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PaperclipPerfector  24d ago (text post)   34276 thread views

Culture War Roundup for the week of October 28, 2024

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I think this has also enshittened movies. When I watch movies made before 20 years ago, they seem like they were made by people who had life experience outside of filmmaking and celebrity scenes. Which is maybe strange, because Hollywood has been very nepotistic since the moment it came into being. But for whatever reason, Hollywood used to pull in more talent who had experience with life outside movies. There were soldiers, blue collar people, hippies, wild politically unorthodox guys like John Milius, and all sorts of other kinds of people who got into the film industry. When I watch modern film, on the other hand, I often feel like I am watching something made by people whose life experience consists of watching other movies and going to parties in New York and Los Angeles.

I could be biased, maybe my political opinions are filtering into my perception of movies. But this is how it feels to me.

I think it's part of the optimization of everything. Increasingly, if you're about X, you need to have been about X for as long as possible. People who are constantly going from one line of work or lifestyle to another are slipping through the cracks and becoming sort of invisible, on the outside of success looking in. It's associated with being kind of a loser, relative to decades past. Indeed it's kind of a Boomerism, to have worked in e.g. a department store and then one day a guy comes in who makes movies, you hit it off, and a few years later you're firmly ensconced in the movie industry with some success.

While I have mixed feelings about Oliver Stone, I have to concede that at least his confrontational "war is hell" movies about Vietnam actually drew on his personal experiences of serving there. Which leads me to an interesting question - have there been any films about the invasions of Iraq and Afghanistan written or directed by people who took part in said invasions?

Closest I've seen is Generation Kill, a miniseries, which was written by an embedded journalist, had a dozen of the guys from the unit on as instructors and producers, and one or two even played themselves (Rudy Reyes).

The Hurt Locker was written by someone who was in Iraq, though as an embedded journalist. Jarhead is based on a memoir written by the titular Marine.

I read The Hurt Locker, it was pretty good. Although I was really talking about movies etc. rather than books - did anyone involved in making the adaptation actually go to Iraq?

The Hurt Locker movie wasn't an adaptation.

Sorry, I just realised I'm mixing it up with Generation Kill.

I often feel like I am watching something made by people whose life experience consists of watching other movies

I have this thought every time I watch a movie directed by John Carney. It's as if he's an alien who's never met a human being face to face and only learned how they talk and behave from watching movies. Oppenheimer gave me the same feeling.

I keep coming back to this article by a guy talking about the National Book Awards, and how they've become increasingly insular and self-referential over time. He talks about how previous generations of award-winning books were written by people who had actual practical "lived experience" of the things they were writing about (e.g. Hemingway actually fought in a war), often without having ever attended college. Increasingly, the people winning or being nominated for these awards are people who hold MFAs in creative writing and have never lived outside of the academy for any significant period of time. They're books written by people who learned everything they know about life from reading other books, rather than from the primary sources of actually doing and experiencing things firsthand.

Pointedly, he notes that previous generations of award-winning books often had mass populist appeal and were just as widely read by ordinary people and educated people. Increasingly, National Book Award-winning novels are novels you've never heard of: they're written by and for MFA graduates.

He talks about how previous generations of award-winning books were written by people who had actual practical "lived experience" of the things they were writing about (e.g. Hemingway actually fought in a war), often without having ever attended college.

I think the valorization of "lived experience" for writers and artists (which, in practice, typically means the valorization of a specific kind of experience, to the exclusion of others - traveling to distant places, exposing oneself to physical danger, etc) is misguided.

Consider this post, which linked to this graph, where people were asked how many unarmed black men they thought were killed by police in a single year. About one in five "very liberal" respondents said that the number was 10,000 or more - but the actual number is nowhere near that high. Now imagine that someone has the "lived experience" of watching their unarmed black male friend get shot by a police officer. Perhaps he hears one or two anecdotes from friends that they also knew people who had similar experiences. We can imagine that this experience might affect him greatly; we can imagine that he might start to think that this experience is more common than it really is, and he might go on to write an award-winning book about it, and this book might produce more people like those 1-in-5 Very Liberal respondents who think that police shootings of unarmed black men are much more common than they actually are. In this case, we would want his lived experience to at least be tempered by some "book learnin'". Otherwise, he might go on to write a book that was quite politically deleterious. There are some truths that can never be arrived at even with a lifetime of "lived experience" - there's no getting around the need for data, abstract reasoning, the need for knowledge of other people's experiences so you can find the common patterns.

Or consider all the things that are in principle impossible for anyone to have direct experience of. If you want to, say, write a book that deals with the historical connections between contemporary wokeism and Stalinism, or maybe the French Revolution - you're going to need to read other books for that. Eventually, historical events become so distant that no one alive could have experienced them.

That’s not the value of lived experience in narratives. The value of having fought in a war (Hemingway for example) is that he understands the way war is in the real world and can thus create characters who feel like they’re fighting a war instead of characters that think and act like people who make movies think people in wars behave. Or if you want to write about life in a black ghetto, it’s going to feel more real if written by someone with at least some idea, even second hand, of what that life is actually like. There’s a phrase in philosophy that I think captures the idea. It is like something to be a person in any situation you come up with. It’s like something to be poor, or Palestinian, or a cop, or a soldier. And stories become much better is the author at least has some idea of what those things are actually like, rather than going off TV/movie tropes, or stereotypical ideas, or other sources with no real connection to the thing being described. It’s a fidelity issue. A copy of a copy of a copy eventually looks nothing like the original.

You all may be interested in this Critical Drinker video: Why Modern Movies Suck: They're Written by Children

My point is not that having lived experience will lead you to have a more accurate picture of how the world works. I'm saying that if you have lived experience of X, if you're writing a book about X, then all things being equal it will probably sound more convincing than a book about X written by someone who has never experienced X firsthand.

Could a novel written by an underprivileged black youth about his experiences growing up in the hood contribute to a progressive's erroneous impression that unprovoked police shootings of unarmed black men are widespread? Sure. But all things being equal, I would expect such a novel to be a lot more affecting and convincing than a novel on the same topic written by a creative writing MFA from a wealthy family who's never even set foot in the hood.

If you want to, say, write a book that deals with the historical connections between contemporary wokeism and Stalinism, or maybe the French Revolution - you're going to need to read other books for that.

Sure, but even having broadly comparable lived experience might be more beneficial to the creative process than just pure research. The experience of fighting a battle in Baghdad in 2003 is unlike the experience of fighting a battle in the Somme in 1916, but I would expect that the two experiences have far more in common with each other than they have with the experience of sitting in a warm cottage with a pot of tea reading a book about the battle of the Somme.

I'm saying that if you have lived experience of X, if you're writing a book about X, then all things being equal it will probably sound more convincing than a book about X written by someone who has never experienced X firsthand.

This depends on the readers. If both the writer and readers have experience in X, then the readers can recognize things from their own experience in the written work, and thus think it is realistic. But it could also happen that the writer has experience in X and the readers have none, and the reality of X is so far removed from the readers' own experience that they find a realistic depiction of X unbelievable.

FWIW I've had a very similar thought/possible post about TV sitting on the back burner. While there are the rare few gems a lot of the recent streaming fair has left me wondering where all the adults went. Not just on screen but in the production department so many choices that left me feeling like "this should've been an easy win, how did you fumble it this badly?"

Yeah, I agree. Especially watching shows from the 50s and 60s, where a lot of the creators were WWII vets (Rod Serling, Gene Roddenberry, etc.), is a huge contrast to today where most of the PMC wouldn't be caught dead in uniform.

No, because I noticed the same. The people making films today all come from the PMC for the most part and know no other lifestyle. It’s also just that in the 1950s society was much more economically integrated in the sense that the emerging PMC was very likely to grow up in neighborhoods and attend schools with the working class. Most of the generation that marched off to college after the war (or sent their kids to college) grew up working factory, sales, or skilled labor jobs or at least knew people who did. Modern elites are much less likely to have any significant contact with blue collar types, less likely to have served in the military, etc. so what they know about war, blue collar work, small towns, religion, and so on, come through narrative fiction.

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