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the-intellectual-journal · 6 months

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President Biden Must Increase Efforts on Gaza Crisis

Amid global turmoil and an uncertain political landscape, the upcoming US presidential election looms large with Joe Biden as a frontrunner for the presidency. Yet, as Americans grapple with the news of Israel's war in Gaza, there is a pressing need for Biden to take decisive action and demonstrate strong leadership in addressing this humanitarian crisis. Biden demanded an immediate ceasefire to improve the humanitarian situation in Gaza in a recent phone call with Prime Minister Netanyahu, a gesture that is too late.

We are past the point of a ceasefire taking into account the death of 30,000 civilians, many of whom were children, and the widespread destruction of Gaza’s infrastructure. Israel has made it clear to the world that they have no intention of halting their bloodthirsty rampage. Instead, we must demand sanctions and arms embargoes against Israel and reinstate funding for the UNRWA.

Despite the widespread protests in cities and over 500,000 Americans who have cast their Democratic primary votes for "Uncommitted," sending a message to President Biden regarding his approach to the Gaza conflict. It seems as if the Biden administration still has not acknowledged the gravity of the situation. President Biden’s response falls short of the leadership the situation demands and might even cost him the election. Is an unwavering allegiance to Israel worth the potential cost of losing an election?

The reality is that mere calls for ceasefires are insufficient when it is evident that Israel simply has no consideration for human life and international law. Sanctions and arms embargo against Israel are not only justified but necessary to compel a policy change and to signal that the United States is firmly against violations of international law. Additionally, reinstating funding for the UNRWA is crucial to providing essential humanitarian aid to Gaza’s inhabitants considering Israel coerced agency employees to admit associations with Hamas falsely.

Some might argue the United States already does enough by sending in millions of dollars in humanitarian aid to Palestine. However, what sense does it make to provide aid while simultaneously providing military support — perpetuating the very conflict causing the need for aid in the first place?

The Biden administration must reassess its approach to the Israeli-Palestinian conflict. The current policy of unwavering support for Israel without holding it accountable for its actions only exacerbates the suffering of Palestinians. It undermines the United States’ credibility as an advocate of international law. If President Biden truly seeks to lead with integrity, he must listen to the voices of the American people and take meaningful action to address the root causes of the conflict. Anything less would be a failure of leadership and a betrayal of the principles upon which this nation stands.

Sanctions against Israel will serve as a powerful tool to hold the nation accountable for its actions and compel a much-needed shift toward change. They can also exert significant economic pressure to compel Israel to reconsider its policies and actions in Gaza.

President Biden has the opportunity to fundamentally rethink the United States’ approach to military aid to Israel by considering conditionality measures. By tying future assistance to Israel’s compliance with international law and human rights standards, President Biden can send a clear message that unwavering support does not equate to unconditional approval of actions that violate basic human rights. Suspending or re-evaluating arms sales and military support until concrete steps are taken to address the root causes of Gaza would demonstrate a commitment to justice and accountability.

On another note, the recognition of a Palestinian state by the United States would not only affirm the Palestinian people’s right to self-determination but also mark a significant shift in the global political order towards greater justice. The recognition would carry significant diplomatic weight and establish an improved relationship between the United States and Palestine.

Ultimately, President Biden is morally obligated to act in the face of the humanitarian crisis unfolding in Gaza. The world is watching and history will judge our response. It is time for the Biden administration to listen to the demands of the American people and the international community to end the suffering in Gaza. Anything less would be a betrayal of our values and a failure of our moral responsibility as a nation.

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the-intellectual-journal · 6 months

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I found this piece incredibly though-provoking. It made me think a lot about how creative individuals label themselves and the ideological implications with such titles (e.g., creative).

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the-intellectual-journal · 6 months

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The Impact of Film Critics on Women in Film and Television

In film and television, the influence of film critics is instrumental in shaping the narratives that permeate our cultural landscape. The portrayal of women and their roles has been a focal point that reflects societal norms and progressive perspectives. Film critics as discerning evaluators of media play a significant role in either reinforcing traditional gender stereotypes or escaping them — contributing to the ongoing evolution of gender representations on our screens.

Film, in a broader historical context, has been a mirror reflecting the prevailing gender norms and expectations of society. In early cinema, women were often relegated to one-dimensional archetypes such as the seductress or the damsel in distress. As British film historian Laura Mulvey points out in her groundbreaking essay “Visual Pleasure and Narrative Cinema,” these portrayals of women in film served to reinforce patriarchal power structures and objectify female characters for the male gaze. Mulvey argues that the construction of films oftentimes, from the camera angle to the narrative structure was inherently designed for the pleasure of a male-centric perspective.

However, as cinema continued to evolve, so did the critical discourse and reception surrounding women’s roles. Film critics emerged as tastemakers, contributing to the discourse surrounding societal expectations and the representation of women. In turn, the critiques of film critics have been a double-edged sword, both perpetuating misogynistic principles and challenging them.

For instance, the critiques of the historical drama “Hidden Figures” (2016) directed by Theodore Melfi contributed to a positive cultural impact. Film critics praised “Hidden Figures” for its ability to shed light on the untold stories of African-American female mathematicians at NASA during the space race. The positive reception from critics not only resonated with audiences but also emphasized the importance of diverse and empowering portrayals of women in historical contexts.

However, the 2016 reboot of “Ghostbusters” directed by Paul Feig featuring an all-female lead cast was not met with that same positive cultural impact. Unfortunately, the film faced a wave of negative reviews from critics rooted in misogyny. Several critics focused more on the gender of the protagonists, insinuating that an all-female cast could not successfully execute a comedic action film. This type of criticism perpetuates harmful stereotypes and undermines the capabilities of the actress involved in the film, showcasing film criticism’s ability to negatively impact the cultural perception of women.

Additionally, film criticism continues to be a male-dominated industry to this day. According to a 2022 report titled ‘Thumbs Down: Film Critics and Gender, and Why It Matters,’ “Across print, radio, television and online outlets, men account for 69% of critics, women account for 31%...” These statistics demonstrate the necessity of film criticism to align with the representation of women on the screens. The statistics highlight the importance of a more inclusive critical cultural landscape beyond predominantly male perspectives.

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the-intellectual-journal · 6 months

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Breaking The Silence and Unveiling “She Said”

After The New York Times exposed Harvey Weinstein’s pattern of sexual harassment among Hollywood stars and staff, the industry had to confront its complicity in enabling this culture of violence. The exposé not only shed light on Weinstein’s abuse of power but also sparked a larger conversation about the pervasive culture of abuse within the entertainment world.

The New York Times report uncovered a pattern of predatory behavior from Weinstein spanning decades, where Weinstein exploited his position to manipulate, coerce, and silence his victims. Weinstein’s actions had long been an open secret within the industry and were finally brought to the public's attention.

“She Said,” directed by Maria Schrader, combines the personal and professional narratives of The New York Times journalist who worked to uncover the truth about Weinstein. Furthermore, political films such as “She Said” serve as a vehicle for addressing the issues of sexism, harassment, and power dynamics within American society. These films shift the current zeitgeist toward a culture of accountability and empowerment.

In the current cultural landscape, we have seen a shift in how issues surrounding sexism and sexual violence are discussed. There is more of a concerted effort to uplift survivors and challenge the people in powerful institutions that enable such a violent culture to persist.

Moreover, “She Said” highlights the resilience of survivors, specifically women who dared to speak out against powerful men in the industry. The stories of the survivors serve as a testament to the strength of women who refuse to be silenced, even in the face of immense power and intimidation. Their bravery not only inspires courage in others to share their stories but also emphasizes the urgent need for large-scale change to prevent abuses and ensure justice for survivors.

“She Said” also signifies the emergence of a recent subgenre of films akin to “Bombshell” and “Spotlight,” that address the systemic sexual abuse and violence enacted by individuals in powerful institutions. Ultimately, these films shine a light on the importance of investigative journalism and encourage a culture of accountability. They urge us to confront uncomfortable truths and work towards a healthier socio-cultural environment.

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the-intellectual-journal · 7 months

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Pretty cool article about Ethiopian filmmaker Haile Gerima from 2010.

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the-intellectual-journal · 7 months

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Revisiting the Case of Winona Ryder: Hollywood Actress Turned Shoplifter

Winona Ryder, best renowned for her roles in “Edward Scissorhands” and “Girl, Interrupted” was involved in an unexpected controversy in 2001. Ryder found herself in a scandal after stealing thousands of dollars of merchandise including clothing, accessories, and handbags at Saks Fifth Avenue in Beverly Hills. Fans and the Hollywood industry alike were shocked by Ryder’s arrest as she had been regarded as a respected and talented actress with no prior history of legal issues. The trial that followed attracted widespread media coverage with cameras recording every aspect of the proceedings. Ryder was charged with grand theft, burglary, vandalism, and possession of pharmaceutical drugs without a prescription. In contrast to the prosecution’s claim that Ryder purposefully concealed products in her bag and attempted to flee the store without paying — the defense contended that there was a miscommunication and that Ryder had simply forgotten to pay for the merchandise.

Ryder’s defense team also contended throughout the trial that her anxiety and depression played a role in the shoplifting incident. The team presented her as a victim of her fame and the pressures of celebrity life. The prosecution, on the other hand, presented Ryder as a privileged celebrity who felt entitled to take whatever she wanted without facing repercussions.

Ryder’s career and reputation were in jeopardy during the trial. The case not only raised questions about the actress’s conduct but also sparked discussion about the pressures of stardom. As the courtroom drama unfolded, the public eagerly watched to see how it would play out. Ultimately, Ryder was found not guilty of the burglary allegation while found guilty of felony grand theft and vandalism. She was sentenced to three years of probation, 480 hours of community service, and ordered to pay restitution to the store. Ryder had to grapple with the trial’s aftermath on a personal and professional level, which forced her to step away from the spotlight while she sought to rebuild her life.

Winona Ryder’s case serves as a cautionary tale about the dangers of fame and the consequences of one’s conduct under the spectacle of the public eye. It also emphasizes the complexities of celebrity status and how even the most beloved celebrities can find themselves embroiled in scandal. Despite the difficulties she experienced during the trial, Ryder eventually returned to acting, demonstrating personal accountability in the face of adversity. Ryder made a comeback appearing in highly regarded productions like “Black Swan” and the popular Netflix series “Stranger Things.”

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the-intellectual-journal · 7 months

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We Need to Reform the American Political Fabric: A Case Study of AIPAC’s Influence on Congress

Image Courtesy of Latuff Cartoons

Lobbying plays a significant role in how laws and policies are created — however, many Americans may not be familiar with the extent to which it is so powerful. The practice of lobbying could be utilized for beneficial purposes, such as making healthcare more accessible, but it can also be employed harmfully, as seen when companies lobby to obstruct legislation enabling cheaper drugs. Lobbying occurs when people or organizations attempt to convince lawmakers to make decisions that align with their ideologies, interests, and beliefs. Oftentimes, this practice of lobbying is fueled by money, through which organizations finance politicians, effectively acting as puppets for special interests. Campaign finance reform is necessary to tackle the unequal influence of money in lobbying, which gives wealthy interests more power over policymaking than regular citizens. Through the implementation of measures such as limiting political donations and increasing transparency, we can create a fairer political system that represents the interests of all citizens.

Why is the dominance of wealth and corporate interest so ingrained in the fabric of America’s political infrastructure? The 2010 Supreme Court ruling in Citizens United v. FEC can be cited as one of the contributors to this very phenomenon. The ruling essentially equated corporate spending with free speech, which set a precedent that would drastically alter the shape of American politics to this day. According to the American organization Campaign Legal Center assessing the Supreme Court ruling, “One way this has occurred is through [the] creation of super PACs, which can accept unlimited contributions from nearly any non-foreign source and spend unlimited amounts to influence the outcome of federal elections.” The unchecked influence of money has not only perpetuated inequality but also enabled politicians to not be accountable to their constituents. Furthermore, this practice of lobbying, rooted in power and wealth, has weakened the integrity of our electoral system because it allows politicians to feel detached from the needs of their constituents.

American politicians across both parties are equally complicit in facilitating the dominance of wealth and corporate interests in the political landscape. For instance, take Nancy Pelosi, the 52nd Speaker of the House of Representatives, infamous for her role in soliciting donations from corporate PACs. Although Speaker Pelosi herself has advocated for campaign financing reform and criticized the influence of money in politics, she has done exactly that. In 2022, Pelosi hosted the largest individual fundraiser in DCCC (Democratic Congressional Campaign Committee) history, amassing over $4.4 million in donations. Speaker Pelosi, in addition to many elected American politicians, are beneficiaries of the powerful lobbying group known as AIPAC. The Washington D.C. based group known as the American Israel Public Affairs Committee advocates on behalf of the interests of Israel. According to a data report from Open Secrets, a non-profit organization dedicated to providing data on campaign financing revealed insights into political donations. The report revealed the top pro-Israel beneficiaries among politicians from 1990 to 2024. President Biden was the recipient of more than $5,000,000, Mitch McConnell's contributions totaled $1,953,610, and Marco Rubio received support exceeding $1,000,000.

The report shares insight into how foreign lobbying groups such as AIPAC pose a significant challenge to the sovereignty and stability of the American political system. Moreover, the leveraging of wealth and influence by these groups seeks to shape domestic policies and decisions in a manner that primarily serves the interests of their country at the expense of American sovereignty. This intrusion into the American political landscape raises concerns about whose interests are being prioritized and whose voices are being heard in the policymaking process. Additionally, it undermines the fundamental principles of democratic governance, where decisions should be made by elected officials accountable to their constituents rather than influenced by foreign entities. However, it does not stop there. As of 2022, AIPAC has reportedly begun targeting American politicians critical of the Israeli government, which is incredibly concerning for America’s democracy.

According to reporter Betsy Reed, who wrote a piece titled “Pro-Israel groups target US lawmakers critical of Israel’s war ahead of primaries” late last year, reveals the severity of this situation. As Reed states, “During the last 10 days, groups that support Israel have launched ads in at least seven districts targeting those who have been particularly vocal in calling attention to the humanitarian crisis in the Gaza Strip, opposing Israeli military aid or criticizing Israel’s government.” Furthermore, when looking at the actions of pro-Israeli groups such as AIPAC targeting American politicians, it is imperative to consider the ethical implications of their actions. Ethically, what does it say about the United States when a powerful foreign interest group can exert such influence over elected officials? Additionally, this insight emphasizes the urgency of safeguarding against undue foreign influence on democratic processes. The piece also goes on to state, “Aipac’s Super Pac, United Democracy Project, has spent nearly $90,000 on radio and television ads attacking Massie in his district in recent weeks.” Ultimately, these findings underscore the vital importance of limiting the power and influence of foreign lobbying groups, which would require a radical change within domestic policymaking. However, it would also present an incredible challenge to do so, considering the number of influential politicians who benefit from AIPAC’s money.

Along with that, in the wake of the current humanitarian crisis and military intensification in Gaza, many Americans are expressing deep concern about their elected official's loyalty to AIPAC and Israel. According to a recent Axios report revealing US citizens' attitudes toward Israel, “Among U.S. adults polled in January, 50% said they believed that Israel's actions in Gaza had "gone too far," compared to 40% who said the same in November, the poll found. The report also revealed that Biden’s handling of the current political crisis has lowered his approval ratings. Moreover, the subject of Gaza reveals the shift in American public opinion regarding Palestine’s plight. However, the shift in the public is not reflected in its elected officials, many of whom continue to stand in solidarity with Israel despite the overwhelming evidence of injustices in Gaza. Despite the numerous protests involving hundreds of Americans across the country, the millions of petition signatures, and various civil efforts, there has been a minimal impact on the legislature. As AIPAC continues to fund politicians, Israel will continue to receive billions of dollars in military aid used to commit humanitarian acts on Palestinian civilians.

Moreover, the influence of lobbying extends the halls of Congress—shaping not only legislation but foreign policy decisions. In the case of AIPAC, its impact on American foreign policy is particularly evident. Over the decades, AIPAC has successfully advocated for significant levels of military aid to Israel. According to the Council on Foreign Relations, Israel is the leading recipient of foreign and military aid. AIPAC’s influence has not only exacerbated the Israeli-Palestinian conflict but raised questions about the extent to which foreign policy decisions are driven by domestic lobbying interests. It is also paradoxical that the United States provides substantial funding for Israel’s healthcare system that ensures universal access while lacking comparable provisions domestically. Why are American tax dollars being utilized to support healthcare in another country while domestic healthcare remains inadequately funded? Essentially, addressing the influence of groups like AIPAC requires not only reforms of stricter regulations but also a confrontation of America’s political structure.

Amidst the ongoing issues with lobbying and foreign influence through Israel in American politics, it is crucial to explore and think about reforming the American political structure. One solution could be to enforce stricter regulations on campaign finance and lobbying activities to curb the undue influence of special interest groups such as AIPAC. The imposition of tighter restrictions on political donations and improving transparency requirements allows politicians to foster public confidence. In order to provide a more fair playing field and reduce the impact of powerful lobbyists and funders, public funding of elections is a more promising solution. Political analyst Lee Drutman’s essay entitled “A Better Way to Fix Lobbying” proposes JAMES, a system aiming to enhance transparency and public engagement in the legislative process. The system essentially serves as a platform for lobbyists, constituents, and policymakers to access comprehensive information, including detailed information and data. Alongside stricter regulations of lobbying groups such as AIPAC, the enhancement of transparency will encourage greater political engagement and participation. Ultimately, it is on behalf of the American people to demand an improved political system not tainted by lobbyists to fulfill the interests of its citizens.

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the-intellectual-journal · 7 months

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Bandersnatch: Technologies and Evolving Representations of Mental Health

Image Courtesy of Netflix

Netflix’s 2018 film, Bandersnatch, is often praised for its innovation through its interactive cinematic capabilities. The film follows Stefan, a programmer entangled in anxiety and paranoia brought on by his mother's death. Viewers are able to make choices for Stefan as they explore the agency and the consequences of controlling another human's autonomy.

However, films, such as Dragon’s Lair (1983), Firefox (1983), and Night Trap (1987), pioneered the concept decades before Netflix even existed. This prompted me to reflect and examine the cyclical nature of entertainment genres. Similar to how fashion trends make a comeback, such as the current revival of 2000s aesthetics and fashion among Gen Z, genres in media undergo revivals by adapting to new technology and what audiences demand.

We can also observe a similar cyclical trend in the 21st century with the resurgence of the superhero genre. Although the superhero genre has been around for decades, it has grown and expanded so much with the advent of the Marvel/DC cinematic universes. These films take advantage of advancements in filmmaking technology and tap into the evolving desires of the modern audience.

A cultural writer from the publication, Little White Lies, S.L. Page, expands on the broader implications of Bandersnatch’s role in portraying mental health.

“Yet the participatory nature of Bandersnatch has the potential to expand viewers’ understanding of how mental illness works, and how it can affect a person. In short, it makes you think. And not in a throwaway, empathy-driven-tragedy manner, but – through the show’s choose-your-own-adventure structure – actual engagement with the realities of living with mental illness. Being asked to consider the consequences of Stefan’s actions will bring many viewers closer to mental illness than ever before. This level of association alone may change the audience’s point of view.”

I found Bandersnatch truly fascinating for its ability to provide multiple storylines—offering an immersive experience where the audience genuinely feels like they are a part of the story rather than simply pressing buttons. However, what truly captivated my attention was the nuanced interplay between mental health and interactivity that allowed audiences to see all the various alternative futures.

The interactive film made me curious about the complex relationship between choice, autonomy, and mental health. Through embodying Stefan, the audience is given a firsthand look at how his mental health connects with the decisions we make for him. I believe it raises some questions surrounding agency and ontology. To what extent does our societal and cultural understanding of mental health influence the choices we make as we control Stefan’s actions? How does mental health shape our perceptions of the world around us? And in the age of advanced technology, it prompts us to think critically about our autonomy. Are we the masters of our decisions, or are external influences, such as technology and societal pressures, guiding our choices in one way or another?

Bandersnatch captures the cyclical nature of trauma. As the participatory audience, we feel the heart-wrenching pain Stefan is experiencing from his mother’s death. There is a moment in which we are presented with the opportunity to allow Stefan to join his mother on the train and potentially die—or endure the painful trauma of her death. Later, we are even presented with the decision to take a psychoactive drug or whether Stefan should jump from a balcony. I believe that these moments bring the dark and complex reality of mental health struggles to the forefront.

The interactive film piqued my fascination to see how interactive narratives can be utilized to explore other complex social issues. Yet, it also led me to question the ethical boundaries. At what point does it become unethical to turn real-life trauma and mental health issues into a medium that people can play as a game? I believe there can be a balance between fostering empathy and understanding mental health through interactive media. However, we must ensure that we do not trivialize the realities many individuals struggle with by turning them into a form of entertainment, or rather a spectacle. Instead, our focus should remain on efforts toward constructing meaningful action through education, advocacy, and support systems.

Page, S. L. (2019, January 1). Black Mirror: Bandersnatch is a brilliant, urgent comment on mental illness. Little White Lies. https://lwlies.com/articles/black-mirror-bandersnatch-is-a-brilliant-urgent-comment-on-mental-illness/

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the-intellectual-journal · 7 months

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Cléo from 5-7: How the French New Wave Brought a Disruption to Commercial Cinema

Image Courtesy of Mubi

Cléo from 5-7 is a 1962 film directed by filmmaker Agnès Varda and is one of the most notable films associated with the French New Wave movement. The New Wave movement emerged in the late 1950s and was characterized by its rejection of conventional modes of commercial cinema. The formal elements of the New Wave embraced unconventional aesthetic techniques such as discontinuous editing, location shooting, and deviating from the 180-degree rule. On the contrary, mainstream French cinema aesthetics were marked by continuity editing, adherence to the 180-degree rule, and glamorous sets seen in films such as Romance de Paris (1941). Varda incorporates New Wave techniques, particularly discontinuous editing combined with recurring visual motifs of mirrors to provide a spectacle of Cleo’s existential state as she awaits her medical diagnosis.

The origins of the French New Wave can be traced back to young filmmakers who rejected “Traditional de qualité” — the commercial state of the French film industry around the mid-20th century. Francois Truffaut, Jean-Luc Godard, and Jacques Rivette were among a few of the critics who became respected figures within the New Wave movement and emphasized the value of realism, innovation, and subjectivity. The emerging filmmakers who opposed “Traditional de qualité” referred to them as “cinema de papa,” translating to “daddy’s cinema.” Moreover, the conventions of “Traditional de qualité” were often marked by their literary adaptations of classic novels, high production values, and conventional editing techniques.

Along with this, the New Wave brought variety to its movement, defined by the Cahiers, (filmmakers previously mentioned) and la River Gauche (Left Bank) composed of figures such as Agnés Varda, Chris Marker, and Alain Resnais. The Cahiers group was associated with the French film magazine Cahiers du Cinéma and were heavily invested in American cinema, particularly the works of Charlie Chaplin and Alfred Hitchcock. On the contrary, filmmakers associated with la River Gauche possessed a background in documentary production, literature, and left-wing politics. Similarly, in Cléo from 5-7, these characteristics are manifested through the film’s documentary elements, including location shooting and a sense of real-time to give the spectator a realistic representation of Cleo’s psyche.

The New Wave filmmakers viewed the mainstream films of France during their time as old-fashioned and associated them with the preferences of an older generation, hence the term “cinema de papa”. Filmmaker Truffaut expanded on this perspective, stating, “This school [of film] which aspires to realism destroys it at the moment of finally grabbing it, so careful is the school to lock these beings in a closed world, barricaded by formulas, plays on words, maxims, instead of letting us see them for ourselves, with our own eyes. The artist cannot always dominate his work. He must be, sometimes, God and, sometimes his creature”. Truffaut believed conventional French cinema was rigid, artificial, and often adhered to formulaic conventions, which prompted the birth of the New Wave movement.

Agnés Varda’s Cléo from 5-7 embodies the sentiments Truffaut speaks of and attempts to diverge from a conformist approach to filmmaking. The film heavily employs discontinuity editing, particularly through the use of jump cuts that capture the disarray Cléo experiences. In the opening scene, Cléo visits a tarot reader who envisions an unfavorable fortune about her health, setting the tone of the film. As an emotionally distraught Cléo leaves the building, she is depicted descending a staircase through a series of jump cuts. The use of jump cuts in this particular scene represents not only Cléo’s fragmentation of her life but also a descent toward an existential crisis. After she makes her way toward the floor, Cléo makes her way toward a mirror, admiring her beauty in the uncertainty of death. Moreover, the sentiment of existentialism and fragmentation is solidified through Cléo’s experiences of intensive emotions, prompting her to reconsider the fabric of her existence. Additionally, this sentiment is also displayed in the second act, when Cléo takes off her wig in front of the mirror as she spirals in anger while demanding to be left alone. Cléo’s decision to remove her wig represents the unmasking of herself as she looks into the mirror and the uncertainty of death. Additionally, this scene is a manifestation of the visual motif of the mirror intensifying the spectator's awareness of Cleo’s perception of reality.

Varda invites the spectator into Cléo’s inner turmoil and existence through recurring visual motifs of mirrors, in addition to jump cuts. The mirror forces both Cléo and the spectator to confront her identity and reality. In one scene, in particular, Cléo and her friend Dorothee descend a staircase resulting in Dorothee accidentally dropping a mirror and shattering it. Cléo is shaken up by what occurred, as she believes it is an interpretation of an omen of death. This recurring theme of fragmentation, instability, and superstition is symbolized by the camera’s focus on the broken mirror pieces revealing Cleo’s reflection. Film scholar and historian Sandy Flitterman-Lewis expands on this particular scene, “As Cleo bends down toward the scattered pieces of a pocket mirror… the only portion of her reflected face visible in these Jagged fragments is her eye. This is the last image of a mirror to appear in the entire film; significantly, it announces that this image has ceased to function for Cleo as a reassurance of identity as it confirms the priority of her own vision of the world”. The motif of the mirror is employed by Varda as a technique that embodies Cleo’s complex relationship with her identity and is a reminder of her fragmented self-perception.

Varda’s use of discontinuity editing and the broken mirror symbolizes a significant shift in Cleo’s relationship with mirrors. The mirror is no longer something that reassures Cléo as it did in the opening scene, rather, it forces her to confront a new perspective on her identity. Additionally, jump cuts are employed to intentionally disrupt the continuity of the film in conventional modes of commercial cinema. The use of discontinuity editing in Cléo from 5-7 however, creates a distinctive approach to both filmmaking and continuity. The discontinued editing mirrors the fragmentation that her health status brought into her life. Although the fate of Cléo is never presented at the end of the film, as one would assume, it concludes with a sense of a transformative outlook on how she perceives life. As the spectator witnesses Cléo deal with existential concerns, she becomes more self-assured in herself, even with the fear of death looming over her.

The discontinuity editing and recurring motif of the mirror in Cléo from 5-7 becomes a means to visually express the complexity, tragedy, and uncertainty of the human condition through Cléo. Along with that, the pieces of her life are captured through jump cuts that attempt to construct Cleo’s fragmented existential state, as death may be near for her. Varda's filmmaking techniques prompt the spectator to put the pieces together to reflect the philosophy of life’s continuity found in discontinuity. Additionally, the ambiguity of the film’s conclusion also prompts the spectator to reflect on the broader sentiments while considering the chaotic uncertainty of existence. Ultimately, Cléo from 5-7 is a visual manifestation of Varda’s unique approach to filmmaking, demonstrating a nuanced narrative of life through disrupting conventional modes of cinema.

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the-intellectual-journal · 8 months

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You Should Rethink Your Relationship with Fast Fashion

Image Courtesy of Gatis Šjuka

Our world today seems fast-paced and fashion has also followed suit. The appeal of fast fashion is rooted in its promise of trendy clothes at an affordable price. However, beneath the surface lies a troubling reality that demands our attention.

The fast manufacturing cycles and relentless pursuit of profit that define fast fashion result in significant environmental damage to the planet. The toxic chemicals used in textile production and the massive amounts of water consumed in dyeing are major contributors to that damage. According to a study conducted by Business Insider, fast fashion contributes as much carbon emissions as the entire European Union. The study also found that 85% of textiles end up being disposed of.

Beyond environmental concerns, there is also a human cost to consider. During the process of production, which prioritizes cheap and quick manufacturing, workers in factories are subjected to harsh working conditions. Additionally, the exploitation of factory workers, primarily those in East and Southeast Asia, demonstrates the racialized inequalities inherent in the fast fashion industry.

Furthermore, there is a reason why clothes from fast fashion brands are so cheap. In a 2022 investigation conducted by iNews, Shein, one of the leading fast fashion companies in the world, pays its workers roughly 0.03694 cents for each piece of clothing produced. This labor mode comes at the expense of human exploitation and we have a responsibility not to contribute to such injustice.

We have to think consciously about the clothes that we are wearing and not contribute to such a destructive cycle. Along with that, clothes produced by fast fashion tend to be of poor quality and last up to a few wash cycles. Although you may believe that you’re saving money because you’re purchasing cheap clothes, you end up spending more money in the long run.

Due to the clothes’ lack of durability, consumers often find themselves needing to purchase more than necessary. According to a US News article addressing the shortcomings of fast fashion, “A high-quality jacket you spend $150 on and wear 50 times has a per wear cost of $3. Spend $25 on a jacket that you wear twice and the per wear cost is $12.50.”

This quote captures the significant financial impact of why opting for low-quality clothing ends up hurting your wallet in the long run. Now you may be wondering, “How can I make informed purchasing decisions and break free from the cycle of fast fashion?”

The solution lies in secondhand clothing and embracing sustainable brands. By opting for pre-owned items and supporting brands committed to ethical manufacturing, we can contribute positively to environmental conservation and the well-being of apparel workers. As consumers, our power lies in our dollars, meaning that we hold a key to shaping a more sustainable future for fashion.

Additionally, renting clothes is another conscious decision. If you have a special event coming up, rather than purchasing clothes to only wear once, consider using clothing rental services such as Rent the Runway and Armoire. These services are also committed to sustainability and ethical practices.

Good On You is also a helpful resource that provides ethical ratings and information for fashion brands, helping you make well-informed consumer decisions.

From environmental degradation to the exploitation of workers and the long-term financial burden on your pockets, it is clear that the role of the fast fashion model is unsustainable. Ultimately, by doing your research on brands that prioritize sustainability and ethical practices, you play a role in creating a more responsible future.

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the-intellectual-journal · 8 months

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The Unapologetic Role of the Public Intellectual through Frank B. Wilderson III

Image from Afropessimism with Frank B. Wilderson III

Frank B. Wilderson III has consistently sparked controversy and meaningful discourse within Black intellectual circles and the public sphere throughout his career. As the child of a university professor and advocate for making the Pledge of Allegiance non-mandatory in his middle school, he was destined to emerge as a radical intellectual. Wilderson has also been a pioneer in the philosophical framework known as Afropessimism which challenges humanism and ontology. In Afropessimism, Black[ness] is positioned at odds with humanism — rejecting the belief in a universal human experience. The framework of Afropessimism contends that the gratuitous violence inflicted upon Black people globally is an integral part of humanity. Frank B. Wilderson’s Afropessimist philosophical framework and radical intellectualism not only challenge societal norms but also redefine the role of what it means to be a public intellectual.

Wilderson’s academic and political career exemplifies his intellectual commitments. He pursued his undergraduate studies at Dartmouth studying government and philosophy. After completing his studies at Dartmouth, he received his Master of Fine Arts degree from Columbia University in fiction writing and his Ph.D. in rhetoric and film studies from the University of California, Berkeley. Throughout Wilderson’s life, he was deeply involved in civil rights activism in Berkeley, California, and the African National Congress in South Africa where he was also a professor. Along with his activist and professional background, Wilderson has written many works ranging from his experiences in apartheid South Africa to his critiques of Marxist philosophies and African-American epistemologies. One of Wilderson’s renowned works titled “Gramsci’s Black Marx: Whither the Slave in Civil Society” argues that conventional Marxist discourse shaped by intellectuals like Gramsci fails to address the unique position of the Black subject, the slave, in civil society. Wilderson argues the Black experience is marked by a historical trauma that disarticulates the foundations of hegemony. The mark of historical trauma reveals a structural impossibility for the Black subject to partake in civil society as envisioned by Marx.

In April 2020, Wilderson published his book “Afropessimism” and is described by Wilderson as:

Combining trenchant philosophy with lyrical memoir, Wilderson presents the tenets of an increasingly prominent intellectual movement (Afropessimism) that sees Blackness through the lens of perpetual slavery. Drawing on works of philosophy, literature, film, and critical theory, he shows that the social construct of slavery, as seen through pervasive anti-Black subjugation and violence, is hardly a relic of the past but the very engine that powers our civilization and that without this master-slave dynamic, the calculus bolstering world civilization would collapse.

The book marked the initial exposure of the public to the philosophical framework of Afropessimism and the civil unrest after the death of George Floyd a month later only underscored its relevance and urgency. Wilderson’s text evoked strong reactions from the general public eliciting a spectrum of reviews. The reactions ranged from those who resonate with the ideas he raises to others who do not perceive him as someone to be taken seriously, exemplary of what it is to be a public intellectual. One internet user who read the book described it as “... the global reality of blackness as slavery to humanity. The writing is compelling, beautiful, and elegant. The theory is clear and unsettling. The truth of it is relentless. Be careful how you use the term human from now on. Be forewarned when you meet one.” to “the theory is incomplete and reductive…” “Afropessimism” also garnered critical appraisal from various outlets such as The New Yorker, The Nation, and The New York Times. Additionally, The New York Times asked Wilderson in an interview to persuade someone to read his book in 50 words or less to which he replied “With the narrative drive of a captivating novel and the intellectual rigor of critical theory, “Afropessimism” illustrates how black death is necessary for the material and psychic life of the human species. A high-wire act between rage and paranoia, or a breath of sanity? Read it and decide.” The book not only exposes readers to this distinctive philosophical framework but also invites readers to critically engage with the complex parallels between race, society, and the human condition. Furthermore, this exemplifies what a public intellectual should do—offering and providing knowledgeable perspectives that encourage questioning and challenging conventional standards.

Examining Wilderson’s work in the context of the supposed decline of public intellectuals in the United States requires scrutinizing the nature of his intellectual contributions and how they challenge prevailing narratives. Wilderson's approach to philosophy and race positions him as a distinctive figure within the contemporary intellectual landscape. Wilderson is unapologetic when it comes to challenging established norms which presents a departure from the more restrained styles associated with previous generations of public intellectuals. This departure also prompts a critical question: Does Wilderson’s methodology signify a resurgence of public intellectuals who are willing to disrupt the status quo? Or perhaps it exemplifies a shift toward unconventional forms of intellectual engagement?

In “Afropessimism,” Wilderson calls for an end to the world as a resolution to the structural violence that the Black subject experiences. The New Yorker published a piece on Wilderson's book titled “The Argument of Afropessimism” and said “But, unlike hooks, Wilderson does not choose to imagine possible futures. The only way to cure the condition of slavery that ails Black people, he says, is “the end of the world.” There will have to be a total end to things—an apocalypse. From civilization’s ashes something truly new might finally grow.” Furthermore, this is a radical and transformative response whether one agrees with the ideas the book presents or not. However, as much as Wilderson has contributed to Afropessimism, he does not necessarily go into depth about what that resolution to anti-Blackness looks like. What does the end of the world look like for the liberation of the Black subject? Is it the abolition of the police, the overthrowing of capitalism, imperialism, and all the institutions that participate in the exploitation of the Black being?

Wilderson’s intellectual contributions have had a significant impact on the public, especially in the aftermath of the civil unrest from the death of George Floyd, a global pandemic, economic recession, and a surge in a culture war propelled by the right wing. As the American public, particularly those that are Generation Z and millennials become increasingly aligned with politics that challenge the status quo, there is an interesting observation unfolding. The disarray of American institutions has left many young Americans disillusioned which has led to a turn towards radical political ideologies. In a similar context, police abolition and the works of public intellectual Angela Davis surged around the same epoch as Afropessimism did.

The material conditions of a particular society shape the type of dialogue that enters public discourse and the works of Wilderson and Davis is an exemplary observation of this phenomenon. In a similar vein, there is a reactionary response to the emergence of radical leftist intellectuals and discourse, exemplified by individuals like Matt Walsh who has published strong opposing opinions on transgenderism in contemporary American society. Additionally, Wilderson’s and Walsh’s ability to elicit strong reactions from the public and esteemed publications suggests a polarizing influence that is representative of public intellectuals who challenge norms. This polarization is a response to a broader shift where the public appears to be invested in intellectual figures who do not shy away from controversy.

Wilderson’s works also offer a contemporary lens through which to analyze the evolution of public engagement with the intellectual in connection with the essay “Are Public Intellectuals a Thing of the Past?” by Stephen Mack. The essay addresses the anxiety surrounding the influence of intellectuals in society and challenging perceptions of anti-intellectualism in American society. In the context of Wilderson, Mack’s essay on public intellectuals emphasizes the shift in focus from the decline of a specific class to the functionality of intellectual work which resonates with Wilderson’s radical unapologetic approach.

One noteworthy excerpt from Mack’s idea of the role of the citizen and the public intellectual states:

It is also, however, the obligation of every citizen in a democracy. Trained to it or not, all participants in self-government are duty-bound to prod, poke, and pester the powerful institutions that would shape their lives. And so if public intellectuals have any role to play in a democracy—and they do—it’s simply to keep the pot boiling. The measure of public intellectual work is not whether the people are listening, but whether they’re hearing things worth talking about.

As Mack articulates in his essay, the obligation of every citizen in a democracy is to actively engage with and question the powerful institutions that shape their lives. This aligns with the perspective that a public intellectual such as Wilderson holds in keeping the societal discourse dynamic. Wilderson’s assertive and radical approach, whether people may agree or disagree serves as a testament to the obligation of citizens to challenge powerful institutions and social structures. In this context, Wilderson’s public intellectual work is not solely determined by his popularity but by whether his ideas stimulate conversations that are worth having within the democratic framework. Furthermore, Wilderson’s intellectual contributions, particularly within the framework of Afropessimism are not simply an expression of ideas but a call to action that radically challenges metaphysics and other structures that perpetuate anti-Blackness.

In the case of Wilderson, his role as a public intellectual not only embodies the democratic ethos but also challenges and redefines it. His activist and academic background push the boundaries of the democratic framework and provoke meaningful dialogue, which keeps the “pot boiling” as Mack mentions in his essay. Mack also raises concerns about the oversimplified characterization of anti-intellectualism and its capacity to impact shaping public perceptions and the role of intellectual contributions in society. Furthermore, public intellectuals often serve as a conduit between academia and public understanding where they take complex ideas, such as Wilderson’s Afropessimism and translate them into accessible language. The translation of intellectual work to make it digestible for a general audience bridges the gap between specialized knowledge and public engagement — which fosters a democratic exchange of ideas and empowers citizens to meaningfully contribute to society.

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Leila and The Wolves: Revolutionary Feminism and the Importance of Third Cinema

Image by Cinema of Women Presents

Leila and the Wolves created in 1984 by Lebanese filmmaker Heiny Srour follows the story of a young woman named Leila. Leila lives in London and can travel through different points of Middle Eastern history through the collective memory of women a part of the 20th-century Palestinian and Lebanese resistance movements. The film is framed through a radical and feminist lens and highlights the women central to the Palestinian liberation struggle, serving as a testimony to their revolutionary spirit.

Srour’s approach to the film's formal elements solidified her status as an innovative filmmaker — reflected through the film’s radical political commitments through challenging dominating structures of occupation and colonialism. The film reflects these commitments through Leila’s ability to travel through time and space. Leila’s power bridges the gap between the past and present, giving agency to the Arab women often erased in historical narratives. Srour employs Leila's ability to time travel offers a transformative approach to interconnecting various periods of a collective history — contributing to a richer and textured narrative.

At the beginning of the film, Leila is transported to the West Bank in the 1920s. While Leila is there, she witnesses a violent demonstration and the cruelty inflicted on the Palestinian people. She is shortly taken back to the present, and the brutal imagery remains etched in her memory. During a conversation with her partner, Leila questions why he exclusively selected photos of men in the exhibit showcasing the Palestinian struggle.

He responds, claiming he doesn't recall any images featuring women and that they had no role in politics back then. This scene is juxtaposed moments later when Leila is transported back to the West Bank in the 1920s, and the viewer witnesses how the women resist colonial subjugation. The women are strategic in their resistance — flinging rocks and pouring boiling water at the unsuspecting colonial officers from the balcony.

Film scholar Vivianne Saglier expands on this theme, “My argument navigates the tension between historical continuities and ruptures intrinsic to disenchantment by re-articulating the relationship between historical projects of decolonization and later decolonial feminist approaches, which materialize in Srour’s “post-Third-Worldist praxis”.

Srour’s filmmaking style in Leila and the Wolves resonates with the principles of third cinema, which disrupts conventional American narratives. As mentioned by Saglier, “Srour’s cinema of liberation experiments with myth-based historiography to establish connections between distinct epistemic worlds across time, space, and gendered groups—what Lugones calls “world-travelling,” the realization and negotiation of the plurality of epistemic worlds that enrich the construction of collectivities”

With this framework in mind, the spectator immerses themselves in the gendered collective memory of the Palestinian liberation struggle. These instances are witnessed through Leila, as she acts as the viewer's guide. The viewer can observe the women gathering to manufacture bullets out of old residue, strategically concealing weapons to bypass checkpoints, and taking up arms to resist the 1948 Deir-Yassin massacre. These acts of resistance reflect how Leila and the Wolves stand as a tribute to the revolutionary and feminist spirit of Arab women.

Leila’s ability to serve as a historical witness in combination with archive footage enables the viewer to tap into the collective memory and shared trauma of the Palestinian plight. The archive footage often shows the violence occurring on the front lines and the heartbreaking display of Palestinian refugee camps.

While Srour's methodology enhances the depth and authenticity of the story, many Arab male filmmakers during Srour's time, often fell short in this respect. Srour comments on Arab men’s films such as Borhane Alaouie´’s Kafr Kassem (1968), Youssef Chahine’s Al-Asfour/The Sparrow (1972), or Tewfiq Saleh’s Al-Makhdu‘un/The Dupes (1973) often represented women in a one-dimensional perspective—typically relegating Palestinian women into symbolic representations that mirrored patriarchal narratives such as passive beings or the docile mother identity.

Srour’s decision to integrate archive footage while displaying women’s political role in liberation struggles contrasts with this traditional narrative. This approach to storytelling not only adds a layer of historical context but underlines that the efforts and struggles of Arab women are not fictitious or symbolic representations but are grounded in historical authenticity.

In doing so, the film paints a broader picture of the Palestinian liberation struggle and illustrates its feminist principles. In a world that often erases the contribution of women’s historical efforts, Leila and the Wolves is a groundbreaking form of media that commemorates the revolutionary commitments of women at the heart of the Palestinian liberation struggle.

Heiny Srour gives us more than just a story; she presents a lesson, a memory, and a call to not forget the sacrifices made by Arab women at the forefront of the Palestinian liberation movement. Although Leila and the Wolves was released nearly 40 years ago, the depiction shown in the film reflects the material reality of Palestinians today, from having to navigate checkpoints in their own land to being displaced from their homes to live the rest of their lives in refugee camps. Srour’s approach to storytelling is a reminder that the struggles of the past continue to echo in the present, urging the viewer to reflect on the challenges Palestinians face today.

Saglier, Viviane. "Decolonization, Disenchantment, and Arab Feminist Genealogies of Worldmaking." Feminist Media Histories, vol. 8, no. 1, 200.

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