World War Two
Published 25 Sep 2022WW2 historians Indy Neidell, Spartacus Olsson, and Paul Woodadge moderated by Ryan Socash discuss the meaning and significance of D-Day from historical, current, and future perspectives. Recorded on the road while shooting in Normandy for TimeGhost’s 24-hour documentary on the events of June 6, 1944.
(more…)
September 26, 2022
Did D-Day win WW2? – a WW2 expert discussion
September 24, 2022
The end of crisis culture – “[Y]ou can’t go on having a culture of crisis if people stop showing up for it”
Chris Bray on the inevitable endgame of “all crisis, all the time” culture:
The journalist John Tierney has described the Crisis Crisis, “the incessant state of alarm fomented by journalists and politicians”. What we’re experiencing now is the Crisis Crisis crisis, the emerging crisis caused by the Crisis Crisis. Over and over again, interventions in some invented or overhyped form of the crisis, undertaken in the hysterical spirit of the Crisis Crisis, cause a form of the Crisis Crisis crisis, which eventually results in a course correction that may or may not be fully apparent for a while. Skip right over the next paragraph if you don’t need to see examples again.
The Sri Lankan government intervenes in climate change by instantly ending the use of commercial fertilizers in agriculture, which causes a dangerous decline in the production of food. The German government intervenes in climate change by declaring a commitment to 100% clean energy, which causes dangerous instability in the availability of actual energy (“committing national suicide“), with some help from the Nord Stream shut-off valve, which nobody ever could have seen coming. The Dutch government intervenes in climate change by declaring an intention to limit agricultural production, which doesn’t cause anything yet, because Dutch farmers won’t stand for it, but final outcome TBD.
All over the world, things that work stop working because of excessive and unwarranted interventions led by people who cry crisis and throw sand in functioning gears. Dutch agriculture was just fine; then the government decided to help end the crisis. The interventions — the interveners, the people who get in the way — are harming us, when their harm could be prevented by literal nothing, by the simple choice to not perform the interventions. What we need is for the interveners to go play Risk in their basement or something, and forget their important duty to help.
The entertainment industry has had its own intervention, famously described on Substack, in woke-facing talent purges and narrative shifts and insulting “It’s Ghostbusters … but with WOMEN!” reboots. And now some hint about the endgame of the one big cycle of fraud comes from woke Hollywood — which has pounded audiences with The Message for years, resulting in a catastrophic loss of audience. The result is starting to look like this:
The social justice intervention in Hollywood storytelling is harming Hollywood; the intervention in that industry is causing the decline of the industry. At some point, people stop eating shit.
Comments Off on The end of crisis culture – “[Y]ou can’t go on having a culture of crisis if people stop showing up for it”
September 13, 2022
Society would be happier if we all paid even less attention to “the tossers of Tinsel Town”
Ian O’Doherty on the malign influence pretty people who mouth other people’s words for the cameras still exude in our popular culture:
Tucker Carlson … the man from Jennifer Lawrence’s nightmares, apparently.
They never learn, do they? If the tumultuous events we have all watched with growing horror over the past few years taught us one thing, it is this – people don’t care what the pampered starlets of Hollywood have to say about politics. If we did, then Hillary Clinton would be comfortably enjoying her second term as the pantsuit POTUS, Jeremy Corbyn would be prime minister of the UK and we would all be driving electric cars.
But regular people are smarter than actors, which seems to drive the luvvies wild with fury. Rather than accepting that maybe, just maybe, there is another side to the argument, the tossers of Tinsel Town insist that anyone who doesn’t fully embrace the so-called progressive agenda is simply a monster.
We saw this recently when Jennifer Lawrence, who used to be quite refreshingly down to Earth, proudly admitted that she had to “work so hard … to forgive my dad and my family” for voting Republican. She also, quite wonderfully, spoke about having “recurring nightmares” about Fox News anchor Tucker Carlson.
In the course of her interview for the cover issue of Vogue magazine – that renowned bastion of proletarian agitation – the Hunger Games actress claimed that she was born a Kentucky Republican, was raised as a Kentucky Republican and had considered herself to be a Kentucky Republican, until she watched an episode of 30 Rock. And then her worldview completely changed.
Now most of us would agree that 30 Rock was a brilliant sitcom. After all, it was so ingenious in its construction that it even managed to make Alec Baldwin look likeable. But would anyone think that Liz Lemon’s line, “I’m not a crazy liberal – I just think people should drive hybrid cars”, would be enough to utterly transform someone’s political beliefs?
Apparently, this is what changed everything for Lawrence. She even seemed proud of the fact that a throwaway line in a sitcom triggered some sort of Damascene conversion to what is now so tediously known as “the right side of history”.
Predictably, following the Vogue interview, Lawrence was hailed as a modern-day Joan of Arc – for refusing to be “passive about politics”. But there is no real bravery involved in simply having the courage of other people’s convictions – she knows which way the political wind is blowing and is bending to it. That’s not all that brave, is it?
Comments Off on Society would be happier if we all paid even less attention to “the tossers of Tinsel Town”
September 12, 2022
The Lord of the Rings and Ancient Rome (with Bret Devereaux)
toldinstone
Published 10 Sep 2022In this episode, Dr. Bret Devereaux (the blogger behind “A Collection of Unmitigated Pedantry”) discusses the relationships between fantasy and ancient history – and why historical accuracy matters, even in fiction.
(more…)
August 19, 2022
How Accurate is Saving Private Ryan? – WW2 D-Day Special
World War Two
Published 16 Aug 2022How accurate is that famous beach scene in Saving Private Ryan? Is it true to the history or just another Hollywood story? Seeing as we’re about to start the filming for our massive D-Day project, we figured we’d break it down, shot by shot.
(more…)
Comments Off on How Accurate is Saving Private Ryan? – WW2 D-Day Special
August 4, 2022
QotD: Errol Flynn versus Basil Rathbone in the 1938 Adventures of Robin Hood
A lot of swordfighting in medieval-period movies is even less appropriate if you know what the affordances of period weapons were. The classic Errol Flynn vs. Basil Rathbone duel scene from the 1938 Adventures of Robin Hood, for example. They’re using light versions of medieval swords that are reasonably period for the late 1100s, but the footwork and stances and tempo are all French high line, albeit disguised with a bunch of stagey slashing moves. And Rathbone gets finished off with an epée (smallsword) thrust executed in perfect form.
It was perfect form because back in those days acting schools taught their students how to fence. It was considered good for strength, grace, and deportment; besides, one might need it for the odd Shakespeare production. French high-line because in the U.S. and Europe that was what there were instructors for; today’s Western sword revival was still most of a century in the future.
This scene exemplifies why I find the ubiquitousness of French high-line so annoying. It’s because that form, adapted for light thrusting weapons, produces a movement language that doesn’t fit heavier weapons designed to slash and chop as well as thrust. If you’re looking with a swordsman’s eye you can see this in that Robin Hood fight. Yes, the choreographer can paste in big sweeping cuts, and they did, but they look too much like exactly what they are – theatrical flourishes disconnected from the part that is actually fighting technique. When Flynn finishes with his genuine fencer’s lunge (not a period move) he looks both competent and relieved, as though he’s glad to be done with the flummery that preceded it.
At least Flynn and Rathbone had some idea what they were doing. After their time teaching actors to fence went out of fashion and the quality of cinematic sword choreography nosedived. The fights during the brief vogue for sword-and-sandal movies, 1958 to 1965 or so, were particularly awful. Not quite as bad, but all too representative, was the 1973 Three Musketeers: The Queen’s Diamonds, a gigantic snoozefest populated with slapdash, perfunctory swordfights that were on the whole so devoid of interest and authenticity that even liberal display of Raquel Welch’s figure could not salvage the mess. When matters began to improve again in the 1980s the impetus came from Asian martial-arts movies.
Eric S. Raymond, “A martial artist looks at swordfighting in the movies”, Armed and Dangerous, 2019-01-13.
Comments Off on QotD: Errol Flynn versus Basil Rathbone in the 1938 Adventures of Robin Hood
July 21, 2022
The Railrodder (1965)
NFB
Published 15 May 2015This short film from director Gerald Potterton (Heavy Metal) stars Buster Keaton in one of the last films of his long career. As “the railrodder”, Keaton crosses Canada from east to west on a railway track speeder. True to Keaton’s genre, the film is full of sight gags as our protagonist putt-putts his way to British Columbia. Not a word is spoken throughout, and Keaton is as spry and ingenious at fetching laughs as he was in the old days of the silent slapsticks.
Directed by Gerald Potterton – 1965
Comments Off on The Railrodder (1965)
July 10, 2022
QotD: The difference between courage and fearlessness
OregonMuse, “The Morning Rant”, Ace of Spades H.Q., 2019-03-16.
Comments Off on QotD: The difference between courage and fearlessness
July 2, 2022
The “preferred pronoun” problem
Jim Treacher is having pronoun problems … not choosing the ones he wants to use or for others to use for him, but the whole “preferred pronoun” imposition on the rest of society to learn, remember, and use properly the bespoke pronoun choices for all the extra, extra-special snowflakes:
Remember when you could just use the pronouns that self-evidently described a person? If you were talking about a fella, you’d say stuff like, “He did this” and “Here’s what I said to him.” Or if you were talking about a lady, you’d say things like, “The 19th Amendment says she can vote now, good for her.” It was a simpler time.
Now pronouns are a frickin’ minefield. You put one little tippy-toe on the wrong pronoun and … BOOM!! A heedless “misgendering” can get you in big trouble. You can get banned from the internet and/or lose your job. For some reason, you’re expected to enable the delusions of any person with trendy mental health issues. It’s not enough for a trans person to call him-, her-, or themselves whatever he, she, or they want. The rest of us are all obligated to go along.
Even if he’s a scumbag criminal like Ezra Miller.
And what’s even worse, this bizarre phenomenon renders news stories about “nonbinary” people almost indecipherable. Just look at this latest story about the ex-Flash actor going around the world being a violent lunatic:
The actor — best known for playing the DC superhero the Flash in several films for Warner Bros. — was set to start filming the studio’s latest entry in the “Harry Potter” franchise, Fantastic Beasts: The Secrets of Dumbledore, in London when the shoot was halted on March 15, 2020, due to COVID. In the weeks after, Miller, who identifies as nonbinary and uses “they/them” pronouns, became a regular at bars in Iceland’s capital, Reykjavík, where locals came to know and even befriend them. Many recognized Miller from their earliest breakout movies, 2012’s The Perks of Being a Wallflower and 2011’s We Need to Talk About Kevin, where they played a troubled teen who brought a bow and arrow to school and murdered his classmates.
It’s a grammatical nightmare. “Many recognized Miller from their earliest breakout movies.” Oh, so those Icelanders worked with Miller on those movies? No, you see, “their” is supposed to refer to him.
And this part is just madness: “They played a troubled teen who brought a bow and arrow to school and murdered his classmates.” So it’s not “They murdered their classmates,” because the character he was playing wasn’t nonbinary? What is this gibberish?
Tom Hanks recently said he regrets playing a gay man in Philadelphia because he’s not gay. I always thought that was just called “acting”, but what do I know. If that’s the case, though, why should a nonbinary person be allowed to play a normal person?
Comments Off on The “preferred pronoun” problem
June 18, 2022
QotD: Celebrities “came up out of the lagoon and helped themselves to all the culture they could find. They just ate everything.”
Well, actually, I’m asking.
Are celebrities one of the reasons our culture is now so chaotic and unstable?
There is a strong case for “yes”.
For starters, celebrities have many flaws.
They can be self centered, as when Madonna was asked to celebrate Aretha Franklin. She referenced herself more than 50 times, and Ms. Franklin 4 times.
They can be naive, as when Gal Gadot lead a sing-along with fellow celebrities from the comfort and protection of their beautiful homes. She now agrees this was “in poor taste”.
Celebrities are not durable. That’s our our fault. We raise them up and we strike them down. And because we have the attention span of a French monarch, their moment in the spot light is fleeting. But it means our relationship with them is often fleeting.
Celebrities are vulnerable. Being a celebrity is incredibly perilous. Living in the very thin air up there, no mortal should wish for this. So celebrities suffer. They have break downs. They slide into drug dependency and bad relationships. At this point it is hard for them to be exemplars. Unless of course we are struggling too.
But here’s the key reason to treat celebrities as a culture problem.
In the course of the 20th century, celebrities ate their way through Western society, consuming or discrediting any and every elite that dared compete with them.
In this period, people still cared about scientists and other experts. They saw editors, publishers, judges, and professors as figures of authority. They admired and sought to emulate people of exalted social standing. They looked to religious leaders to address the big issues of the day. Artists, a few of them, were consulted. Designers, some of them, were gods.
This is mostly gone. Celebrities brought them low. It’s not clear that they meant to. It’s more likely that the simply won the popularity contest of contemporary culture.
We could choose between (nearly) dead white males, cranky, pipe smoking, vest wearing, utterly pompous creatures who would occasionally stoop to correct us. Or we could go with the effortlessly charismatic, blindingly beautiful, funny, endearing, eager-to-please people. I mean just look at the people in the “selfie” above. You can’t help but be wowed. Game, set and match to the movie star.
Celebrities remind me of the Rem Koolhaas library in Seattle.
This never fails to make me think of a mechanical monster that’s just crawled out of Seattle’s Elliot Bay and climbed the hill looking for lunch.
That’s what celebrities did. They came up out of the lagoon and helped themselves to all the culture they could find. They just ate everything.
It started with children’s books. They had to write em. Then it was lines of perfume and clothing. They had to design em. Then of course it was politics. How could we possibly do without em? Most of the people running for office in the US are now strikingly attractive. Some of them could actually be part-time models. This is the celebrity effect.
But here’s the other reason that the celebrity influence might be a cause of our instability. It is that they have colonized our young. There are lots of ways of making this argument, but I think “exhibit A” is probably TikTok. This platform matters because it mints celebrity. And that matters because a fifteen year old typically believes he or she matters in exact proportion to his or her fame.
Grant McCracken, “Culture Problem: celebrities”, Future Watch: an anthropological pov, 2022-03-17.
Comments Off on QotD: Celebrities “came up out of the lagoon and helped themselves to all the culture they could find. They just ate everything.”
June 16, 2022
Paul Wells takes in a current movie … and likes it
I’ve never been much of a movie-goer, even before the neverending pandemic lockdown theatre landed on us in 2020, so the chances of me going to see something like Top Gun: Maverick were pretty low (especially as I never bothered to watch the original, back in the day). Paul Wells is in the middle of a European trip, so he did what every travelling North American would do somewhere on the continent of history and culture: he watched a current-release American movie:
The mystery of Maverick is why, by next weekend, it will pass Doctor Strange in the Convolution of Fan Service as the year’s biggest movie, why it is the biggest film of Tom Cruise’s charmed life — why it strikes such a chord in this moment, even though its premises, visual vocabulary and soundtrack are 36 years old. In terms of chronological distance from the original Top Gun, it’s as though the top-grossing movie of 1986 had been a sequel to 1950’s Annie Get Your Gun. (“And there has never been a star as sensational as Betty Hutton!” Annie‘s trailer proclaims. Switch Tom Cruise in for poor Betty and suddenly the claim may actually be true.)
The simplest hypothesis is that Maverick is just big and loud, so you can leave your brain at home and enjoy the spectacle. But lots of lousy movies nobody watched were big and loud, including Matrix: Resolutions and Ghostbusters: Afterlife, so there must be some fuller explanation.
This being a Substack newsletter, I suspect I’m contractually encouraged to argue that Maverick wins because it isn’t woke. I’m afraid I can’t oblige. I mean, the movie definitely makes only the barest acknowledgment of taking place in the 21st century. None of the hotshot young recruits pauses from the action to specify their pronouns. None decorates their flight helmets with empty square brackets to acknowledge their privilege. The film’s few concessions to cultural change since the MTV era have the effect, not of engaging today’s fights on provocatively old-fashioned terms, but of declining to engage. Joseph Kosinski, the journeyman special-effects technician brought in to direct this film in note-perfect homage to the style of the original Top Gun director Tony Scott, doesn’t even bother to make the film’s racial politics as minimally complex as Scott did in 1995’s Crimson Tide. Maverick‘s young recruits, diverse in gender and ethnicity, are awesomely interchangeable in every other way. One smirks, one has a moustache; the others have no identifying characteristics. (When half the recruits get cut from the big mission at the 90-minute mark, there is no dramatic payoff because it’s impossible to tell these people apart. “Sorry, Component A, I’ve decided to go with Component B.”) Nobody under 30 in this film has sex for either pleasure or procreation. Yearning for intimate touch is plainly something only old people do, like writing in cursive script or owning books.
As a cultural argument, Maverick is so close to being tabula rasa that there’s no real point interrogating it. But on another front, it succeeds resoundingly in popular art’s primary function of tantalizing simplification. It started to make sense when I realized that Cruise’s character, despite the denial inherent in his call sign, is a career civil servant.
This is a movie about the action of a large modern state. It’s a film about public policy. Its central claim is a cathartic feat of Avengers-level denial. Just as the superhero movies offer us a made-up universe in which we have any hope of telling the good characters and the evil characters apart, Maverick posits a world in which modern governments can get anything done at all.
I may be influenced in this reading by the fact that I work in contemporary Ottawa. I’ve been writing variations on a simple question — Can Justin Trudeau get big things built? — since 2017. I’m hardly alone. And it’s hardly just a question about Trudeau, Ottawa or Canada. It’s been fun reading about chaos at Toronto’s Pearson airport, but last week the Financial Times ran a “big read” feature story about global airport chaos that didn’t even mention Pearson, Toronto or Canada. Joe Biden promised to Build Back Better. It’s not going great. Here in France, Emmanuel Macron is the first president to be re-elected in 20 years, a genuine feat, but it’s not going great. Brexit? Don’t ask.
A generic term for the ability of governments to do stuff is “state capacity”, and there’s a vague sense in the quasi-academic literature that it’s in decline, although, the real world being the real world, every element of this claim — that state capacity is declining, that it can be measured, that it even exists in any measurable form — is open to dispute. Still, it feels true, don’t it? The world was never great. In important ways it was worse than today. But it used to feel like it was possible to improve the thing, and now it just feels like everyone’s just firing blind and hoping for the best. COVID is a dynamite demonstration of this. Three successive Canadian federal health ministers were told, by a prime minister who prides himself on his ability to read the room, to get cracking on plain-paper packaging for tobacco products. And then the biggest public-health disaster of our lifetimes opened up its jumbo can of whup-ass, and it wasn’t even in the mandate letters. And it’s hard to blame anyone involved. All the chaos that has ensued had its roots in the original chaos. Real life doesn’t have a plot. As Homer Simpson said, it’s just a bunch of stuff that happens.
June 5, 2022
QotD: The Matrix
The point is Andy and Larry Wachowski figured they’d hit on the perfect wrinkle for a classic postmodern nerd franchise — the Star Wars of our generation. And if you say, “Hang on, old boy, surely Star Wars is the Star Wars of our generation?”, I’d say, nah, it’s too 1930s radio serial, and its grandiosity is plonkingly earnest and squaresville instead of as coolly meta as Keanu Reeves’ too-bored-to-act acting style. The Matrix was quickly followed by The Matrix Revisited, The Matrix Reloaded, The Matrix Recycled, and Neo got paleo pretty quick. None of the sequels could quite match the initial red-pilling of surface reality, and so they simply dug the rabbit hole deeper. Zion is the last outpost of humanity — but maybe it’s merely a Matrix-within-the-Matrix? Ever consider that, huh? And what if Neo himself is a Matrix-within-the-Matrix-within-the-Matrix? He was supposed to be “The One” — but maybe one of the others is The One. Maybe The One flew over the cuckoo’s nest.
By the sequel, the Wachowskis’ “innovative visual style” (a Cecil B De Mille-scale computer game peopled by sullen pouters) was looking a lot less innovative: they did all the same things they did in the first film all over again, just more expensively and even more arbitrarily — the scene in which Keanu/Neo is fighting a hundred guys in black and doesn’t win, doesn’t lose, but just finds himself fighting vainly the old ennui and so buggers off after 15 minutes pretty much sums it up. By the second movie, Keanu had perfected his morose blank look, and fine actors like Laurence Fishburne were turning in performances so clunkily solemn you’d think they were auditioning for George Lucas. As usual, the subterranean city of Zion proved to be just another generic dystopian underground parking garage; and the orgiastic dance party looked like a weekend rave in Huddersfield.
Mark Steyn, “The Matrix”, Steyn Online, 2019-04-06.
Comments Off on QotD: The Matrix
June 4, 2022
QotD: A smidgen of forgiveness for the Boomers
That has to mess with your head a bit.
In the same way, no previous generation had ever seen their youth commercialized and sold back to them in middle age, and that’s what messed with our heads. The passing fancies of those ordinary suburban kids in 1963 all involved sex, drugs, and rock ‘n’ roll. We — Gen X — wanted those things too, but since by definition nothing is lamer than your parents, we had to be all, like, you know, whatever about it.
If you can grok the concept of a 45 year old telling you — with complete, almost heartbreaking sincerity — not to trust anyone over 30, you can grok the 1990s.
If you can’t, I don’t recommend trying. It’s like an anti-koan — if you solve it, you’ll achieve a lower consciousness. But if you’re determined to experience it, get really, really, really drunk and watch Forrest Gump a few times back to back. Really experience it as a work of art … because it is. It’s meticulously constructed. Forrest Gump is a mildly retarded man who stumbles, through dumb fucking luck, into fame and fortune through every significant event of the last half century. (He even has a huge dick, although that’s a detail from the source novel that got left on the cutting room floor).
Is there any more perfect metaphor for My G-G-Generation than that?
That’s what we grew up with. That whole generation was what some wag said about George Bush the First: Born on third base, thinking he hit a triple. And, of course, by merciless application of cold logic: that was also us. The only difference was that while the Boomers were congenitally incapable of seeing it, we were congenitally incapable of getting over it. So, you know, like, whatever.
Severian, “A Meta-Review”, Founding Questions, 2022-02-24.
Comments Off on QotD: A smidgen of forgiveness for the Boomers
May 28, 2022
Morality is Dead. Hollywood Killed It.
Foundation for Economic Education
Published 27 May 2022What’s with all the nihilistic, amoral, dark anti-hero leads in movies and shows? Are we supposed to treat horrible characters as pinnacles of human behavior now?
The bleak content that’s crept its way mainstream over the last 10 years should concern us all. The stories we tell matter, for they influence what we believe and what values we adopt.
Fortunately, a renewed appreciation for natural rights and individualism could be the antidote to the immense darkness that’s blanketed American culture as of late. That’s what we’ll get down to on this feature episode of Out of Frame.
______________________________
FOLLOW/SUPPORT US:Support Out of Frame on Patreon or SubscribeStar:
https://www.patreon.com/OutofFrameShow
https://www.subscribestar.com/outoffr…Join our Discord: https://discord.gg/RKc4AcGQ9k
Sign up for our mailing list and never miss an episode again:
https://fee.org/oof-newsletterCheck out our podcast, Out of Frame: Behind the Scenes: https://www.youtube.com/channel/UCiS5…
Follow us EVERYWHERE!
https://linktr.ee/outofframefee
______________________________
CREDITS:
Written by Sean W. Malone
Produced by Sean W. Malone
Edited by Michael Ozias
Asst. Edited by Abby Richardson
Comments Off on Morality is Dead. Hollywood Killed It.
May 14, 2022
Nostalgia for the Middle Ages?
In Wrong Side of History, Ed West considers the apparent rising interest in Europe’s Middle Ages and Renaissance in popular culture:
A social media heretic faces trial
The genre has been aided by developments in cinematic technology, allowing the sort of special effects that made such productions in the 1980s and 90s somewhat ridiculous. But there may be deeper cultural significance to this medieval revival, and it is one that evokes a strange discomfort in many people. Because, while the academic field of medieval studies has become a branch of progressive theology, medievalism as expressed through popular culture feels much more conservative, and to some minds, even fascistic. At the very least, it is “Right-coded”.
This discomfort often flares up whenever a new film or series attempts to capture our imagination, voiced in comment pieces warning us that they might be popular for the wrong reasons, among unsavoury elements.
This is what happened with Viking epic The Northman, despite director Robert Eggar’s impeccably progressive politics. “The Northman‘s 10th-century society appears to be uniformly white and firmly divided along patriarchal lines,” The Guardian warned: “Men do the ruling and killing; women do the scheming and baby-making. Its hero, played by Alexander Skarsgård, is not a million miles from the ‘macho stereotype’ Eggers complained of – a brawny warrior who settles most disputes with a sword and without a shirt. Skarsgård’s love interest, played by Anya Taylor-Joy, could be the far-right male’s dream woman: beautiful, fair-haired, loyal to her man and committed to bearing his offspring. Even before the film’s release, far-right voices were giving their approval on the anonymous message board site 4chan.”
Wow, expressing approval of a beautiful, fair-haired woman who wants to settle down and have your children? Better call Prevent!
According to a piece in the Economist, the new fixation with the Middle Ages dates to the September 11 attacks, when “the American far right … developed a fascination with the Middle Ages and the Renaissance — in particular, with the idea of the West as a united civilisation that was fending off a challenge from the East …
“The embrace of the medieval extends from the alt-right online forum culture that has exploded in the last few years to stodgier old-school racists. Helmeted crusaders cry out the Latin war-cry ‘Deus vult!’ from memes circulated on Reddit and 4Chan. Images of Donald Trump, clad in mail with a cross embroidered on his chest, abound. Anti-Islam journals and websites name themselves after the Frankish king Charles Martel, who fought Muslim armies in the 8th century, or the (slightly post-medieval) Ottoman defeat at Vienna.”
This concern is real enough that I’ve noticed a trend for medieval historians to introduce their books with what might be best described as health warnings, lest they be enjoyed in the wrong way. Neil Price’s The Children of Ash and Elm, for instance, comes with a declaration of values in the introduction:
Over the centuries, a great many people have eagerly pressed the Vikings into (im)moral service, and others continue to do so… I strongly believe that any meaningful twenty-first-century engagement with the Vikings must acknowledge the often deeply problematic ways in which their memory is activated in the present …
The Viking world this book explorers was a strongly multi-cultural and multi-ethnic place, with all this implies in terms of population movement, interaction (in every sense of the word, including the most intimate), and the relative tolerance required. This extended far back into Northern prehistory. There was never any such thing as a “pure Nordic” bloodline, and the people of the time would have been baffled by the very notion. We use “Vikings” as a consciously problematic label for the majority population of Scandinavia, but they also shared their immediate world with others – in particular, the semi-nomadic Sami people. Their respective settlement histories stretch so deeply into the Stone Age past as to make any modern discussion of “who came first” absurd. Scandinavia had also welcomed immigrants for millennia before the Viking Age, and there is no doubt that a stroll through the market centres and trading places of the time would have been a vibrantly cosmopolitan experience.
Well, I won’t be recommending Mr Price’s book to my friends at 4Chan, I can tell you that.
Comments Off on Nostalgia for the Middle Ages?
