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I’m Done with Modern Movies

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For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.

It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.

This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.

Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.

Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.

Modern Movies Lack Originality

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The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.

The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.

A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.

Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.

Modern Movies Lack Artistic Merit

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The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.

With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.

Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.

Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.

The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.

Modern Movies are Left-Wing Propaganda

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The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.

The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.

Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.

The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.

The Problem With Modern Action Movies

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Action movies just aren’t what they used to be. On Saturday night, I watched the film version of the hit 1980s TV show, the A-Team. A part of me hoped for an enjoyable experience, but, just as I had expected, I found the film to be cliched, formulaic, and predictable.

It became evident early on that the filmmakers had taken little to no effort in the making of this story. The plot was boring and predictable, and the characters were two dimensional. Indeed, it seemed that most of the film had been devoted to bad digital effects and over-the-top action sequences.

This is the kind of thing that passes for action movies nowadays. It is a far cry from the greats of yesteryear which, at least in the best of cases, were willing to combine action with intelligence. It is certainly true that these films featured death-defying stunts, mind-blowing special effects, and well-choreographed action sequences. However, it is also true that the best among them also featured complex, three-dimensional characters and clever, intricate plots. Yes, these films often pushed the boundaries of disbelief, but we were more than happy to suspend our disbelief for them anyway.

Any successful movie, particularly an action movie, requires two things: a good plot and good characters. One of the biggest problems with the modern action movie is that they are often boring. The audience finds it difficult to engage with the story because there is no character or plot for them to care about.

Great action movies have great, exciting stories. The problem is that modern action movies have a tendency to recycle the same tired stories over and over again. Audiences have been subjected to an endless array of reboots, remakes, sequels, and prequels. Audiences crave originality. What we need is original stories, not a rehash of a television show that ended over thirty-years-ago.

It’s not as though an action movie’s plot has to be entirely original, either. Most of us are willing to accept a familiar, or even cliched, story provided it’s presented in a new and interesting way. Take, as a case in point, the film Speed. Its plot is essentially a rehash of the Die Hard model, but by placing the action on a bus, the filmmakers managed to gain the appreciation of their audience by presenting them with something novel.

In addition to the importance of plot, it is also equally important to discuss the importance of character. Modern day action heroes often lack interesting character arcs. The audience has not been allowed to care about the characters as people and therefore have little reason to root for them. People like to see characters go through a personal journey. They like to see them grow and develop as a character. Good action heroes have some kind of flaw, whether it be a bad attitude, debris from their past, poor self-esteem, or any one of a thousand different things, that he or she must overcome to complete their mission.

The heroes of great action movies were relatable. The filmmakers knew they had to combine the right amount of vulnerability with the right amount of grit. We had to believe that these people bled, made mistakes, and felt pain.

In other words, these heroes had vulnerabilities. They were not invincible. The audience could believe that Axel Foley (Beverly Hills Cop) spent most of his time busting low-level crooks in downtown Detroit and that he genuinely felt anger and grief over the murder of his friend. In Die Hard, the filmmakers were prepared to take the time to let us get to know John McLane. We learnt that he was an Irish-American police officer, that he was a father, that he was estranged from his wife, and that he was frightened of flying. And when he had to fight terrorists, the Los Angeles Police Department, and the FBI, we genuinely rooted for him because we had been allowed to get to know him.

Equally important, if not more important in many cases, is the film’s villain. Good stories have good protagonists, great stories have great antagonists. There has to be something in a villain that makes him at least a little bit likeable, or even sympathetic. A part of us has to be able to understand his motivations and even root for him. We could understand why Karl wanted to kill John McLane because we had seen McLane kill his brother. And we could understand why Speed’s chief antagonist, Howard Payne, wanted to hold the city of Los Angeles to ransom after we learnt that he had been injured in an explosion working for the LAPD. Heck, even films in which the villain wants money or power, or both, are relatable because we want these things, too.

If the producers of action movies were willing to invest as much time and effort in story and character development as they were on special effects, it is possible that they might someday produce another great action movie. But, with the way things are going, I wouldn’t hold my breath.

 

NOTE: I apologise for the long delay between articles. I have been in the process of preparing a rather lengthy article on constitutional monarchy.

Television and Culture

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“She’s television generation, she learnt life from Bugs Bunny” muses William Holden in Network, as he confesses his affair with a younger woman to his long-suffering wife. Love it or hate it, television has shaped the way we see the world. And it has been used for years to engineer social change.

It is because of their values that the left has come to dominate the culture. While conservatives value objective facts, those on the left value narrative. This is an important distinction. People develop their worldview based on the stories they are told, not the facts that are presented to them. And while conservatives choose to focus on facts, the left is creating the narrative references that define the world we live in.

As a consequence, left-wing assumptions have come to dominate film and television. And, by extension, it is these assumptions that create the parameters for public discourse. It was through the positive depiction of gay characters in shows like Will and Grace that homosexual relationships came to be more widely accepted. It would be difficult to argue that such depictions played no role in the public’s acceptance of gay marriage. Today shows like Orange is the New Black presents sympathetic transgender characters in an attempt to engineer public acceptance of transgenderism.  The left produces television shows and movies that are anti-capitalism, anti-Christian, and anti-West. Unfortunately, the right fails to produce television shows and movies in their defence.

The left embeds its messages through seemingly innocuous narratives and likeable characters. Otherwise morally reprehensible and disagreeable characters are presented in a sympathetic light. By doing this, the creators of these characters are able to coax us into accepting things we otherwise would not. Max Black, one of the protagonists of Two Broke Girls, is a rude, unmotivated, and immoral drug and alcohol user, but she is presented to the audience as a positive role model for women.

Television’s primary power lies in the fact that it allows individuals and organisations to manipulate images, facts, and stories to suit their own purposes. It is through the distortion of facts, impelling narratives, and the creation of morally reprehensible yet sympathetic characters that those who control television have been able to manipulate the public. Whether or not this trend will continue with the advent of the internet is yet to be seen.

THE WITCH HUNT AGAINST BRETT KAVANAUGH

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A couple of weeks ago, the Democratic Senator from California, Diane Feinstein, brought the public’s attention a letter accusing Supreme Court nominee Brett Kavanaugh of attempted rape. According to the letter, an intoxicated Kavanaugh, then a seventeen-year-old high school student in Maryland, had pinned a fifteen-year-old girl – later identified as Christine Blasey Ford – down on a bed at a party, groped her, and attempted to remove her clothing. Kavanaugh covered her mouth to prevent her from screaming. The encounter ended when another man, Mike Judge, jumped on them. Ford claims to have been in fear for her life.

Both Brett Kavanaugh and Mike Judge have strongly denied the allegations that have been made against them. Kavanaugh indicated his willingness to testify in front of the Senate Judiciary Committee and stated that:

“This is a completely false allegation. I have never done anything like what the accuser describes – to her or to anyone. Because this never happened, I had no idea who was making this accusation until she identified herself yesterday. I am willing to talk to the Senate Judiciary Committee in any way the Committee deems appropriate to refute this false allegation, from thirty-six-years-ago, and defend my integrity.”

In addition, the Senate Judiciary Council also received a letter, signed by sixty-five women, attesting to Kavanaugh’s sterling character.

Similarly, Mike Judge also released a statement saying:

“I did not ask to be involved in this matter nor did anyone ask me to be involved. The only reason I’m involved is because Dr. Christine Blasey Ford remembers me as the other person in the room during the alleged assault”

Judge continued:

“I have no memory of the alleged incident. Brett Kavanaugh and I were friends in high school but I do not recall the party described in Ford’s letter. More to the point, I never saw Brett act in the manner Dr. Ford describes.”

Regardless of the outcome of any vote, it is clear that the accusations made against Brett Kavanaugh will have long-ranging political consequence. If Kavanaugh is not appointed, the Republicans may very well lose their opportunity to appoint an originalist to the Supreme Court. It is unlikely that the Senate would be able to vet and confirm any nominee for the Supreme Court in the six weeks leading up to the election. And it is very possible that that election could culminate in a Democrat-controlled Congress. On the other hand, if Kavanaugh is confirmed the Democrats will certainly use the accusations as a political weapon to be wielded against Republicans.

Political consequences notwithstanding, the accusations made against Brett Kavanaugh are, in and of themselves, deeply suspicious. Christine Blasey Ford has failed to provide any evidence or corroborating details which could help prove the validity of her story. The alleged incident occurred almost forty years ago, bears no witnesses aside from the two men accused, and has no physical evidence.

What is truly amazing is that anyone is willing to believe Ford’s accusations in the first place. Ford, a registered Democrat who has financially supported numerous left-wing causes, waited until the man she was accusing was about to become a Supreme Court Justice, has changed her story numerous times, and is unable to remember the time or the location the alleged incident took place.

And any attempt to compel Ford to provide further information have been met with stonewalling and accusations of victim blaming by her supports. When her lawyer, Debra Katz was asked by CNN’s Alisyn Camerota whether Ford should ask other girls at the party to come forward as witnesses, Katz snapped: “that’s not her job to do that. If this is going to be investigated, it should be done by investigators.” It is hard to believe that any just society would condemn a man on such a preposterous lack of evidence.

At some point, society is going to need to have a discussion about what credible accusations of sexual assault look like. One would be hard pressed to argue that an accusation that bears no witnesses, no evidence, and no corroborating details should be powerful enough to destroy a man’s life or career. It is not acceptable that accusations which can be neither proven nor disproven should be used to take someone’s liberties from them.

WHY TRUMP WON

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Not even Cassandra, cursed to prophesise but never be believed, could have predicted the tumultuous change that occurred in 2016. In June, just over half of the British public (51.89%) voted to leave the European Union. Then, in November, Donald Trump defeated Hillary Clinton to become the President of the United States.

And not only did Trump defeat Clinton, winning thirty of America’s fifty states (though Clinton did win the popular vote), the Republican Party utterly decimated the Democrats. Trump won thirty of America’s fifty states (Clinton, admittedly, did win the popular vote). The Republicans have taken control of the House of Representatives, have a majority in the Senate, hold thirty-three state governorships, and control thirty-two state legislatures.

Brexit’s victory and Trump’s triumph comes off the back of a deeper cultural movement. It is a movement that rejects the doctrines of political correctness, identity politics, diversity, and equality in favour of greater intellectual rigour and personal freedom. Trump’s gift to this movement has been to expand the Overton Window. As an indirect consequence of his uncouthness, the boundaries of public discourse have been expanded exponentially.

Throughout his campaign, the media treated Trump as a joke. He hasn’t got a hope in Hades, they claimed. In the end, however, they were proven wrong. Trump won through a mixture of hard-line policies on immigration and a rejection of political correctness and far-left politics. And he won through his astounding ability to market himself to the American people.

The first thing to note is that Trump thrives on scandal. Much of this ability emanates from his already tarnished reputation as a rude, uncouth, bully and womaniser. Trump has never denied these facets of his personality (in some cases he has even emphasised them). What this means is that those who voted for Trump did so despite the significant faults in his character. Consequentially, accusations involving sex or money (the two things people truly care about) has little effect on him.

Then there is his skill as an emotional manipulator. Trump appeals directly to the emotional sensibilities of the people by using fear-mongering rhetoric to circumvent the mind’s critical faculties. Rather than emphasising the importance of maintaining the integrity of immigration law, Trump chooses to emphasise the crimes – rapes, murders, drug offences – committed by some illegal immigrants. After this, Trump promotes anger by setting up an out-group as the enemy. As a result, Trump implies not only that he is the best man to solve these issues, but that anyone who opposes him is somehow anti-American.

Finally, there is Trump’s use of simplicity and repetition as persuasive tools. Nuanced and boring statements can be taken out of context. By contrast, simple and heavily repetitive statements are harder to take out of context. But, more importantly, such statements are also more likely to be believed.

Much of Trump’s use of simplicity has its basis in his relationship with language. Trump speaks at a fourth-grade level and averages one syllable per word. While it would be easy to dismiss this as unsophisticated or low brow, it is important to remember that small words have a stronger and more immediate emotional impact, are more accessible to a wider audience, and are considered more believable. Cognitive fluency bias means that that the easier it is to understand something, the more likely it is to be believed. As a consequence, Trump’s use of small, simple words means he is more likely to be understood and, therefore, is more likely to be believed.

Perhaps the most important aspect of Trump’s magnetism is his ability to bypass the traditional mediums of communication and appeal directly to the American people. Unlike Hillary Clinton, who relied upon celebrity support and the mainstream media, Trump and his supporters used social media to appeal directly to voters. The lesson is clear: voters like for politicians to speak to them as equals, not preach to them from on high.

THE DECLINE OF VIRTUE

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It is a great pity that the Latin language is now considered dead. Through its death, we have lost many of the Latin words, expressions, and maxims that provided us with great wisdom and poetry. Among these is the phrase, “Panem et circenses”, or, in English, “bread and circuses.”

Panem et circenses refers to a society that uses food and mindless entertainment to keep control of its people. Such a culture does not encourage deep thought, nor does it encourage any search for meaningful or consequential in life.

What an excellent way to describe modern society and the culture that it has produced. No longer does our culture celebrate those with intelligence, moral piety, or depth of character. Instead, society has chosen to celebrate exhibitionism and licentiousness as the height of moral fortitude.

And no other family has demonstrated this fact more than the Kardashian-Jenner family. And modern culture has seen fit to reward them handsomely for it! In 2016, Forbes Magazine listed the Kardashian-Jenner family as the highest earning reality TV Stars. As of 2017, Kendall Jenner had a net worth of approximately US$18 million, Kourtney Kardashian had an approximate net worth of US$35 million, Khloe Kardashian had a net worth of US$40 million, Kylie Jenner, only twenty-years-old, had a net worth of US$50 million, Kris Kenner had a net worth of US$60 million, and Kim Kardashian had a net worth of US$175 million (she made $45.5 million in 2016/2017 alone).

But it’s hardly fair to criticise them. They have merely capitalised on the desire many people have to live a life of glamour and luxury. The Kardashians have been able to make tens-of-millions-of-dollars through their various reality TV shows, various business ventures, modelling, product endorsements, clothing lines, and more.

Of course, all this is not to say that the Kardashian-Jenner family is blameless. Years ago, a family as egotistical, petty, and immoral (what is Kim Kardashian, after all, other than a glorified porn star?) as the Kardashian family would have been treated with absolute disdain.

Not today, though. Today, the Kardashians have been able to build their empire, and it is an empire, upon shameless exploitation, self-aggrandisement, and self-promotion. They are able to reach nearly a billion people through social media and have been frequent guests on television talk shows.

What the Kardashian-Jenner phenomenon reveals is just how shallow our society has become. People have come to treat supermodels, reality TV stars, and sport’s stars as though they are royalty. The problem with this is that it encourages people to do whatever they like for a little bit of attention.

What all this boils down to is a loss of virtue. We have replaced the old heroes, the ones who encouraged courage and chivalry, with new Gods that encourage self-centredness and licentiousness. Self-expression is no longer to be expressed through the sweat of one’s brow, the depth of his character, or the faculties of his reason. Instead, it can be gained, quite easily, by posting a selfie on Instagram or Facebook.

St. Augustine defined virtue as ‘ordo amoris’ (yet another beautiful Latin maxim), or ‘order of love.’ It was his belief that every object and entity was accorded the level of love and affection that was appropriate for it to receive.

What we have today is a society that has gotten that order wrong. When people no longer honour Kings, they worship movie stars, musicians, models, reality TV stars, prostitutes, scoundrels, and gangsters instead. As C.S. Lewis wrote: “We make men without chests and expect of them virtue and enterprise. We laugh at honour and are shocked to find traitors in our midst. We castrate and bid the geldings be fruitful.”

SCIENCE FICTION, OR SCIENCE REALITY

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There can be little doubt that technology is going to transform our world in ways that will make it unrecognisable to us fifty years from now. Technology is going to transform our lives, our work, and our relationships in ways that we, in our mortal and limited wisdom, will prove unable to comprehend. What we consider science fiction today, we will consider reality tomorrow.

The most obvious clue has been the internet. This medium is, indeed has, changed the world in ways we cannot even begin to fathom. Virtually every home in the developed world has the internet. Most of us carry it around with us in the form of smartphones and tablets. It has revolutionised the way we learn, do business, commit crimes, and communicate with one another.

Then there’s television. The shows featured on mainstream television can be described, accurately, as formulaic, petty, cheap, and shallow. It’s news and current affairs programs provide little in the way of real or, for that matter, interesting information. Likewise, their fictional programming features staid and one-dimensional characters in cliché plots and scenarios.

By contrast, paid subscription services like Netflix and Hulu feature shows that appeal to a wide variety of temperaments and interests. By contrast, the shows on paid subscription services like Netflix and Hulu appeal to a wide variety of temperaments and interests. Their shows captivate the imagination by featuring intriguing plots, complex characters, inspired cinematography, beautiful set designs, and state-of-the-art special effects. Just take a look at some of the titles: Archer, Suits, Spartacus, Mindhunter, House of Cards, Rick and Morty, Game of Thrones, and so forth.

One night of watching mainstream television followed by a single night of watching a paid subscription service should be proof positive to anyone that television is slowly, but surely, fading away.

Finally, there is music. Digital music outlets like I-Tunes and Spotify has revolutionised the way in which listen (and, more sinisterly, steal) music. Where once our grandparents were limited to their vinyl record collection, today’s music lover has access to thousands of songs at his or her fingertips.

Allow me to reiterate what I said before: the high-tech world that pervaded the imaginations of storytellers and filmmakers will no longer be a fantasy, it will be a reality.

I, for one, can easily envision a world in which an omnipresent house computer reads our body temperature and regulates the climate in our home without us being consciously aware of it. I can envision a world where a computer-controlled kitchen cooks our food with little intervention us. I can envision a world of driverless cars, endless self-serve checkouts, and more.

The future will be digital. The challenge for the human race is to be able to embrace this change without losing our individual autonomy.