falling Down’s case over the top) the sur-
face of these films is the idea that the visibility
of ethnic diversity has fundamentally damaged
certain central tenets of the American dream
25 FEATURE»FILM
“LOS ANGELES SEVENTYTWO SUBURBS IN SEARCH OF A CITY.”
– most notably that the actions of an individual
are significant and have the power to produce a
profound effect on the milieu or community in
which that individual is situated.
Characters in these films tend to be ulti-
mately powerless in terms of intentionally hav-
ing a significant effect on the cinematic worlds
they inhabit – even if, as is the case with the
Michael Douglas character in Falling Down
(a latter-day relation to Travis Bickle in Taxi
Driver), they still have the psychotic fantasy of
recognizing and being recognized by the vari-
ous constituents of the modern American city.
Underlying this powerlessness, particularly in
Taxi Driver and Falling Down, is an often un-
‘CRASH EXPLICITLY LAYS BARE THE POLITICAL AND
HOLLYWOOD NARRATIVE FANTASY OF THE U.S.
CITY AS MELTING POT, WHERE THE ACTIONS OF
AN INDIVIDUAL CAN OVERCOME OBSTACLES AND
AFFECT THE ENTIRE WORLD OF THE FILM.’
spoken white racial rage demonstrated by Tra-
vis’ desire for a biblical rain to ‘clean the scum
off the streets’ and in Michael Douglas’ DFens
to ‘go home’ and resume his ‘all-American’
family life.
The recent American film release Crash,
directed and partly written by Paul Haggis, is
the latest attempt to put Los Angeles at its cen-
tre. Unlike most of the films mentioned above,
the question of race and ethnic division as the
cause for the diminishing of the powers of the
old American cinematic hero and his dream is
explicit in the various narrative strands of the
film and its moments of attempted cinematic
affect. The film opens with a dreamlike se-
quence where an African-American detective,
Graham Walters (Don Cheadle) in the after-
math of a car crash muses on the disconnected
and alienated experience of contemporary Los
Angeles. He notes that in New York City you
can walk around the city and brush into peo-
ple, but in Los Angeles you just drive around
and nobody touches you – until you crash into
them. This statement underlies the various
plotlines of the film where a multitude of char-
acters with different ethnicities and classes
come into violent conflict with each other in
various life-changing ways.
Indeed the film attempts to cover all classes
and ethnic bases in its narrative strands. Crash
begins at its narrative end with Walters and his
Mexican partner and lover, Ria (Jennifer Es-
posito), finding a man’s body by the side of the
road who eventually turns out to be Walter’s
missing brother (Larenz Tate). We then flash
back 24 hours to meet other characters includ-
ing an unhinged Iranian shopkeeper who in a
mood of post September 11 anxiety attempts
to buy a gun for protection and comes into
conflict with a Mexican locksmith. Two Afri-
can-American men (Tate and Chris Bridges)
debate the stereotyping of themselves as crim-
inals before hijacking the car of a district attor-
ney and his wife (Brendan Fraser and Sandra
Bullock). Finally a racist cop (Matt Dillon)
sexually harasses the wife of an affluent televi-
sion producer (Thandie Newton and Terrence
Howard) after pulling them over.
Throughout the action, the film brings to
boil the various racial paranoia and anxieties
that these encounters spark off and explicitly
lays bare the political and Hollywood narra-
tive fantasy of the American city as melting pot
where the actions of an individual can over-
come obstacles and affect the entire world of
the film. Perhaps unsurprisingly it is in the
conflict between African-American and white
American identities that the film is most suc-
cessful in laying bare the racialised fantasy of
the American dream and Hollywood narrative
aesthetics – unsurprising because this is the
conflict that has been at the heart of Ameri-
can cinema since the marginalisation of Afri-
can-American representation in film up to the
significant influence of the short-lived blax-
ploitation and hood films of the seventies and
nineties respectively.
The diminished power of white American
identity is most apparent in the storyline in-
volving Matt Dillon’s character, Ryan. In many
ways Ryan is the contemporary descendant of
American anti-heroes whose ability to act is
underpinned and undermined by their racial
rage. There are elements of Ethan Edwards
(The Searchers), Travis Bickle, and Dfens
in Ryan as he attempts to solve his problems
in the manner of an American ‘action-taker’,
culminating in the rescue of Thandie New-
ton from a burning car while
unable to repress his racial
rage. White paranoia around
racial difference, miscege-
nation and the loss of power
is embodied in all of these
characters and they all ex-
pose the fact these anxieties
and racial rage underpin the
action-taking individual of
the American dream and its cinematic coun-
terpart.
The African-American characters all ac-
cept this notion of a powerlessness to over-
come social and political obstacles, whether
it is the characters played by Thandie Newton
and Terrence Howard accepting that they can-
not single-handedly defeat the institutional-
ized racism they encounter, despite their class
privileges, or the black detective Graham Wal-
ters in bringing together his family and win-
ning their mother’s love. All these characters
accept a localized, negotiated and contingent
degree of power in the city and in this way
Crash is indebted to black aesthetics of ‘real-
ism’ as they are played out in the powerless-
ness of the characters in ‘hood films like the
Hughes Brothers’ Menace II Society (1993).
Indeed like many American urban films of the
1990s, Crash borrows its aesthetics of local
spaces within the city from the localized bor-
ders and tensions of the ‘hood as produced in
the ‘hood film.
The film is less convincing when it en-
intellect quarterly | 25
026FEATUREFILM
26 FILM»FEATURE
EXCLUSIVE INTERVIEW LIVING ALONE
FURTHER INFO. ON INTELLECT BOOKS & JOURNALS: WWW.INTELLECTBOOKS.COM
Above Dist. Attourney Richard Cabot (Brendan Fraser) calls home
‘IN TERMS OF CONTEMPORARY AMERICAN
FOREIGN POLICY THE CHARACTER OF
THE IRANIAN SHOPKEEPER IS PERHAPS
THE MOST DISTURBING, DEPICTED AS A
DERANGED, PARANOID INDIVIDUAL WHO
IS ONLY REDEEMED BY WHAT HE BELIEVES
IS A MYSTICAL ACT OF GOD.’
gages with more recent threats to the ques-
tion of American identity in the city, notably in
the case of the character of the Iranian shop-
keeper and the various Hispanic characters of
the film. In the case of the latter group all the
characters are ‘good’ and honourable, again at-
tempting to negotiate the fragmented city in a
‘realistic’ fashion, perhaps betraying the film’s
liberal sentiments at a time when white para-
noia around Los Angeles becoming a predomi-
nantly Hispanic city is at its height. In terms
of contemporary American foreign policy the
character of the Iranian shopkeeper is perhaps
the most disturbing, depicted as a deranged,
paranoid individual who is only redeemed by
what he believes is a mystical act of God. West-
ern media images of the Middle East as being
full of deranged and fanatical peoples are not
really challenged by this portrait, and the con-
temporary threat to the western city remains
at the door of this other in the overall affect
of the film.
Nevertheless the overall affect of Crash
does prolong the pertinence of Baudrillard’s
 | intellect quarterly
Above Detective Graham Walters (Don Cheadle) makes a discovery
comments around the connection between the
American cinema and its celluloid significance
and offers a necessarily updated experience of
contemporary Los Angeles. {
Paul Gormley is Field Leader of Media,
Communication and Screen Studies at the
University of East London and has just
published The New-Brutality Film: Race and
Affect in Contemporary American Cinema
(Intellect 2005).
TELL US WHAT
YOU THINK! IQ IS
LOOKING FOR YOUR
FEEDBACK. SEND
YOUR LETTERS AND
COMMENTS TO:
IQINTELLECTBOOKS.COM
FURTHER READING
The New-
Brutality Film:
Race and Affect
in Contemporary
American Cinema
By Paul Gormley
£19.95 / $39.95
The 1990s saw the emergence of a new kind
of American cinema, which this book calls
the ‘new-brutality film’. Violence and race
have been at the heart of Hollywood cinema
since its birth, but the new-brutality film was
the first kind of popular American cinema
to begin making this relationship explicit.
The rise of this cinema coincided with the
rebirth of a long-neglected strand of film
theory, which seeks to unravel the complex
relations of affect between the screen and
the viewer. The book argues that films like
Falling Down, Reservoir Dogs and Se7en
sought to reanimate the affective impact
of white Hollywood cinema by miming the
power of African-American and particularly
hip-hop culture. Available now.
Hollywood
Utopia: Ecology
in Contemporary
American Cinema
By Pat Brereton
£19.95 / $39.95
Utopianism, alongside
its more prevalent dystopian opposite
together with ecological study has become a
magnet for interdisciplinary research. The
book applies a range of interdisciplinary
strategies to trace the evolution of ecological
representations in Hollywood film from
1950s to the present, which has not been
done on this scale before. Many popular
science fiction, westerns, nature and road
movies, as listed in the filmography are
extensively analysed while particularly
privileging ecological moments of sublime
expression often dramatized in the closing
moments of these films. Available now.
27 INSPIRATION»
“IN LIFE YOU NEED EITHER INSPIRATION OR DESPERATION.”

THE TRUE PRISON RECOMMENDED

FURTHER READING
KEN SAROWIWA
NIGERIA, 1993
It is not the leaking roof
Nor the singing mosquitoes
In the damp, wretched cell
It is not the clank of the key
As the warden locks you in
It is not the measly rations
Unfit for beast or man
Nor yet the emptiness of day
Theatre in Prison
Dipping into the blankness of night
Paper, 224 pp. £24.95/$49.95
It is not
It is not
It is not
It is the lies that have been drummed
Into your ears for a generation
It is the security agent running amok
Exciting callous calamitous orders
In exchange for a wretched meal a day
The magistrate writing into her book
A punishment she knows is undeserved
The moral decrepitude
The mental ineptitude
The meat of dictators Radical Initiatives
‘I AM A MAN OF IDEAS Cowardice masking as obedience in Interventionist &
Lurking in our denigrated souls Community Drama
IN AND OUT OF PRISON It is fear damping trousers Paper, 158 pp. £14.95/$29.95
 MY IDEAS WILL LIVE.’ That we dare not wash
It is this
It is this
It is this
Dear friend, turns our free world
Into a dreary prison

Ken Saro-Wiwa was one of Nigeria’s most

beloved writers. Poet, novelist and screenplay
writer, his work won both critical and popular ac-
claim. He was executed by hanging in Nigeria on
10 November 1995. He was arrested the previous African Theatre for
year and charged with incitement to murder. He Development
was an outspoken critic of successive military Paper, 160 pp. £14.95/$29.95
governments and a defendant of the Ogoni tribe,
of which he was a member.

The poem above is taken from the book

Theatre in Prison edited by Michael Balfour.

intellect quarterly | 27
28 HOLOPOETRY»
“TEXTS TRANSFORM THEMSELVES AND MOVE IN SPACE”

TOP “HOLO/OLHO” (HOLO/EYE), 25X30 CM, TOP “CHAOS”, 30 X 40 CM,

REFLECTION HOLOGRAMS MOUNTED ON WOOD AND PLEXIGLASS, REFLECTION HOLOGRAM, 1986.
1983. COLLECTION UECLAA, UNIVERSITY OF ESSEX, UK. COLLECTION MIT MUSEUM, CAMBRIDGE, MA.
BOTTOM “MAYBE THEN, IF ONLY AS”, 30 X 40 CM, BOTTOM “ZEPHYR”, 30 X 40 CM, DIGITAL HOLOGRAM, 1993.
DIGITAL HOLOGRAM, 1993.

 | intellect quarterly
29 HOLOPOETRY»
“WHAT IS AT STAKE IS A GENUINE HOLOGRAPHIC SYNTAX”
TOP “AMALGAM”, 10 X 7.5 CM,
WHITE LIGHT REFLECTION HOLOGRAM, 1990. UNNUMBERED EDITION OF 100.
BOTTOM “SOUVENIR D’ANDROMEDA”, 30 X 40 CM,
DIGITAL HOLOGRAM, 1990.
HOLOPOETRY EXPLAINED
TEXT AND ALL IMAGES
BY EDUARDO KAC
Holopoetry investigates the nature of language and its re-
lationship to visuality, issues that are of interest both to
literature and the visual arts. Holopoems are holograms
that address language both as material and subject matter.
I create visual texts which can only signify upon the ac-
tive perceptual and cognitive engagement on the part of
the reader or viewer. This ultimately means that each
reader “writes” his or her own texts as he or she looks
at the piece. My holopoems don’t rest quietly on the
surface. When the viewer starts to look for words and
their links, the texts will transform themselves, move in
three-dimensional space, change in color and meaning,
coalesce and disappear. This viewer-activated choreog-
raphy is as much a part of the signifying process as the
transforming verbal and visual elements themselves.
Language plays a fundamental role in the constitution
of our experiential world. To question the structure of
language is to investigate how realities are constructed.
My holograms define a linguistic experience that takes
place outside syntax and conceptualize instability as
a key signifying agent. I use digital holography to blur
the frontier between words and images and to create
an animated syntax that stretches words beyond their
meaning in ordinary discourse. I employ computer
animation techniques to create a new kind of visual-po-
etic composition, which undermines fixed states (i.e.,
words charged visually or images enriched verbally)
and which could be defined as a constant oscillation
between them. Holopoems are both an investigation of
the processes of language and of holographic meaning.
The use of digital holography as a writing medium re-
flects my desire to create experimental texts that move
language, and more specifically, written language, be-
yond the linearity and rigidity that characterize its
printed form. I never adapt existing texts to hologra-
phy. I try to investigate the possibility of creating works
that emerge from a genuine holographic syntax. {
Media Poetry: The first international anthology to docu-
ment a radically new poetry which takes language beyond
the confines of the printed page into a non-linear world of
digital interactivity and hyperlinkage. Available late 2006.
intellect quarterly | 29
30 EDUCATION»
“A SENSE OF CURIOSITY IS NATURE’S ORIGINAL SCHOOL OF EDUCATION.”
HAND TO
MOUSE
ROSEMARY SASSOON ASKS ‘WILL THE
COMPUTER KILL OFF HANDWRITING?’
ILLUSTRATIONS BY JAMES BOURNE
 | intellect quarterly
S
ome people are already beginning to suggest that
the skill of handwriting is redundant in the com-
puter age. It would be better, however, to consider
the two forms of communication complementary for the
time being.
The computer certainly has influenced the way we
use handwriting. Students no longer have to submit es-
says that were tediously and often painfully written by
hand and then, at times, illegible to the reader. We have to
thank the computer for saving our hands from a task that
was asking too much from them – to perform detailed
and precise movements, at great speed, for a consider-
able length of time, and frequently under conditions of
extreme tension. This was resulting in increasing inci-
dence of pain, even the old complaint of writer’s cramp.
Handwriting is tedious and time consuming to learn
and perceived as difficult to teach by those who have
never been adequately taught themselves and worse still
not been taught how to teach it with confidence. These
problems can be overcome if the altered usage and pri-
orities for a written script are understood. Our kids, our
students, don’t need traditionally neat, slow handwriting
for show, but a flexible personal hand to fill in the gaps in
their life that the computer does not adequately meet. So
when it comes to teaching only essentials need be dealt
with – but those need to be taught intensively at the start
of school. Some of the time saved could then be spent in
teaching young children keyboard skills. For those with
disabilities and real handwriting problems a computer is
an essential tool and often the key to academic progress.
Think about how you were taught – has it met your
needs? Were you ever shown how to be comfortable, how
to sit and where to place your paper so that you were on
the way to pain free, relaxed writing habits? Perhaps you
remember being told that there is only one correct way
to hold your pen? That is not true today. Modern pens
function at a different elevation to fountain pens or pen-
cils. That often means that penholds need to adapt and is
why we see such a plethora of unconventional penholds.
Some work well but some slow down the writer or be-
come painful under pressure of speed. Writing and writ-
ing strategies should be taught in such a way today to
consider writers and their needs. In the past it was the
reader that got all the consideration.
Examinations still have to be written by hand. Note
taking is the other main task where handwriting is use-
ful if not essential. Anything from lecture notes to tak-
ing down a phone message (when there is no computer
around) or a shopping list needs to be legible for the
31 EDUCATION»
FURTHER INFO. ON INTELLECT BOOKS & JOURNALS: WWW.INTELLECTBOOKS.COM

writer at a later date. It may be amusing when your part- of these problems. Although a consistent signature is no OTHER BOOKS BY
ner misreads your scrawled shopping list and brings longer quite as essential for security purposes, not ev- ROSEMARY SASSOON
back the wrong commodity – but it is more likely to start erything has changed. Anyhow the distress of not being
a row, because to criticise your handwriting is to criticise able to make your mark is considerable.
yourself. Just recently I had a mature student come to see me
Our script is the visible trace of our bodies recorded whose handwriting problems meant she could not fill in
when we have a pen in our hand and it is in contact with the necessary security forms to apply for a job. Those
the paper. It is a reflection of our self on paper. That is who design such forms do not consider how small and
why a personal letter brings to mind the writer so vividly precise your writing must be – and you cannot use a
computer to fill them in. They are designed for the com-
puter to read with little consideration for the writer. It
‘HANDWRITING IS A seems we have gone full circle.
REFLECTION OF OUR SELF Inevitably, improved technology will help future gen-
erations to communicate more easily without a written
ON PAPER. THAT IS WHY script – if they wish. However, we have a way to go before
The Art & Science
of Handwriting
A PERSONAL LETTER we pronounce the death of handwriting. The only sure
Paper, 192 pp. £14.95/$29.95
way of achieving that is to stop teaching it. {
BRINGS TO MIND THE
WRITER SO VIVIDLY  Dr Rosemary Sassoon is a prolific researcher, writer
and international lecturer, and works as an independent
EVEN YEARS AFTER DEATH.’ consultant. For more information about James Bourne
visit: www.drawer.me.uk
– even years after death. Would a love letter be as mean-
ingful if sent by e-mail? Does a text message mean quite
as much as a handwritten note of apology? That would
signal that, at least, you were taking time from your tech-
nologically run life to stop and think of the recipient.
The computer is affecting the way we write in an- Computers and
other sense, for better or worse. Spell checks and gram- Typography 2
mar correction is available at the click of a mouse. We Paper, 158 pp. £14.95/$29.95
are making life easier but with each function that we rely
on the computer to perform we are allowing our own
memory to deteriorate. This has been happening ever
since the written word evolved partially replacing human
memory. Now the computer is accelerating the decline
of memory rather like greenhouse gases are accelerating
global warming.
You might think that I am just a lobbyist for hand-
writing or a computer-hater. Far from it. I would be lost
without my Mac. Some years ago I had a stroke. I write
books so the first thing I needed to know was could I use
a computer one-handed? Then, at least, I could carry on The Acquisition of a
working from my wheel chair. In the past I had heard Second Handwriting
from patients that I met in the course of my hospital work System
what a deprivation it was not to be able to write by hand. Paper, 160 pp. £14.95/$29.95
Now I experienced something of what they felt. For many
it meant that someone else had to conduct much of their
business particularly anything requiring a signature. In
recent years technology has provided solutions for some

intellect quarterly | 31
CALL FOR SUBMISSIONS INTELLECT PUBLISHED ITS FIRST
JOURNAL IN 1986 AND ITS FIRST BOOK
IN 1987. SINCE THEN WE HAVE SERVED
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PUBLISHER, ALL OUR MANUSCRIPTS
ARE SUBJECT TO PEER REVIEW.

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