A friend sent me a book about movies published in 2005, Movies and the Meaning of Life, edited by Kimberly A. Blessing and Paul Tudico (302 pp., including the Index). After discharging myriad other writing chores, I finally made time to read it, taking a break from my “Islamophobia, with a tentative eye to reviewing it. It is a collection of essays by college professors on the “meaning of life” as they interpret some nineteen recent – that is, modern – movies. All of the movies were produced and released in the 1990’s or later.
Modern movies that purport to dramatize the “meaning of life” – unless it’s a comedy (such as Monty Python and the Meaning of Life) — whether or not the directors or casts have a conscious, fixed idée about it, leave me cold. Many of the movies featured in Blessing’s collection I have seen. Others I have not because their subject matter repelled me or produced body-shaking yawns. Some of them I’d never heard of until now.
The nineteen movies are arranged under such topics as:
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)
In large part, the essays are written from a Critical Theory standpoint, or as Post-Deconstructionist textual jigsaw puzzles. These terms have “traditionally” been applied to examining the printed word in fiction and nonfiction, but branched out into “film theory,” and their presence in these essays demonstrates that they can be applied to cinema, as well. Critical Theory, notes Stanford Encyclopedia of Philosophy:
Critical Theory has a narrow and a broad meaning in philosophy and in the history of the social sciences. “Critical Theory” in the narrow sense designates several generations of German philosophers and social theorists in the Western European Marxist tradition known as the Frankfurt School…. Critical Theory when capitalized refers only to the Frankfurt School….
From Encyclopedia Britannica:
Deconstruction, form of philosophical and literary analysis, derived mainly from work begun in the 1960s by the French philosopher Jacques Derrida, that questions the fundamental conceptual distinctions, or “oppositions,” in Western philosophy through a close examination of the language and logic of philosophical and literary texts. In the 1970s the term was applied to work by Derrida, Paul de Man, J. Hillis Miller, and Barbara Johnson, among other scholars. In the 1980s it designated more loosely a range of radical theoretical enterprises in diverse areas of the humanities and social sciences, including—in addition to philosophy and literature—law, psychoanalysis, architecture, anthropology, theology, feminism, gay and lesbian studies, political theory, historiography, and film theory. In polemical discussions about intellectual trends of the late 20th-century,deconstruction was sometimes used pejoratively to suggest nihilism and frivolousskepticism. In popular usage the term has come to mean a critical dismantling of tradition and traditional modes of thought.