Monday, 25 March 2013

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"Without edits, it's not a film." I'm watching the BBC documentary The Agony and the Ecstasy of Phil Spector, and you can too, for free: It's interesting more for the historical anecdotes than the Nancy Grace-style murder-narrative at its core—and I say that before reaching the point where they'll talk about Spector threatening Leonard Cohen, Allen Ginsberg and Bob Dylan with a crossbow over the final mix of "Don't Go Home With Your Hard-on. For example, the notion that Martin Scorsese and Robert De Niro's careers could have killed by an injunction, and that only special pleading by John Lennon saved them intrigues me as a film scholar (40:40). But even more interesting is Spector's discussion of "Be My Baby," Brian Wilson and an "edit record" (44:28), which for him means a song that suffers because its seams are showing. "Good Vibrations" isn't a good song because it's got a lot of edits in it, like Pyscho, which is a great film, but an "edit film." Without edits, it's not a film. With edits, it's a great film. But it's not Rebecca, it's not a great story the way Alfred Hitchcock could make a great story. I suppose this would make Rope Spector's favorite Hitchcock film, what with all its invisible edits—or maybe that would make Rope Spector's least favorite Hitchcock film, being that it'd be his most dishonest. Which is another way of saying that Spector seems to believe that a work in which a professional can ascertain the hand of an auteur is less valuable than one in which an amateur can. Because anyone can see the edits in Psycho, whereas it takes a trained eye to find them in Rope. At least that's how I'm reading Spector's aesthetic philosophy here: Wilson's production of "Good Vibrations" is lacking because Spector can hear tracks end or overlap that the average person can't. Except that doesn't make any sense, because he's basically arguing for his own insignificance, i.e. the greatest artists are the ones whose labor is imperceptible to the audience. But this criteria strikes me as counterproductive if you're trying to claim that producers are artists. Just consider this excellent video about the production of The Beach Boy's "Sloop John B." I've queued it up to where Wilson's editorial oversight becomes evident instrument-by-instrument, and I'll admit that it's clearly a highly edited song, but why would that make it less interesting to a producer than one like "Be My Baby," which was recorded in a take, pumped into an echo chamber and transmitted into a studio? Spector seems to be arguing at cross-purposes here, fetishizing the act of capturing a sound in a moment instead of valuing the artistry required to combine various sources in order to match some ideal a composer only hears in his head. To muddy the waters further by introducing another medium, this seems like the equivalent of valuing Dubliners over Ulysses because the artistry is more evident in the latter than the former even though it abounds in both. This...
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It’s as if millions of debate coaches suddenly cried out in terror, and were suddenly silenced I’m just a teacher of argument, not a lawyer, so I’m only going to address the merits of these arguments on their merits, not their legal standing. To begin: JUSTICE KAGAN: Mr. Cooper, could I just understand your argument. In reading the briefs, it seems as though your principal argument is that same-sex and opposite—opposite-sex couples are not similarly situated because opposite-sex couples can procreate, same-sex couples cannot, and the State’s principal interest in marriage is in regulating procreation. Is that basically correct? MR. COOPER: I—Your Honor, that’s the essential thrust of our—our position, yes. JUSTICE KAGAN: Is—is there—so you have sort of a reason for not including same-sex couples. Is there any reason that you have for excluding them? In other words, you’re saying, well, if we allow same-sex couples to marry, it doesn’t serve the State’s interest. But do you go further and say that it harms any State interest? MR. COOPER: Your Honor, we—we go further in—in the sense that it is reasonable to be very concerned that redefining marriage to—as a genderless institution could well lead over time to harms to that institution and to the interests that society has always—has—has always used that institution to address. But, Your Honor, I— JUSTICE KAGAN: Well, could you explain that a little bit to me, just because I did not pick this up in your briefs. What harm you see happening and when and how and—what—what harm to the institution of marriage or to opposite-sex couples, how does this cause and effect work? MR. COOPER: Once again, I—I would reiterate that we don’t believe that’s the correct legal question before the Court, and that the correct question is whether or not redefining marriage to include same-sex couples would advance the interests of marriage as a— JUSTICE KENNEDY: Well, then are—are you conceding the point that there is no harm or denigration to traditional opposite-sex marriage couples? So you’re conceding that. MR. COOPER: No, Your Honor, no. I’m not conceding that. JUSTICE KENNEDY: Well, but, then it—then it seems to me that you should have to address Justice Kagan’s question. MR. COOPER: Thank you, Justice Kennedy. I have two points to make on them. The first one is this: The Plaintiffs’ expert acknowledged that redefining marriage will have real-world consequences, and that it is impossible for anyone to foresee the future accurately enough to know exactly what those real-world consequences would be. And among those real-world consequences, Your Honor, we would suggest are adverse consequences. Cooper argues, not in essence, but is actually forwarding the argument that redefining marriage will have real-world consequences that are impossible for anyone to predict, but which include the adverse ones he knows will happen. Cooper fails freshmen composition. But what are his real concerns? MR. COOPER: Yes, Your Honor. The concern is that redefining marriage as a genderless institution will sever its abiding connection to its historic traditional procreative purposes, and it will refocus, refocus the purpose of marriage and the definition of...

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