Showing posts with label Slavoj Zizek. Show all posts
Showing posts with label Slavoj Zizek. Show all posts

Wednesday, November 7, 2012

WHAT'S IN A NAME


WRITTEN BY THOMAS BLOM HANSEN

Jason Bourne is a well-trained CIA assassin who, as goes the plot of the series, tries to find out who he really is. What is he looking for, really? In ‘Bourne Identity,’ we find he has a dozen passports under a dozen aliases and a whole world insistent on taking him down for reasons he isn’t aware of. As he looks into why this is happening to him, he goes on a deeper, much more profound quest – for identity. Identity, here, is a question of legality and closure, where Bourne would like to see himself as a citizen again with a single legitimate passport and pertaining documents, a place of residence, perhaps, and people once close to him, whom he would rediscover in the process. 

The journey with Bourne is organic. There is a human being fleshed out even in the ruthless assassin he is, a character that we find we can empathize with and root for. And three films down the line, by which time we get familiar with and fond of Jason Bourne, we, along with the man himself, discover that he actually isn’t Jason Bourne. He is, in fact, called David Webb, an army man adopted by the CIA for an operation and ‘converted’ to Jason Bourne in a training module, where Bourne is a character, an identity that is created and ascribed to the man that Webb had become. 

Now, there are two points where his identity becomes problematic as I see it. The first is when David Webb becomes Jason Bourne, a process illustrated as a classic example of CIA brainwashing. The second is Jason Bourne coming to terms with the fact that inside the Bourne machine is a man who once lived – someone, he learns, is called David Webb, who was ‘transformed’ to Jason Bourne through an excruciating set of initiation rituals. 

Aside from, or perhaps even including, the set of characteristics he had been force-fed with, Jason Bourne is still who he is. Or isn’t he? So he is, in our heads, where we had gotten more than accustomed, through piggy-back rides on his shoulders in chase sequences where we bonded on adrenalin rush. To us, he is Jason Bourne; we shall not be swayed that easy. To himself, however, we can’t say. 

Thomas Blom Hansen, in ‘Violence in Urban India: Identity Politics, ‘Mumbai’ and the Postcolonial city’ writes that the ‘proper name’ is something that, when replaced by a set of characteristics to describe the thing in question, just doesn’t work the same way. The term “a grumpy, cynical, almost worn-out archaeologist with an eye out for adventure and a knack of handling it,” doesn’t do as much justice as calling him ‘Indiana Jones,’ or ‘Indy’ for that matter. But it could very well be because we had been conditioned this way, to an extent that we find comfort in representing him through his name and an uneasiness otherwise. 

I’m aware that my examples have been individuals (and fictional characters, that too!) so far, and I understand that a city can, in no way, have an individual for a metaphor on the lines of the ancient Greek theory of society as an organism. But then I believe the problem has been put on the table, alongside Blom Hansen’s theory on the proper name. For an entity as vast and of indescribable diversity as a city, a proper name or, more simply, the ‘right name’ is practically impossible. You get used to a name through its constant reiteration, most of which has got to be authoritative, as Blom Hansen claims. 

The name, in case of representative naming, is both cause and consequence of what it signifies. In case of a city, as much as the name, if it has to be ‘proper,’ needs to represent the space, historical context and, if possible, the collective(?) identity of all its people, it also would go on to define the same for its people. ‘Mumbai,’ for instance, is not just (‘not even,’ as Blom Hansen would say) a consequence of the ‘Maratha pride,’ but also serves as a cause for the same. As he rightly quotes Zizek here, “the identity of an object is the retroactive effect of naming itself – it is the name itself, the signifier, which supports the identity of an object.” Jason Bourne is aware that he is Jason Bourne, where ‘David Webb’ comes in to confuse. As is, unless I’m terribly mistaken, the case with Bombay and Mumbai. 

The fundamental argument of the book, which Blom Hansen spoon-feeds to us, is made clear in the first few lines in a sub-heading called ‘the Argument’ that he writes in the introductory chapter. Let me quote him word-by-word so as to not deprive you of the full blow of his statement that, I believe, I would take away in an effort to paraphrase. 

This book analyzes the historical formation of the political discourses, the identities and the conflicts that changed Bombay from being the preeminent symbol of India’s secular, industrial modernity, to become a powerful symbol of the very crisis of this symbol.

I think he does a world of good in putting across the core idea of his book in four (three, here) lines that give the reader the requisite amount of clarity in proceeding further with it. And he does himself a disservice in that he isn’t being elusive about it. 

As the statement puts across, we find ourselves up against two facets of Blom Hansen. One is the historiographer/storyteller who, like an old mariner, mixes stories of the state and the city with stories on how he collected those, meshing them into a compelling narrative as perceived and told through the perspective of one who was as beguiled as he was startled by what he saw, read and heard about. 

On the other, we have the critic, who could weigh the information he gathered and who doesn’t hesitate to take a stance, as he unabashedly says so himself. In his persuasion to see things the way he’d like to see them (which he has averted to a substantial degree, the fair amount of neutrality that, I think, he has achieved), the critic might have hit a few blind spots, but the historiographer never loses track. There’s a story in hand, it’s compelling, and he’s delightful in his rendition of it. 

All through my reading of the book – and I shall, first and foremost, admit to an equal ignorance of both scenarios – I couldn’t help but try to put Mumbai and Chennai in a tabular column. Both were ‘Presidencies’ during British rule. Post-Colonialism, thus, applies to both, as does the conflict on the ‘proper name.’ Again, I shall restate my ignorance in the lack of an argument to support the existence of such a conflict, but I am, mildly, aware of an amount of nostalgia in the former that has people only grudgingly accept or merely become accustomed to the latter. For instance, I come from an institute that still continues to call itself ‘IIT Madras.’ So does ‘IIT Bombay,’ for that matter, actually. The reason here, however, is a certain pride that the institution insists upon keeping close to. And the ‘brand.’ 

Another similarity I find is in the concept of a Tamil nation (a concept I wouldn’t entirely dismiss either), not far from the situation in Maharashtra, with the identity of the ‘Maratha’ and the heroic notion of Shivaji that has been naturalized through the ages. Tamil, the language, has been the rallying point for political parties as the DMK and more aggressive fronts like the MDMK and the PMK, and even though I wouldn’t peg them alongside an entity as severe as the Shiv Sena, there’s still a certain level of manipulation and opportunism that’s definitely comparable. The cause is indefinite as Blom Hansen’s idea of identity based on language; and trust is a first-class ticket for a plane that won’t take off. 

It’s like the man who feigns drought in Summer in a village so he could make a Rain-God and become priest in a quest for control. If anything, the policy has been Machiavellian; the idea of a ‘Maratha’ is loose, and harmful in that it is exclusive of a whole bunch of people, which becomes problematic in a cosmopolitan environment and, more importantly, in the making and existence of a city of multiple identities that can’t be put in a single bracket. A Tamil nation, in this way, implies the same, where settlements of any other linguistic group will have to be excluded and/or marginalized. Of course, the whole idea is combative against existing or imagined discrimination, but the solution is not as simple as a ‘Do not enter’ sign – which, in the case of exclusionary policies, is implied and not even explicitly stated. 

It’s here, perhaps, that I was most disappointed in Blom Hansen. A collective identity of a city on the whole might be practically impossible. But is it not necessary? Like I said, ‘Indiana Jones’ is not “the rogue archaeologist who wears a hat and cracks a whip” – he is ‘Indiana Jones.’ What can ‘Mumbai’ be, then? ‘Bombay’ was, in no way, better, as has strongly been stated. Under the veil of elitism, modernity and aspirations were intense social, cultural and political anxieties that burst out with the press of a trigger. And ‘Mumbai’ did nothing to make it better, if not intensify it further. 

I agree that Blom Hansen has done well in presenting us with the problem – understanding is the first step towards change. But has that step taken us any closer? 

‘Violence in Urban India: Identity Politics, ‘Mumbai’ and the Postcolonial city,’ deconstructs the name to be an inadequate signifier, at least in the case of calling Mumbai ‘Mumbai.’ Perhaps we have reached the state where we number cities and not name them, with an excuse of ‘starting from scratch’ to tackle the problem of space, historical context and collective identity. But then again, there’d be a section of society that comes up and says that the digits don’t add up the way they ought to. And another that gives a new number that represents them better. The argument is endless, my review is not. I stop right here.

Tuesday, July 31, 2012

THE MAN IN TRAMP'S CLOTHING


“Listen, Matthew! 
When Chaplin wanted a beautiful shot, he knew how 
– better than Keaton, better than anybody!” 

Theo (Louis Garrel) is almost aggressive in his defence against Matthew (Michael Pitt) in Bertolucci’s ‘the Dreamers’ (2003) as they compare Chaplin and Keaton on who was/is the better filmmaker. Of course one could agree to disagree, but would that work for an apple of my eye as opposed the orange on your mind whose citrus, you think, refreshes you? Where it’s human to compare and it’s prudent not to. 

Chaplin is, beyond doubt, the biggest star in the world. Frank Sinatra, Elvis Presley, Michael Jackson – they can all vie for his position, but the extents of endearment don’t quite match. Chaplin was and is the epitome of ‘universal appeal’ across time and space, a consequence of him being able to make a canvas out of film-reel and finger-print his way to a masterpiece – in every portrait, every shot; every burst of unimaginable creativity in a performance deeper than the spectacle. 

The comparison between Chaplin and Keaton is almost a comparison between the head and the heart, taking two people with separate realms of influence. Chaplin has long been branded the king of melodrama, the ‘tramp with the golden heart’; the idealistic pantomime act soaked in emotion and spiced with spirit that the establishment was intolerant to, at that point in time. The biggest doubt cast on Chaplin and his quixotic endeavours, thus, is that of contemporary relevance, or any relevance, for that matter, to real world solutions as opposed to romantic notions – a doubt that doesn’t question his greatness but his pertinence. While Chaplin is the world’s biggest showman, Keaton is considered to be more. 

It’s in this line that the Slovenian philosopher and psychoanalyst, Slavoj Zizek, plays a crucial role in exemplifying Chaplin as one of the most profound of filmmakers – in whose depths are layers of psychology from a man who understood humans by understanding himself. Zizek, thus, empowers Chaplin with a psychoanalytical perspective brought to those 'beautiful shots' that the world continues to be in awe of, now for more than their visual and emotional impact. 

Take, for example, this shot from ‘the Circus’ (1928), one of the very few films before ‘Limelight’ (1952) with an autobiographical overtone – it can’t be denied that Chaplin slipped in elements of his own life wherever he could, his shots and sequences being statements to a world he couldn’t meet through any other means. Outside, he was the Ladies’ man, famous for his affairs and linkages. But the screen was the space where he could be what he strived to be – an idealist that the world (and himself, as a part of it) had rendered him incapable of being. 

In ‘the Circus’, Chaplin plays his usual Tramp, parked, this time, beside a travelling circus. Merna Kennedy plays the girl on the sawdust waiting for the angel Gabriel to save her from her step-father who ran the circus. The Tramp starts off well, an accidental star in a show he revolutionized. The circus does have clowns, but he’s branded ‘the Funny Man’ in a show of irony. He holds his act as ransom to save the girl from ill-treatment, she reciprocates with gratefulness on her part. 

As is the fate of Chaplin, the die-hard romantic, he construes kindness to be ‘love’ – that which he’s so deprived of. His love has no sexual connotations to it, and in that it is strange how conclusive he is in name-tagging it. His is an attraction without the ‘attraction’; that of being in love with a woman who “don’t even appeal” to him, like Dylan once sang.

The shot comes right after he eavesdrops on a conversation between Merna and a girl-friend of hers, about a man she’s fallen in love with. The Tramp thinks it’s him, does a jig with happy music in the background – another facet of Chaplin’s genius – and buys a ring to propose. Then he hides behind the curtain again and listens in as she tells her friend that it’s the new tight-rope walker – a tall gentleman, perennially suited-up. Reading between the lines, we see an analogy with the silent-talkie divide in a paradigm shift that broke many careers. Chaplin did sustain the turn of the tide to a great extent, though, and is one of the very few rare exceptions, that way. 

The entire film is in fast-forward (Chaplin shot at 12 frames per second and projected at 24), but the action slows down for this shot. The Tramp realizes, with ring in hand, that it’s not what he thought it was. It’s minimalist with himself in the centre, as the man who brought about his own embarrassment. An interesting thing to note is that the embarrassment is not external but is a consequence of self-reflection. He hasn’t lost his face to anyone – he hadn’t proclaimed his love to the woman and been turned down, he hasn’t told anyone else about it. It’s himself who he has let down in his blind pursuit to complete one half of the jigsaw puzzle that he had completely forgotten about the other. 

He bows his head in shame but his eyes assert; they speak of resolution. For a moment, we lose the Tramp as a gentleman shines out from inside the Tramp’s clothes; the gentleman who has always been there and kept reserved for moments like these. For a moment, we see the ‘Man’ outlast the concept – a Man who, in this case, loves a woman who doesn’t love him back. There is disappointment, there is pain, there is anger. And to top it all, there’s a firm resolve in the fact that he can’t do anything about it and that he, in fact, shouldn’t do anything about it. It isn’t like a Man to force anyone’s hand or to beg for the same, and he knows that. 

Chaplin is raw Ego hidden behind a struggle for idealism, which is Matthew’s defence in not liking him. It can’t be denied. He hides his embarrassment behind a screen in this photograph. To the outside world (that is, Merna), he is intact and in constant performance - you'd have to split the curtains to see the man behind. For, needless to say, he is a man who keeps the best of himself hidden from the rest of the world – the side of his which is most beautiful in that it is misshapen, flawed, angry, embarrassed and truly human.