Quotulatiousness

July 5, 2023

The “orgasm gap”, yet another problematic front in the war of the sexes

Filed under: Health, Media, USA — Tags: , , , , , , — Nicholas @ 03:00

Janice Fiamengo discusses the faked orgasm scene in When Harry Met Sally and its role in the ongoing arguments over the “orgasm gap”:

An iconic moment in modern movie history is the diner scene from When Harry Met Sally (1989), when Sally stuns an incredulous Harry with her rendition of a convincing orgasm. Her bravura performance causes shocked silence in the restaurant until one woman, sitting nearby, says admiringly (or enviously), “I’ll have what she’s having.”

The scene and the woman’s amused reaction told of a simple reality with wit and without judgement: some portion of women — perhaps many — are convincing fakers, and even a sexually experienced man will find it hard to be sure.

Many women in the movie audience laughed in recognition, and many men likely scratched their heads, wondering why anyone would need to fake sexual enjoyment. Some men may have remembered times when they faked it too. In the romantic-comedic world of the movie, the scene symbolized one of the differences between the average woman and the average man that only a generous and committed love could bridge.

A few years ago, When Harry Met Sally turned 30 years old, and its anniversary prompted a number of reflection pieces, some turning a harsh feminist lens on the film’s gender politics. In “‘I’ll have what she’s having’: How that scene from When Harry Met Sally changed the way we talk about sex,” Lisa Bonos at The Washington Post found in the fake climax scene a salutary revelation of male sexual arrogance. For Bonos, Harry is a typical macho man, someone who doesn’t care about a woman’s pleasure. The fact that the whole point of his conversation with Sally had been his confidence that he was giving women pleasure simply confirmed his emetic masculinity.

According to Bonos, the fact that some women fake orgasm supposedly reveals that women’s sexual pleasure is “not prioritized” in heterosexual relationships, and Sally’s performance gave sobering evidence of a gendered pleasure gap. It was implicitly the man’s fault that his partner felt the need to lie to him about her sexual satisfaction, and his desire for her to orgasm proved his typically male ego. Bonos’s analysis was an egregious violation of the spirit of the movie but was eminently faithful to the feminist perspective. The politics of grievance had come a long way in three decades.

Right on cue, studies in human psycho-sexuality are now taking up the same theme, alleging a culturally imposed “orgasm gap” between men and women in which men outpace women in the frequency with which they report orgasm during sexual intercourse (86% for men vs. 62% for women, according to one national survey).

Remembering how consistently feminist pundits have expressed outrage at male incels‘ (alleged) sense of “entitlement” to sex, I cannot help but find it ironic how unapologetically researchers assume a female entitlement to orgasm. Apparently, the whole society is to be concerned if women fail to climax every time they have sex, while no one has compassion for young men who face a lifetime of sexlessness. The prime exhibit is “Orgasm Equality: Scientific Findings and Societal Implications“, a paper published in 2020 by three female researchers at the University of Florida. The paper not only surveys the literature on the subject but also makes recommendations for “a world of orgasm equality”.

July 4, 2023

Buster Keaton Rides Again (1965)

Filed under: Cancon, History, Humour, Media, Railways — Tags: , , , — Nicholas @ 04:00

NFB
Published 15 Jun 2015

In this film Keaton rides across Canada on a railway scooter and, between times, rests in a specially appointed passenger coach where he and Mrs. Keaton lived during their Canadian film assignment. This film is about how Buster Keaton made a Canadian travel film, The Railrodder. In this informal study the comedian regales the film crew with anecdotes of a lifetime in show business. Excerpts from his silent slapstick films are shown

Directed by John Spotton – 1965.

June 25, 2023

Fifty years after The Princess Bride was published

Filed under: Books, Humour, Media, USA — Tags: , , , — Nicholas @ 03:00

William Goldman’s novel The Princess Bride was not a blockbuster, nor did the movie adaptation get a huge box office when it released in 1987. Yet despite apparent early mediocrity, it became a cult classic. It’s now fifty years after the book came out, and Kevin Mims has a look back at both the novel and the movie:

Even by the eccentric standards of fantasy literature, William Goldman’s 1973 novel The Princess Bride is extremely odd. The book purports to be an abridged edition of a classic adventure story written by someone named Simon Morgenstern. In a bizarre introduction (more about which in a moment), Goldman claims merely to have acted as editor. Unlike Rob Reiner’s much-loved 1987 film adaptation, the book’s full title is The Princess Bride: S. Morgenstern’s Classic Tale of True Love and High Adventure, The “Good Parts” Version. Yes, all that text actually appeared on the cover of the book’s first hardcover edition (all but the first three words have been scrubbed from the covers of most subsequent editions).

In the 1990s, I worked at a Tower Books store in Sacramento. Every few months, someone would come into the store and ask if we had an unabridged edition of S. Morgenstern’s The Princess Bride. The first time this happened, a younger colleague who had worked there longer than I had told my customer, “The Princess Bride was written by William Goldman. There is no S. Morgenstern. Goldman made him up.” The customer wasn’t convinced. “It’s metafiction,” my colleague explained. “A novel that comments on its own status as a text.” When the customer had left, my colleague told me that a lot of people still believe there is an original version of the novel available somewhere, written by Morgenstern. Having fallen in love with the story via the Hollywood film, they were now looking for the ur-text.

Although I was a big fan of William Goldman, I had never read The Princess Bride. My wife and I saw the film when it first appeared in American theaters, and we have rewatched it several times since on VHS and DVD. Only about 10 years ago did I actually get around to reading the novel. And when I did, I found myself sympathizing with all those people who still believe that, somewhere in the world, there exists an unedited edition.

In his introduction, Goldman tells us that S. Morgenstern was from the tiny European nation of Florin, located somewhere between Germany and Sweden, which is where the story’s action takes place. Such a place never existed, but it’s not surprising that many 21st-century American readers don’t know the names of every current and former European kingdom. European history is littered with microstates that rose briefly and then vanished without leaving much of a trace. Back in the 1990s, before Internet access became commonplace, confirming the existence of a small defunct European statelet would have involved a trip to the library.

But readers in the 1970s might have been more alive to Goldman’s ruse. Back then, metafiction was all the rage. John Barth became a literary superstar (among the academic set, anyway) with books like The Sot-Weed Factor (which, like The Princess Bride, is a fantastical comic adventure supposedly written by a fictional author) and Giles Goat-Boy (the text of which, Barth writes in the foreword, was said to have been written by a computer). In 1983, Goldman would publish a second novel behind the Morgenstern pseudonym, titled The Silent Gondoliers, but this time he removed all mention of himself, even from the copyright page.

June 20, 2023

MAC Operational Briefcase (the H&K We Have at Home)

Filed under: History, USA, Weapons — Tags: , , , , — Nicholas @ 02:00

Forgotten Weapons
Published 3 Mar 2023

Note: This video was proactively deleted to avoid a channel strike when YouTube went nuts over suppressors. I am reposting it today since they have rolled back those policy changes.

If a swanky outfit like H&K can make an “Operational Briefcase” with a submachine gun hidden inside it, then you can bet Military Armament Corporation is going to do the same! MAC made these briefcases for both the M10 and M11 submachine guns, and made a shortened suppressor for the M10 pattern guns to fit. They actually have a distinct advantage over the H&K type by fitting a gun with suppressor — but a distinct disadvantage in the exposed trigger bar on the bottom of the case, with no safety device of any kind.

Note: Possession of the briefcase with a semiauto MAC-type pistol that fits it is potentially seen as constructive possession of an AOW. A machine gun can be legally fitted in the case, but a semiauto pistol in it is considered a disguised weapon, and thus requires registration as an AOW.
(more…)

June 12, 2023

Why Modern Movies Suck – The Strong Female Character

Filed under: Media, USA — Tags: , , — Nicholas @ 04:00

The Critical Drinker
Published 10 Jun 2023

One of the most tiresome tropes of the past ten years in moviemaking is the “Strong Female Character”. Not women who are smart, capable, well written and complex, but bland, boring, superficially “strong” characters designed to pander to simplistic ideals of female empowerment.
(more…)

QotD: Cities in the pre-modern era

Filed under: Economics, Europe, History, Media, Military, Quotations — Tags: , , , , — Nicholas @ 01:00

This week and next, we’re going to look at an issue not of battles, but of settings: pre-modern cities – particularly the trope of the city, town or castle set out all alone in the middle of empty spaces. Why does the city or castle-town set amidst a sea of grass feel so off? And what should that terrain look like – especially in how it is shaped by the human activity taking place in a town’s hinterland. This is less of a military history topic (though we’ll see that factors in), and more of an economic history one. If that’s your jam – stay tuned, there will be more. If it’s not – don’t worry, we won’t abandon military topics either.

I find myself interested in pre-modern economies and militaries in roughly equal measure (in part because both are such crucial elements of state or societal success or failure). One of the reasons is that they are so interconnected: how military force is raised, supplied, maintained and projected is deeply dependent on how the underlying economy (which supplies the men, food, weapons and money) is structured and organized. And military institution and activities often play an important role in shaping economic structures in turn. So even if you are just here for the clashing of swords, remember: every sword must be forged, and every swordsman must be fed.

(Additional aside: I am assuming a west-of-the-Indus set of cereals: grain, barley and millet chiefly. Specifically, I am not going to bring in rice cultivation – the irrigation demands and density of rice farming changes a lot (the same is also true, in the opposite direction, to agriculture based around sorghum or yams). Most (western) fantasy and historic dramas are not set in rice-planting regions (and many East Asian works seem to have a much better grasp on where rice fields go and need no correction), so I’m going to leave rice out for now. I’m honestly not qualified to speak on it anyway – it is too different from my own area of research focus, which is on a Mediterranean agricultural mix (wheat, barely, olives, grapes), and I haven’t had the chance to read up on it sufficiently).

Lonely Cities

There’s a certain look that castles and cities in either historical dramas or fantasy settings set in the ancient or medieval world seem to have: the great walls of the city or castle rise up, majestically, from a vast, empty sea of grassland. […] These “lonely cities” are everywhere in fantasy and historical drama. I think we all know something is off here: cities and other large population centers do not simply pop up in the middle of open fields of grass, generally speaking. So if this shouldn’t all be grassland, what should be here? Who should be here?

What is a City For?

I think we need to start by thinking about why pre-modern towns and cities exist and what their economic role is. I’ll keep this relatively brief for now, because this is a topic I’m sure we’ll return to in the future. As modern people, we are used to the main roles cities play in the modern world, some of which are shared by pre-modern cities, and some of which are not. Modern cities are huge production centers, containing in them both the majority of the labor and the majority of the productive power of a society; this is very much not true of pre-modern cities – most people and most production still takes place in the countryside, because most people are farmers and most production is agricultural. Production happens in pre-modern cities, but it comes nowhere close to dominating the economy.

The role of infrastructure is also different. We are also used to cities as the center-point lynch-pins of infrastructure networks – roads, rail, sea routes, fiber-optic cable, etc. That isn’t false when applied to pre-modern cities, but it is much less true, if just because modern infrastructure is so much more powerful than its pre-modern precursors. Modern infrastructure is also a lot more exclusive: a man with a cart might visit a village where the road does not go, but a train or a truck cannot. The Phoenician traders of the early iron age could pull their trade ships up on the beach in places where there was no port; do not try this with a modern container ship. Infrastructure is largely a result of cities, not their original purpose or cause.

So what are the core functions of a pre-modern city? I see five key functions:

  1. Administrative Center. This is probably the oldest purpose cities have served: as a focal point for political and religious authorities. With limited communications technology, it makes sense to keep that leadership in one place, creating a hub of people who control a disproportionate amount of resources, which leads to
  2. Defensive/Military Center. Once you have all of those important people and resources (read: stockpiled food) in one place, it makes sense to focus defenses on that point. It also makes sense to keep – or form up – the army where most of the resources and leaders are. People, in turn, tend to want to live close to the defenses, which leads to
  3. Market Center. Putting a lot of people and resources in one place makes the city a natural point for trade – the more buyers and sellers in one place, the more likely you are to find the buyer or seller you want. As a market, the city experiences “network” effects: each person living there makes the city more attractive for others. Still, it is important to note: the town is a market hub for the countryside, where most people still live. Which only now leads to
  4. Production Center. But not big industrial production like modern cities. Instead it is the small, niche production – the sort of things you only buy once-in-a-while or only the rich buy – that get focused into cities. Blacksmiths making tools, producers of fine-ware and goods for export, that sort of thing. These products and producers need big markets or deep pockets to make end meet. The majority of the core needs of most people (things like food, shelter and clothes) are still produced by the peasants, for the peasants, where they live, in the country. Still, you want to produce goods made for sale rather than personal use near the market, and maybe sell them abroad, which leads to
  5. Infrastructure Center. With so much goods and communications moving to and from the city, it starts making sense for the state to build dedicated transit infrastructure (roads, ports, artificial harbors). This infrastructure almost always begins as administrative/military infrastructure, but still gets used to economic ends. Nevertheless, this comes relatively late – things like the Persian Royal Road (6th/5th century BC) and the earliest Roman roads (late 4th century BC) come late in most urban development.

Of course, all of these functions depend, in part, on the city as a concentration of people. but what I want to stress – before we move on to our main topic – is that in all of these functions the pre-modern city effectively serves the countryside, because that is still where most people are and where most production (and the most important production – food) is. The administration in the city is administering the countryside – usually by gathering and redistributing surplus agricultural production (from the countryside!). The defenses in the city are meant to defend the production of the countryside and the people of the countryside (when they flee to it). The people using the market – at least until the city grows very large – are mostly coming in from the country (this is why most medieval and ancient markets are only open on certain days – for the Romans, this was the “ninth day”, the Nundinae – customers have to transit into town, so you want everyone there on the same day).

(An aside: I have framed this as the city serving the economic needs of the countryside, but it is equally valid to see the city as the exploiter of the countryside. The narrative above can easily be read as one in which the religious, political and military elite use their power to violently extract surplus agricultural production, which in turn gives rise to a city that is essentially a parasite (this is Max Weber’s model for a “consumer city”) that contributes little but siphons off the production of the countryside. The study of ancient and medieval cities is still very much embroiled in a debate between those who see cities as filling a valuable economic function and those who see them as fundamentally exploitative and rent-seeking; I fall among the former, but the latter do have some very valid points about how harshly and exploitatively cities (and city elites) could treat their hinterlands.)

Consequently, the place and role of almost every kind of population center (city, town or castle-town) is dictated by how it relates to the countryside around it (the city’s hinterland; the Greeks called this the city’s khora (χώρα)).

Bret Devereaux, “Collections: The Lonely City, Part I: The Ideal City”, A Collection of Unmitigated Pedantry, 2019-07-12.

June 5, 2023

The Longest Day: 75 Things You Don’t Need to Know

Filed under: Britain, Europe, France, Germany, History, Media, Military, USA, WW2 — Tags: , , , — Nicholas @ 02:00

A Million Movies
Published 6 Jun 2019

In honor of the 75th anniversary of the D-Day invasion, I’m taking a look at my favorite D-Day movie … The Longest Day.

Also, unlike most of my other videos, there are some things in here I think you do need to know. Number one on that list is to hear some of the true stories of the men and women featured in this movie. They, along with hundreds of thousands of other heroes and heroines, saved the world.

Fair warning: My pronunciation of anything French is going to be amazingly bad. No disrespect intended.

(more…)

June 2, 2023

A potential sign of resistance?

Filed under: Business, Health, Media, Politics, USA — Tags: , , , , — Nicholas @ 05:00

Severian on the odd phenomena of people who’ve begun to discover they didn’t need to accept the ever-more-woke products of the entertainment industry and, more recently, major retailers and brewers:

Bud Light’s latest brand ambassador, Dylan Mulvaney

The Third Law of SJW — “SJWs always double down” — is really going to get tested with these things [woke reboots/remakes of popular TV shows, movies, etc.], but we need to hope they keep the faith. We want them to double, triple, quadruple down. The material basis of Clown World is the assumption that people simply can’t live without iCrap. As I noted, lots of people did indeed seem to enjoy the Covid lockdowns, and they weren’t all aspiring Laptop Class leftoids, either. Lots of moms found out that they rather enjoyed spending time with their kids, rather than putting in an extra twenty hours a week down at the law firm. Lots of suburban dads found a new sense of accomplishment doing little projects around the house.

In other words, people found out that not only could they just “make do”, they actually kinda enjoyed “making do”. Lots of them went right back to their old ways the minute they could, of course, but not all of them … and now, #Woke Capital is basically doing the job for us. They’re daring us to not go to the movies, the same way Fox News is daring us to cut the cord entirely (they figure that hey, we get $x a month from the cable subscription fee regardless of whether anyone watches or not, so why not give in to our natural inclinations and become MSNBC Lite?).

They’re daring us to cut the cord, throw the Pocket Moloch in the nearest lake, and get what we need from local sources — including entertainment. And who knows what might happen if we start actually talking to our neighbors? If, as with the lockdowns, the guy who lives down the street ceases to be “the dude with the green Honda” and becomes Bob, a real person?

Challenge accepted, motherfuckers.

May 25, 2023

QotD: How long does “celebrity” last?

Filed under: History, Media, Quotations, USA — Tags: , , — Nicholas @ 01:00

The first warning sign was when they renamed Bob Hope Airport.

Back in the 1940s, Bob Hope was the most popular comedian in the world. He was a radio star. He was a movie star. He would later become a TV star at NBC.

When Hope died in 2003, it made perfect sense to name the Burbank airport after him. After all, his longtime employer NBC was the best known company in Burbank, and Bob Hope had spent a half-century on the network — usually at the top of the ratings.

So the local airport got renamed.

But the only thing that lasts forever in pop culture is the fact that nothing last forever. By 2017, Bob Hope was only a dim memory at NBC, and young passengers flying to SoCal had no idea who he was. So they changed the name to the Hollywood Burbank Airport.

By coincidence this happened almost exactly 80 years after Hope rose to fame — when Paramount signed him to star in the film The Big Broadcast of 1938. In that hit movie, he sang his charming theme song “Thanks for the Memories” — which he kept singing until the end of the 20th century. Not long ago, everybody knew that song.

But then the memories ran dry.

I’ve long believed that 80 years is a typical span of pop culture fame for superstars. I’m referring to the biggest names — the lesser stars burn out in 80 months or 80 weeks or 80 days. But the top draws retain their fame for the entire lifetime of their youngest fans — and given current life expectancies of the US audience, that can’t be much more than 80 years.

We already see the price of Elvis Presley memorabilia starting to drop. The recent Elvis biopic might slow the erosion, but will never bring back the King’s red hot fame of the 1950s. By my measure, Elvismania will be officially dead in the year 2034. That will be the 80th anniversary of his first hit single “That’s All Right”. Almost none of his original audience will still be around to celebrate the anniversary, and that can’t bode well, even for the nostalgia crowd.

Some reputations do flourish after 80 years, but only because the entertainers somehow found an audience outside of pop culture. Louis Armstrong was famous as an entertainer during his lifetime, but enjoys posthumous renown as an artistic and cultural figure. Back in the 1920s, Rudy Vallée sold more records than Armstrong, but never made the transition outside of pop culture.

Ted Gioia, “How Long Does Pop Culture Stardom Last?”, The Honest Broker, 2023-02-23.

May 23, 2023

QotD: Cavalry operations in Rings of Power versus cavalry operations in history

Filed under: History, Media, Military, Quotations — Tags: , , , , — Nicholas @ 01:00

Now before I lay into this, fair is fair: Peter Jackson’s The Lord of the Rings had a real habit of having the horses almost always move at the trot or the canter when they ought to have been walking (horses have four “gaits” – patterns of moving – which, in escalating speed are the walk, the trot, the canter and the gallop). Horses can walk or trot for long periods, but canters and gallops can only be maintained in short bursts before the horse wears itself out. So for instance when Théoden leads the Rohirrim from Edoras in Return of the King the horses are walking in the city but by the time they’re in column out of the city the whole column is moving at a canter (interestingly, you can hear the three-beat pattern of the canter in the foley, which is some attention to detail), which is not realistic – they have a long way to go and they won’t be able to maintain this gait the whole way – but fits the forward momentum of the scene. Likewise most of the horses look to be at a canter when his army leaves Dunharrow for Gondor; again this is a bit silly, but on roughly the level of silly of having Aragorn, Legolas and Gimli pursue a band of orcs by jogging for three days and nights without rest.

By contrast [in Rings of Power], the Númenóreans rush to the battle at a full gallop, apparently the whole way or at the very least for hours through the morning. Horses will be vary, but generally two to three miles is the maximum distance most horses can gallop before fatigue sets in (for most horses this distance is going to be shorter), which they’re going to cover in about six minutes. The gallop is a very fast (25-30mph), very short sprint, yet Galadriel has this whole formation at full gallop even before she can see their destination. And I just want to remember here the absurdity that these horsemen do not even know there is a battle to ride to; for all they know this is a basic scouting effort (which might be better accomplished slowly and without wearing down all of the horses). Théoden at least has the excuse that he’s on the clock and knows it!

The way we are then shown the cavalry arriving is very confusing to me. The speed of their arrival makes at least some sense. We have already established that both Arondir and Adar are incompetent commanders so the fact that they have set no scouts or lookouts checks out. Pre-modern and early-modern cavalry could effectively out-ride news of their coming, and so show up unexpectedly in places with very little warning. Not this little warning, mind you – the time from the first sound of hoof-falls (heard by Elves – the orcs evidently hear nothing) to the cavalry deluging the village is just about fifteen seconds; horses move fast but they do not move that fast (at full gallop a horse might cover 150-200 meters in those fifteen seconds and the orcs would absolutely hear them coming before they saw them). But the idea in general that the Númenórean cavalry could appear as if out of nowhere to the orcs checks out – that was one of the major advantages of cavalry operations.

Bret Devereaux, “Collections: The Nitpicks of Power, Part III: That Númenórean Charge”, A Collection of Unmitigated Pedantry, 2023-02-03.

May 19, 2023

They made a MOVIE about the discovery of Richard III’s remains!!!

Filed under: Britain, History, Media — Tags: , , , , — Nicholas @ 02:00

Vlogging Through History
Published 16 Sept 2022

Here’s a fantastic hour-long breakdown of the entire search and discovery process – https://www.youtube.com/watch?v=dsTyG…
(more…)

May 16, 2023

QotD: Ah-nuld

Filed under: Media, Quotations — Tags: , — Nicholas @ 01:00

Look at all the remakes — not reboots — of Schwarzenegger films since the turn of the century. They have to lard on all kinds of extraneous bullshit to disguise the fact that they’re recycled Arnold movies. There have been upteen Predator movies, for instance … that all focus on the alien (but it’s the humans — specifically, Arnold — who’s the real predator. Dude. Mind … blown). I can’t be the only one who noticed that Liam Neeson’s Taken franchise is just Commando with a different accent … can I? Or that the Bourne Identity films look an awful lot like Total Recall, minus Mars and the three boobs? Then look at all the actual attempted reboots: Conan the Barbarian. Total Recall itself. And the whatever-you-call-thems that are both remakes and reboots of Schwarzenegger movies, where Schwarzenegger is still in them but isn’t the star: the latest Terminator movies, for instance, not to mention also-rans like The Expendables franchise.

The reason you can’t make an “Arnold movie” without Arnold Schwarzenegger, the man, in a starring role isn’t because he’s such an indispensable thespian. It’s because Schwarzenegger doesn’t have an ironic bone in his body. Even when he’s doing comedy (and I think we can all admit, now that he’s in his 70s and effectively long retired, that he could be quite funny), he’s deadly serious. No matter how ludicrous the situation, he’s always 100% in it. No scriptwriter in the 1980s ever felt it necessary to explain how this enormous Austrian bodybuilder ended up being a colonel in the US Special Forces, or a small-town sheriff in Bumfuck, Idaho, or a New York cop, or a CIA agent, or whatever else. He just went with it, and because he did, we did.

In other words, buying a ticket to a Schwarzenegger flick was — like attending a rasslin’ show — an agreement to step outside of ourselves for two hours. We know The Undertaker isn’t a vampire (or whatever), just like we know there’s no possible sequence of events that ever could’ve happened in the real world that would end with an Austrian bodybuilder as a mattress salesman in Minneapolis. So why bother trying to “explain” it? We all agreed, when we bought the ticket, to put “the real world” aside and enter another. In this world, the spectacle’s world, there are vampires who can body slam and bodybuilders who save the world from Satan.

Those are the givens. It doesn’t matter how ludicrous they are, so long as you don’t break your own rules.

Severian, “Rasslin'”, Rotten Chestnuts, 2020-07-26.

May 13, 2023

QotD: The inherent absurdity of “Canadian content”

Filed under: Bureaucracy, Cancon, Government, Media, Politics, Quotations — Tags: , , , , , — Nicholas @ 01:00

Lately some have reminded us of the inherent difficulties in defining Canadian content, especially where a work is the product of several collaborators. Is a movie Canadian by virtue of its actors? Director? Crew? Location? Theme? Even as applied to individuals: Should citizenship be the criterion? Birthplace? Residency? Subject matter?

But the real folly of CanCon is not that it is impractical, or prone to abuse, or even unnecessary, though it is all of those things. It is rather that it is nonsensical at its root, in its very purpose – again, so far as anyone can define it. Is the point, after all, artistic or political? But it cannot be artistic: there is no theory of aesthetics that prefers that Canadian artists should make Canadian art that teaches Canadians how Canadian they are.

It is, rather, a political project: the inculcation of national feeling in the public, for the purpose of creating a political community, separate and distinct from the colossus to the south. Without the Maginot Line of CanCon quotas, it is suggested, we would be overwhelmed: first the artists, then the country.

But note the assumptions built into this emotive appeal: that a separate nationality cannot be maintained without cultural difference; that our cultural differences with the Americans are both sufficient in themselves to justify our statehood and yet so fragile as to be washed away in an instant; that, left to their own choices, Canadians would unhesitatingly choose the products of an incomprehensibly alien culture over their own; and that, by virtue of this diet of foreignism, we would no longer be Who We Are as Canadians. Therefore we must not be left to our own choices.

Which is nonsense, because we would still be Who We Are, even in that hypothetical dystopian future: it might not be Who We Were, but so what? The Who We Are we are now at such pains to preserve is itself vastly different from Who We Were before.

And who, in the end are we? As the comedian Martin Short once put it: “we’re the people who watch a lot of American TV”. The wholesale ingestion of a foreign culture – albeit much of it made by expat Canadians – is an integral part of our distinct national identity, an irony that must forever elude our cultural nationalists.

Andrew Coyne, “The concept of CanCon is pure folly. That’s the problem at the heart of Bill C-11”, The Globe and Mail, 2023-02-08.

May 1, 2023

Doctor Sketchy and the Strange Case of the Syndrome of Doom

Filed under: Britain, Humour, Media — Tags: , , , — Nicholas @ 02:00

Lindybeige
Published 24 Jan 2023

I teamed up with the highly-skilled Alasdair Beckett-King and together we threw together this sketch. Can you tell that he went to film school?
(more…)

April 29, 2023

QotD: The problem of war-elephants

The interest in war elephants, at least in the ancient Mediterranean, is caught in a bit of a conundrum. On the one hand, war elephants are undeniably cool, and so feature heavily in pop-culture (especially video games). In Total War games, elephants are shatteringly powerful units that demand specialized responses. In Paradox’s recent Imperator, elephant units are extremely powerful army components. Film gets in on the act too: Alexander (2004) presents Alexander’s final battle at Hydaspes (326) as a debacle, nearing defeat, at the hands of Porus’ elephants (the historical battle was a far more clear-cut victory, according to the sources). So elephants are awesome.

On the other hand, the Romans spend about 200 years (from c. 264 to 46 B.C.) mopping the floor with armies supported by war elephants – Carthaginian, Seleucid, even Roman ones during the civil wars (Thapsus, 46 B.C.). And before someone asks about Hannibal, remember that while the army Hannibal won with in Italy had almost no war elephants (nearly all of them having been lost in the Alps), the army he lost with at Zama had 80 of them. Romans looking back from the later Imperial period seemed to classify war elephants with scythed chariots and other failed Hellenistic “gimmick” weapons (e.g. Q. Curtius Rufus 9.2.19). Arrian (a Roman general writing in the second century A.D.) dismisses the entire branch as obsolete (Arr. Tact. 19.6) and leaves it out of his tactical manual entirely on those grounds.

This negative opinion in turn seeps into the scholarship on the matter. This is in no small part because the study of Indian history (where war elephants remained common) is so under-served in western academia compared to the study of the Greek and Roman world (where the Romans functionally ended the use of war elephants on the conclusion that they were useless). Trautmann, (2015) notes the almost pathetic under-engagement of classical scholars with this fighting system. Scullard’s The elephant in the Greek and Roman World (1974) remains the standard text in English on the topic some 45 years later, despite fairly huge changes in the study of the Achaemenids, Seleucids, and Carthaginians in that period.

All of which actually makes finding good information on war elephants quite difficult – the cheap sensational stuff often fills in the gaps left by a lack of scholarship. The handful of books on the topic vary significantly in terms of seriousness and reliability.

Bret Devereaux, “Collections: War Elephants, Part I: Battle Pachyderms”, A Collection of Unmitigated Pedantry, 2019-07-26.

« Newer PostsOlder Posts »

Powered by WordPress