This is Part II of “Lights Dim on Reality in the Cinema ” from February 22, about the reviews of several movies in Movies and the Meaning of Life, edited by Kimberly A. Blessing and Paul Tudico (302 pp., including the Index). I chose not to create a longish column about all 19 essays by the university professors about these films. In this column I will cite just a handful of those movies and touch on their contents and what the writers said about them.
To iterate, all the essays (written by college professors) are written from a Marxist, Critical Theory or Deconstructionist standpoint. As I noted in Part I, these essays, if they are Marxist – and Marxist interpretations of any realm of art, in the printed word, in the visual arts or sculpture, or in film are written from a “sociological” point of view, as opposed to an objective, rational one – they’re automatically suspect because they are root, branch, and twig divorced from an objective, rational perspective. In short, reality is a creation of the mind, and reality can be anything one wishes to make of it, governed by one’s own personal experiences and subjective prejudices. Critical Theory and Deconstruction both work to unplug one’s mind from reality, and lure one into a critic’s universe via the hypnotic appeal of a degree holder’s “authority.”
The essays in Movies attempt to answer the questions:
What is reality and how can I know it? (Contact, The Truman Show, Waking Life)
How can I find my true identity? (Boys Don’t Cry, Being John Mallkovich, Fight Club,Memento)
What’s the significance of my interactions with others? (Chasing Amy, Crimes and Misdemeanors, Shadowlands)
What’s the point of my life? (American Beauty, Kill Bill, Life is Beautiful, The Shawshank Redemption)
How ought I to live my life? (Groundhog Day, Minority Report, Pleasantville, Pulp Fiction, Spider-Man 1 & 2)
I say attempt to answer the questions, but instead they crash into rational epistemology and metaphysics, or rather create the disastrous centrifugal force of the out-of-control the merry-go-roundat the end of “Strangers on a Train.”
The professors provide brief teasers of concrete actions in each film, and then extrapolate them into their own exercises in creating (not recreating; art being the selective recreation of reality as defined by Ayn Rand; Art is a selective re-creation of reality according to an artist’s metaphysical value-judgments. Man’s profound need of art lies in the fact that his cognitive faculty is conceptual, i.e., that he acquires knowledge by means of abstractions, and needs the power to bring his widest metaphysical abstractions into his immediate, perceptual awareness . . .) the reality of each film’s philosophical or moral meaning. The essayists’ exercises in interpreting the “meaning of life” in any of the discussed films typically go beyond any definition of rational observation; we are only presented with their unsupportable assertions.