Heroes

"And the shame was on the other side
Oh we can beat them-forever and ever"


According to a CNN article, “The U.S. Army says it will honor the "heroism and sacrifice" of 350 U.S. soldiers who were held as slaves by Nazi Germany during World War II.”

When I first watched the movie ‘Stalag 17’ on television long time ago my biggest surprise was contrary to what we had been told about the suffering in the concentration camps, being a captive American soldier in a Nazi camp is not horrific as what had happened to the Jews. (Think about William Holden who playfully trades with his German colleagues). In this type of movies (Stalag 17, The Great Escape or more recently as in Hart's War) the American soldier do not only manage to preserve their physical dignity but boldly confront their guardians both ideologically and psychologically. On the other hand, the hideous Nazi officers who do not refrain from ruthlessly torturing and liquidating Jews in various techniques are reluctant to disregard the provisions of Geneva Conventions in respect of American soldier, possibly by the reason of their hesitation against the capability of American individual to improvise cunning ploys when the things get complicated. It is not an unfounded delusion though since all these movies end up with practical American civility outsmarting, outplaying the collective stupidity of German idealism.

I think the reason why American army had covered the actual conditions of its soldiers in the Nazi camps in all these years is to prevent the damage to the eternal dignity and courage of the soldier who is the embodiment of the collective universal American. But unfortunately as the American soldier has traversed to the other side of the shame finally, the only way to save his appearance is to reverse the image and reflect his humane-mortal face. This is way the U.S army suddenly decided to disclose the outworn secrets.

As I understand, in the WW2 era, one of the prominent images in the U.S was the monstrous Japanese rapist targeting white American female:



It is no surprise that Turks have been told once in a while that how treacherous Armenians raped and brutally butchered pregnant Turkish women in the unguarded villages of Anatolia. But it is all right as it and the illustrations above demonstrates our humane individual vulnerability against the strictly organized brutality of the enemy. But what happens if the enemy rape or transform our soldier to their slave? Total humiliation: It would be like to rape a nation all together. The tolerable fate of the soldier is heroic martyrdom and immorality but not to be enslaved by the enemy, this is why the Turkish state welcomed the freed soldiers as if they are disgraceful traitors and shameless cowards. Later it was revealed that some of them are people of Kurdish ethnic background, i.e. they don’t deserve to be a Turkish soldier in the first place.

The Radical Conformist Humor

There was a post on The Unrepentant Marxist on Robert Greenwald’s documentary “The Real McCain”. Here is my comment:

I think people watch these allegedly political videos for the same reason they are fascinated by lolcat humor. It is the obscene pleasure of witnessing the triumph of life, of its overwhelming flow that tears down all the barriers. In one of them, common human stupidity prevails over the nature by zealously reflecting its symptoms to another living thing. In the other, disturbing contradictions of human dimension invades the social order: people sometimes get confused, yes, although McCain is a politician, he can get confused too. Terry Eagleton is right to say that in satire and irony the hero is inferior to the rest of us, but I think, we should add that, in comedy the hero is inferior to each of us individually, but replicates our common weakness and confusion against our environment. I think this is the elemental trap of comedy: We typically get the inferior impersonal frame without the individual picture. Here what we got, I mean, with the sarcastic McClain movies, jokes, etc. is an empty frame of standard human stupidity, without the original, individual political picture of McCain. This is why, although it seems extremely critical to the state of affairs, comedy, parody, etc. in fact, often radically reproduces the conditions of the unpleasant individual situation.

It is amazing even if the sense of humor is one of the most exceptional qualities among humanity, modern dominance of white collar narcissism and the Internet machine remarkably decreases the expenses of its reproduction and increases the productivity of banality. At first it seems contradictory to spot pathological narcissism in conjunction with the sense of humor, but, considering the performative capability of narcissism to observe and act according to what people laugh at, along with the fact that comedy is the shortest way to objectify people, to reduce individuals to empty frames, it is understandable that the widespread shortage of creative humor itself produces infinite amount of homogeneous jokes. Now, we have countless Holden Caulfields everywhere supposedly surrounded by numerous stereotypes, stupid girls, perverts, Yale-looking guys, lazy bastards, dirty bastards, nosy bastards, phony bastard, etc. etc. they obsessively point out each other, seemingly expose their bullshit, but for what motivation? To demonstrate that I’m the the only NORMAL bastard: “I was probably the only normal bastard in the whole place--and that isn't saying much. I damn near sent a telegram to old Stradlater telling him to take the first train to New York. He'd have been the king of the hotel.” (The Catcher in the Rye). In a paradoxical fashion, the misleading element in the pretentious sense of humor of modern narcissism is its illusory radical aggressivity. As Zizek puts, the pathological narcissist “is a radical conformist who paradoxically experiences himself as an outlaw”.

I’m too fed up with this tedious lolcat style political humor.

The Imaginary Berlin Wall

The text below is my response to a post appeared in Louis Proyect's The Unrepentant Marxist:

Hello Louis,

Although I haven’t written you in a while, I am keeping the track of the updates of your blog. Your reference to the “post-modernist sensibility” gave me a pause to question one of the distinctive patterns of postmodern narrative: the unfulfilling culmination with an ambiguous escape from the fiction. It is the inevitable finale of a fiction suffering from the Tristram Shandy Syndrome.

Here we are introduced with an East German ghost is desperately dreaming that she has survived from her unavoidable destiny and eventually merged herself with modern West German post-industrial society. The Freudian innovation in interpretation of dreams fundamentally centered on the rupture from the previous theory in which the dream was treated simply as the imaginary showcase of the arbitrary remainders of the daily reality, however, in Freudian sense, the dream is not the imaginary illustration of our reality but it essentially displays how we relate ourselves with the reality. At this juncture Louis Althusser integrates ideology with the Freudian conception of the dream:

“Now I can return to a thesis which I have already advanced: it is not their real conditions of existence, their real world, that 'men' 'represent to themselves' in ideology, but above all it is their relation to those conditions of existence which is represented to them there. It is this relation which is at the centre of every ideological, i.e. imaginary, representation of the real world. It is this relation that contains the 'cause' which has to explain the imaginary distortion of the ideological representation of the real world. Or rather, to leave aside the language of causality it is necessary to advance the thesis that it is the imaginary nature of this relation which underlies all the imaginary distortion that we can observe (if we do not live in its truth) in all ideology.”

The central allegation of postmodern narrative is the decisive disavowal of the modern conception that reality is represented in fiction albeit in a ciphered form. Since everything is a part of the complete signifying system, there is no possibility of reality outside of the language. Just like one of Auster’s ordinary hackneyed characters, Quinn from "City of Glass" summarizes the postmodern cliché of metafiction, i.e. the primary and probably the only remarkable narrative trick of his author: the postmodern author is not interested in how his stories related with the world, but how they are relate with other stories. The postmodern distortion here resides in its initial identification that the signifying system is the ultimate determination of the representation of reality. But language, in its imaginary aspect, naturally excludes the real and demonstrates no more than how we relate ourselves with our real conditions. The same goes for literature. Even though it is a waste of time to investigate a shred of Turkish reality through the lyric verses of an ordinary petite bourgeoisie Turkish poet who in general used to extensively chant about the skies, birds, flora, bugs and insects and love, (which is the sum total of all these arbitrary images plucked from the purity of rural life… and which is contrary to the Socialist Realists of 70’s who employ love as the complementary drive-object of revolution) this imaginary arrangement of items apparently unconnected with the prevailing and pervasive indignity of the urban working class perfectly represents how the rumbles and grumbles of the stomach of our modern artists are related with the reality.

Although no more than little of my concerns still remains, for me the keystone for critic of art is to crack code of its representation that how the imaginary and the real is related. With regard to Christian Petzold’s movie that you reviewed, sticking to my standard procedure to evaluate the meaning in the artistic creation, it is required to invert and fix his depiction what his movie is about:

“…Someone who has come from a ghost town like this and who wants to enter into life, but carries around the ghostly with them, that is what Yella is all about.”

Based on your quite short synopsis, Yella is not about what Mr. Petzold ostensibly disclosed. There is a stunning irony in the act of confession or disclosing a concealed meaning: In effect, which is more bluntly revealed is the presence of a disturbing connection between the subject and the truth which is supposedly disclosed. It is not the infection of the ghostly melancholy of East German countrymen that is haunting the German financial capital personified as Philip, the rapacious private investor. But it is the German neo-liberalism (Here I used term the Real like Lacan and Badiou employed: something outside of the borders of the mighty signifying system persistently pressures the symbolic order to take precautions to interrupt its eruption with a traumatic Event which would disintegrate the coordinates of the system.. More explicitly, it’s a reminiscent of the neurotic vibration inside my left ear) which summons the East-German ghost to exorcise its evil spirit, a vibration of reality that patiently lies to wait to explode out with an unexpected Event. I think this is also the reason of your recent discontent on how contemporary fiction ends without a fulfilling culmination. Whereas the narrative is all about to suppress the reality, it is compulsory to prohibit any Event only which has the supremacy to represent the Real.

Anyway, the concealed meaning in Yella connotes that an ordinary German needs to resurrect the soul of GDR to persuade him/herself that the Berlin Wall still remains, everything is in order, signifying system still functions, words like democracy, freedom, equality, egalitarian justice, communism, totalitarianism, etc still signifies the same fixed meaning as before 1989. Even in the sexual attraction, the aluminum phallus of the private investment could be desirable with the spurring of the obsessive-compulsive East German hick fettering the social unification quest of her ex-wife. This might be elementary lesson of this story.

My critical concern here is not the problem with the emblematic construction of the postmodern fiction. I can’t give a meaningful shit about a nonsensical fart (I only care about music). Like Badiou, my concern is the birth of a new subject which rises above the wreck of previous symbolic order. Unlike Badiou, I think Subject is not the completed creation of the Event. There the new subject exists only in a potential form, in-itself. It was our desire for social unity that prompted us to tear down the Berlin Wall, freedom and democracy were its objects… Eventually we secured a valuable trophy from the ruins just to realize that the bourgeois democracy and freedom have tiny, only descriptive connection. This is the crucial point whether the birth certificate of a new subject would be stamped. The potentiality of new subject surfaces at the moment when one gets what one wants with a little malformation. Like in Terry Gilliam’s movie Brazil, the main protagonist Sam Lowry unexpectedly encounters the woman of his dreams without the little detail of long curly blonde hair and eventually we see at the end of the movie that this time he dreams about Jill as she is. This is the excellent expression of true love. It is not true for the reason that from now on Sam Lowry loves Jill as the real Jill, as who she is. It is impossible anyway. But his encounter with a woman utterly dismantled the mechanism of his desire towards women: There is no need for a supplementary long blonde wig and dreams of heroism in which Lowry crosses swords with his own superego to save the dreamgirl, etc. Contrary, at the end of the movie, in Lowry’s final dream, we see that Jill the Real saves him from the torturers. This is the valid final scene of the movie for me. The actual last scene is an insult to this reality.

A new subject emerges at the decisive point that Badiou names as the “Fidelity to the Event”. Here we have extra options: We can get rid of the tomboyish shorthaired Jill or we can expel the generic “communist hypothesis” that once propelled us to demolish the walls, which would again enables us to circle around the little object of bourgeois democracy, formal freedoms of the market, more modest contentions of identity politics, etc. The science of necromancy to resurrect the deceased East German subject is for the most part represents the guilty conscience of German intellectuals that urges them to re-erect an imaginary Berlin Wall.

In an interview about his 2005 movie Gespenster (Ghosts), Christian Petzold, the director of Yella, yet again apparently discloses the recurring ghost theme in his movies:

“One has the feeling that there is something ‘ghostlike’ about all the characters in your film.…

It’s an interesting effect ... When a film starts with two girls coming home from school, throwing their schoolbags in the corner and going off for ice cream, then they have an immediate social definition. But the girls played by Sabine Timoteo and Julia Hammer are different; they don’t have homes or a place to define them; no social definition. They are, as I explained to them, in a sort of bubble. They want to go to a casting call because they want to be seen. They want to have an identity, and they can’t identify with doing an apprenticeship or anything like that ... This ‘living in a bubble’, the effort of trying to establish contact with so-called ‘life’, that’s what this film is about. And the effect is that the other characters who come into contact with the girls suddenly don’t seem to have terrific, normal lives either – suddenly it’s not only the two girls who are unable to be part of normal life. The girls reveal the rest of the world as also being a bubble; they take it apart. You get the feeling that wherever they are, just a metre beside them ... it’s not normality, but rather the beginning of the next ‘ghost (twilight) zone’. I don’t know whether that will be the effect film will have, but considering what I’ve seen so far, I think we’re on the right track.”

Apparently, Mr. Petzold is still on the right track and this is what I called as the Tristram Shandy Syndrome at beginning. Laurence Sterne’s colossal, never-ending novel is ultimate logical form that exemplifies the ideal postmodern narrative is composed of the permanent postponement of any event that has the power to castrate the story from the infinity of metafiction. Here we have two girls or Yella or whatever, but there must always be an imaginary Berlin Wall that they eventually bump their heads to just to bounce back and run against another. The perfect postmodern narrative might be achieved by an adult movie that in front of a screen which displays their former appearances, porn stars debate forever about the myth of simultaneous orgasm.

Fidelity to Truth

This is my comment to Jodi Dean's post, "No Time for Politics":

Hello Ms Dean,

It is a little bit late, but Happy Birthday!

My birthday was April 2nd. As an ordinary celebration I spent my 32nd birthday by contemplating on the path my life, on how the forms of social relations ironically consumes the content of proper communication, our capacity for full speech, the field of political interaction (Here I mean something very fundamental other than real politics. Political in the sense of a praxis that interferes in the connection of two people), namely, I dwell on how this non-stop bombardment of “empty gestures”, ear-splitting prattle of “empty speech”, all those hysterical exchange of links, You-Tube videos, SMS massages, etc. etc. leads to an all-embracing isolation.

I think there are two connected features of the contemporary excessive communication or the “communicative capitalism”: The first one is the hyperactive exchange of “empty gestures”, images, jokes, slogans and the most stereotyped expression of language, etc. to prevent something that will probably disintegrate our dispassionate purity in this sheltered space. As Zizek describes as, “people not only act in order to change something, they can also act in order to prevent something from happening”. And the second one is this obsessive exchange of “empty speech” does not only provide an escape from “full speech” which verbalizes a truth about our desires in the boundaries of present, but also provides a blockade that prevent us to lie about ourselves since lies generally disclose the depth of truth more explicitly than sincere and straightforward statements. Thus the concealed silence beneath this communicative uproar signifies our or their anxiety to accidentally reveal an unbearable truth of ourselves. She or he consistently avoids proper communication to prevent the outbreak of any evidence that would possibly expose a disturbing truth: I have the right to remain silent. Here we need Hillary and Barak to sustain our counter-revolutionary hyperactivity by handing over the entertaining demonstration of the leakage of truth from the crack of “empty speech”.

“The Soviets--they had stamina, the stamina for politics”. I agree. The Soviets had stamina for politics in the conditions of specific political dimensions. In the present, I think we must attach another quality to this essential precondition to deal with politics. As Badiou pointed out, no matter how unbearable and impossible they seem, we also need a decisive fidelity to political truths: Fidelity to disclose them with every possible manner.

I will publish this comment on my blog.

Best,

An Imperialist Poll

A recent article in MRZINE about a public opinion poll that was carried out by WorldPublicOpinion.org introduces how Iranians are satisfied with their goverment.

There is a profound ideological implication in the form of these questions.

First of all by querying an affirmative statement abstractly (Do you TRUST the national government in Iran to do WHAT IS RIGHT? etc.) the interviewers direct the subjects to shy away from negative answers. Together with this crafty manipulation and Iranians' well-founded suspicion that there could be covert government investigation beneath this sudden interest about their opinions, it is not surprising that this pseudo-poll has reached its original goal. The deduction here is not a critique of Western imperialism in the sense that how it misleadingly depicts Iran that fits their imperialist intentions. Surprisingly, this scientific pool perfects the imperialist propositions: The danger with Iran is not merely about its undemocratic, antiquated, oppressive and unpredictable regime like our politicians used to represent. But there is also an ossified trauma, an internal evil haunting the mentality of this monster: Although the Iranian regime is an utter outrage, the citizens are somewhat contended to be a part of it.

As I said, the questions are arranged to repress the negative responses. Let us apply something else that entirely removes the possibility of a negative response and completes the perfection of ideological manipulation. Let us compel Iranians to give concrete affirmative answers. For instance, instead of asking whether they are satisfied of Iran’s economy, let’s ask them to enumerate the positive developments in economy in recent years, or ask them to give tangible examples of the improvements in the social life, etc. Only by this way, only through forcing the subjects to neglect the negative option which is already repressed in social life, it is possible to reveal the ironical humiliation in the Iranian regime. Let Iranian people creatively fabricate lies about their reality. Their answers might reflect the immensity of the oppression that they are dealing with.

There is a wonderful passage in “Bob Dylan's 115th Dream” that perfectly depicts how people creatively lie about an unpleasant reality. (The caps are mine):

"Well, by this time I was fed up
At tryin' to make a stab
At bringin' back any help
For my friends and Captain Arab
I decided to flip a coin
Like either heads or TAILS
Would let me know if I should go
Back to ship or back to JAIL
So I hocked my sailor suit
And I got a coin to flip
It came up TAILS
It rhymed with SAILS
So I made it back to the ship"