In my first post I laid out the theme that I'd like cover during my time here: that Climax Ecology is a useful framework for understanding what aspects of the human sexual experience can be captured and distributed as a media product, and why those media products so seldom bear any resemblance to the common reality of loving, mutually pleasurable sexual relations.
In this post I'd like to talk about the most basic form of cinema, a form that film-studies people call "actualities" or "actual films".
Electrocuting an Elephant (may be upsetting)
Actualities are simple, direct, filmed accounts of an action or activity: a dancer dancing, a bustling city street, etc. Most home movies are actualities: This is our baby walking across our living room floor; this is my father blowing out the candles on his 80th birthday.
Modern audiences quickly tire of actualities unless the subject matter is of special interest, i.e. actualities of your children are delightful, actualities of other people's children are only interesting if dad gets hit in the crotch with a Wiffle ball bat.
But this wasn't always the case.
Turn-of-the-century audiences were captivated by actualities. Cinema was an entirely new invention, and no one knew what anything looked like "on film," and everything was fascinating. A filmmaker could simply train his camera on a subject, novel or familiar, and then screen the results to an enthralled audience. Amazing!
And of course, in the age of actualities, there were actualities of sex, too.
But what's interesting to me about these earliest examples of sexually explicit cinema isn't that they exist, (the impulse to train the camera on nudity and sexuality is as old as the camera itself), it's that they are every bit as cinematically sophisticated as their non-sexual counterparts.
Whether it's Thomas Edison's Electrocuting an Elephant, or the Lumiere Brothers Train Arriving at a Station, or an uncredited sexual encounter between a man and a woman, once you get past the subject matter, there's not much difference in the cinematic approach. This is happening while a camera rolls so you can watch it without actually having been present. The camera records the event, but does little more.
And to a modern viewer without a special point of interest—history, morbid curiosity, whatever—watching most actualities is pretty boring.
From these humble beginnings, cinema would undergo a rapid development in both technology and aesthetic approach. In a few short decades camera movement, the use of various angles, editing, synchronous sound, and color would evolve to a high level of refinement.
The business of filmmaking would also undergo a huge evolution; from something resembling a side-show curiosity to an industrialized form of mass entertainment, sitting at the very center of culture.
In 1915, D. W. Griffith's Birth of a Nation was produced at a cost of $112,000 (~$2.41 million today) and grossed upwards of $16 million. The year 1939 saw the release of both Gone With The Windand The Wizard of Oz, films that are as modern in their approach as anything released today.
But sexuality would not be a part of this evolution.
1934, the year that saw the landmark obscenity case US v One Book Called Ulysses would also see the MPPDA (antecedent to the Motion Picture Association of America) establish a certification process enforcing a production code (aka The Hays Code) on its member studios. Among the various requirements of the code was the mandate that "the treatment of bedrooms must be governed by good taste and delicacy," with the net effect being that husbands and wives were rarely shown sharing a matrimonial bed. (My uncle, the person whose vast laser disc collection was responsible for my film education, relates that at the time, he simply thought the people in movies were wealthy, and that's why mom and dad each had a bed of their own.)
The same year the door was opened to the exploration of explicit sexuality in literature, the door was slammed shut to all but the most veiled references to sexuality in mainstream movies. And as a consequence the exploration of explicit sexuality in cinema would remain in a state of arrested development for the next 60 years.
One last word about actualities.
The temptation is to think of the actuality as an archaic form, but it it's not. Every time a new cinematic process is invented, or a new subject matter is revealed, the actuality is "rediscovered". At present, super-duper slow-mo cameras have suddenly become orders of magnitude less expensive, and we are discovering again how captivating it can be to see even ordinary things through the lens of a novel photographic process.
But even as various captivating slow-mo clips start to populate YouTube and turn up on blogs, this super-duper slow-mo is sucked into the same evolutionary chain that has absorbed every other cinematic breakthrough. At first merely seeing the raw footage is enough. Then as our astonishment wanes, modest editing for interest emerges, and then finally the new process is incorporated into the "vocabulary" of the language of cinema.
In the next post I'm going to give a more in-depth explanation of Climax Ecology, and how it applies to sexuality in cinema. I hope you'll join me!
Tony Comstock is a documentary filmmaker whose company, Comstock Films, specializes in erotic documentaries.
James Fallows is a national correspondent for The Atlantic and has written for the magazine since the late 1970s. He has reported extensively from outside the United States and once worked as President Carter's chief speechwriter. His latest book is China Airborne.
The 49ers quarterback won’t stand for the national anthem anymore.
San Francisco 49ers quarterback Colin Kaepernick’s refusal to stand for the national anthem before games as a protest against recent high-profile incidents of police brutality and racial injustice have been met with criticism and protests, but is an important step for a league where professional athletes rarely speak out on such issues.
Kaepernick was noticed sitting down during the playing of “The Star Spangled Banner” in a preseason game Friday. When asked by a reporter about his actions, he said:
I am not going to stand up to show pride in a flag for a country that oppresses black people and people of color. To me, this is bigger than football and it would be selfish on my part to look the other way. There are bodies in the street and people getting paid leave and getting away with murder.
What looks at first glance like an opening up of possibilities is actually an attack on the human imagination.
You might not like what I’m about to say about the multiverse. But don’t worry; you’ve already had your revenge. If there are an infinite number of parallel universes, there will be any number of terrible dictatorships, places where life has become very difficult for people who like to string words together. Somewhere out there, there’s a society in which every desperate little essay like this one comes with a tiny, unremarkable button: push it, and the author will be immediately electrocuted to death.
Maybe your hate is more visceral—you already know I’ll die some day, but you want to see it happen; you need to see me groveling. You can if you want. Fly upwards from the plane of our solar system, keep on going, through the endless huddles of galaxies, never forgetting your purpose, until space and time run out altogether. Eventually you’ll find yourself in another universe, on a damp patch of grass and broken concrete, unwatched by whatever local gang or galactic empire rules the city rising in foggy shapes beyond the marshes. There, you’ll see a creature strangely similar to yourself, beating me to death with whatever bits of scrap are lying around.
As pay TV slowly declines, cable news faces a demographic cliff. And nobody has further to fall than the merchant of right-wing outrage.
Updated at 12:05 p.m.
October 7, 2016, will be the 20th birthday of the Fox News Channel, and at the moment, the network is experiencing the soap-operatic highs and lows typical of any teenager on television. In many ways, the summer of 2016 may go down in Fox News history as the company’s nadir. Its founder and leader Roger Ailes has been dishonorably dispatched, the remaining executives are dealing with a flurry of sexual harassment lawsuits, and one of its most public faces, Sean Hannity, has ignominiously remodeled himself as a gutless Trump whisperer.
And yet Fox News’ fortunes are ascendant, at least in the most quantifiable sense. The network’s annual profit in 2015 soared by about 20 percent. For the first time ever, Fox News has been the most-watched cable network among both primetime and daytime viewers for several months, with a larger audience than its nominal rivals, CNN and MSNBC, combined. Led by “The O'Reilly Factor,” Fox News doesn’t just have the best-rated news show on cable television; according to The Wrap, it has the 13 best-rated news shows on cable television.
Why did the company trend a false article about Megyn Kelly?
Oh, Facebook. Just when the company seems to have avoided the responsibility of being a news organization (and all the attendant controversy), it finds itself back in the editorial muck.
Last week, Facebook made a surprise overhaul of its “Trending Stories” feature, the sidebar that highlights some of the most popular news stories on Facebook. Where the company had previously provided a short, human-written summary of the news at hand, it now only described the story in a one or two-word phrase: “#Toyko2020: Japanese Prime Minister Appears in Surprise Performance During Rio Ceremony,” became just “#Tokyo2020.”
Facebook’s decision to simplify the feature seemed like an attempt to wriggle out of editorial responsibility: What had been a messy human-led process would now become an algorithm-guided one. The company also laid off the 26 employees who had run the feature—19 curators and seven copyeditors—with little warning on Friday, according to Quartz.
Hillary Clinton has her problems, but Donald Trump is unfit for the presidency.
On one hand, there’s former Secretary of State Hillary Clinton, who oversaw “grossly inadequate” security at a diplomatic facility in Benghazi, Libya, the site of a deadly September 11, 2012, terrorist attack.
A new anatomical understanding of how movement controls the body’s stress response system
Elite tennis players have an uncanny ability to clear their heads after making errors. They constantly move on and start fresh for the next point. They can’t afford to dwell on mistakes.
Peter Strick is not a professional tennis player. He’s a distinguished professor and chair of the department of neurobiology at the University of Pittsburgh Brain Institute. He’s the sort of person to dwell on mistakes, however small.
“My kids would tell me, dad, you ought to take up pilates. Do some yoga,” he said. “But I’d say, as far as I’m concerned, there's no scientific evidence that this is going to help me.”
Still, the meticulous skeptic espoused more of a tennis approach to dealing with stressful situations: Just teach yourself to move on. Of course there is evidence that ties practicing yoga to good health, but not the sort that convinced Strick. Studies show correlations between the two, but he needed a physiological mechanism to explain the relationship. Vague conjecture that yoga “decreases stress” wasn’t sufficient. How? Simply by distracting the mind?
In the name of emotional well-being, college students are increasingly demanding protection from words and ideas they don’t like. Here’s why that’s disastrous for education—and mental health.
Something strange is happening at America’s colleges and universities. A movement is arising, undirected and driven largely by students, to scrub campuses clean of words, ideas, and subjects that might cause discomfort or give offense. Last December, Jeannie Suk wrote in an online article for The New Yorker about law students asking her fellow professors at Harvard not to teach rape law—or, in one case, even use the word violate (as in “that violates the law”) lest it cause students distress. In February, Laura Kipnis, a professor at Northwestern University, wrote an essay in The Chronicle of Higher Education describing a new campus politics of sexual paranoia—and was then subjected to a long investigation after students who were offended by the article and by a tweet she’d sent filed Title IX complaints against her. In June, a professor protecting himself with a pseudonym wrote an essay for Vox describing how gingerly he now has to teach. “I’m a Liberal Professor, and My Liberal Students Terrify Me,” the headline said. A number of popular comedians, including Chris Rock, have stopped performing on college campuses (see Caitlin Flanagan’s article in this month’s issue). Jerry Seinfeld and Bill Maher have publicly condemned the oversensitivity of college students, saying too many of them can’t take a joke.
What to do if you’re a Hillary fan seated next to a Trump supporter at a wedding
When America is finally great again, they’ll make the latte with soy milk like you asked.
All those political cracks, not to mention earnest proclamations, mean that for the next 10 weeks, many casual interactions run the risk of erupting into full-blown partisan warfare. It’s more of a danger for those with family members or close friends who support opposing candidates and views. But on Facebook, hot-button scuffles can break out between almost anyone. (I recently witnessed a college friend who lives in Europe arguing about gun rights with a random guy from my high school in Texas, whom I myself have spoken with only a few times in person.)
One reason Americans find the other side’s views so inflammatory is that increasingly, they view their political party as more of a tribe than a checkbox. “People start seeing themselves or their political views as the main representation of their values, and what is right and wrong,” said Emanuel Maidenberg, a clinical professor of psychiatry and biobehavioral sciences at UCLA.
In the primaries, he avoided policy debates by promising to build a wall—but the general election is forcing him into specifics.
The biggest political story of the last week has been Donald Trump’s flip-flop on deporting undocumented immigrants. This Sunday on CNN, Mike Pence filibustered his way through the subject for almost seven minutes before Jake Tapper finally declared, “You did not address the issue” and moved on. Chris Christie on ABC and Kellyanne Conway on CBS were no more coherent. The Daily Beast summed up the morning with the headline, “Immigration Flip-Flop Leaves Trump Campaign Flailing on Sunday Shows.”
But focusing on Trump’s “flip-flop” misses the point. Trump’s real problem isn’t that he’s changed his position on immigration. It’s that he’s trying to formulate one at all.
What the commentary of the last few days has generally overlooked is that while immigration was key to Trump’s success in the Republican primary, Trump never actually offered an immigration policy. To the contrary, his success rested in large measure on his ability to avoid one. Trump’s strategy on immigration, as on other key issues, was to cut through the Gordian knot of public policy with aggressive, quick fix solutions. Terrorism? Ban Muslims. ISIS? Bomb the hell out of them and take their oil. Loss of manufacturing jobs? Slap massive tariffs on companies that outsource American jobs.
The performer, known for his roles inWilly Wonka and the Chocolate Factory and Young Frankenstein, died at age 83.
Gene Wilder was the greatest kind of comic actor: one who not only knew how to read a joke, but also how to inhabit it. In his hands, a line reading could be suffused with menace, or compassion, or demented delight, and no matter what, it would be deeply funny to behold. Wilder, who died at age 83 on Monday due to complications from Alzheimer’s disease, was a consummate performer who made every project he worked on better, from Mel Brooks’ masterpieces of the 1970s to his collaborations with Richard Pryor. He was a screen presence who always seemed to possess an otherworldly energy, making him the obvious (and best) choice to play Willy Wonka, Roald Dahl’s avatar of sheer wonder. His footprint as a comic actor was immense, with his best work showing the depth of craft that went into building a memorable performance.