DeLanda, A New Philosophy of Society

Manuel DeLanda has long been one of the most interesting (indeed, provocative) thinkers to work with Gilles Deleuze’s ideas — and to not just repeat Deleuze’s vocabulary and slogans, or apply them to a close reading of some work or artifact, but actually to rethink those ideas, and to rethink questions of history, society, and physical science with the help of those ideas. DeLanda’s latest book is quite refreshingly short and lucid, although it (rather immodestly) purports to offer nothing less than A New Philosophy of Society. (I should probably also cite the subtitle: “Assemblage Theory and Social Complexity”).

Manuel DeLanda has long been one of the most interesting (indeed, provocative) thinkers to work with Gilles Deleuze’s ideas — and to not just repeat Deleuze’s vocabulary and slogans, or apply them to a close reading of some work or artifact, but actually to rethink those ideas, and to rethink questions of history, society, and physical science with the help of those ideas. DeLanda’s latest book is quite refreshingly short and lucid, although it (rather immodestly) purports to offer nothing less than A New Philosophy of Society. (I should probably also cite the subtitle: “Assemblage Theory and Social Complexity”).

I find the book (like all of DeLanda’s work) extremely useful and thought-provoking, although my overall reaction is quite mixed. DeLanda actually does two different things in this volume. In the first two chapters, he argues, on philosophical grounds, for what he calls Assemblage Theory. The term “assemblage,” and the ideas behind it, are drawn largely from Deleuze, and Deleuze and Guattari; though DeLanda does not merely repeat Deleuze, but reformulates his arguments (and terminology) in some very crucial ways.

The remaining three chapters of A New Philosophy of Society are more empirical; with the help of theorists ranging from Erving Goffman to Fernand Braudel, DeLanda draws on the principles developed in the first two chapters in order to give a schematic account of how societies work on several levels, from that of the individual person (and even the sub-personal) and the “networks” in which he/she is directly involved, up to the larger aggregates which are “organizations and governments” on the one hand, and “cities and nations” on the other.

I like DeLanda’s basic argument: which is to insist on the exteriority of relations. Traditionally, positivist, atomistic thought has pretty much denied the importance of relations between entities: the entities themselves are the absolutes, and all relations between them are merely accidental. Thus neoclassical economics adopts a “methodological individualism” according to which “all that matters are rational decisions made by individual persons in isolation from one another” (4). On the other hand, what DeLanda calls the “organismic metaphor” (8) asserts that entities are entirely defined by the totality to which they belong, entirely constituted by their relations: “the basic concept in this theory is what we may call relations of interiority: the component parts are constituted by the very relations they have to other parts in the whole” (9). Hegelian thought is the most powerful example of this tendency, thought Saussurean linguistics and the “structuralism” influenced by it could also be mentioned.

Now, the partisans of both these views usually claim that the two opposed positions are the only possible ones: there are no alternatives. Partisans of methodological individualism simply deny the existence of units larger (or smaller, for that matter) than that of the “individual” (or at most, the patriarchal nuclear family): they see such formations as being metaphysical abstractions with no objective validity. Hence Margaret Thatcher’s notorious statement: “There is no such thing as society. There are only individuals and families.” Of course such “methodological individualism” is absurd, since it is contradicted by everything in our minute-to-minute and day-by-day experience. We are never as isolated as methodological individualism assumes, and we probably couldn’t survive for very long if we were. The very fact that we use language, that we use tools and techniques that we didn’t invent from scratch ourselves, let alone that we use money and engage in acts of exchange, belies the thesis. It’s a curious paradox that the most rabid partisans of methodological individualism tend to be free-market economists and rational-choice political scientists and sociologists, since their entire logic depends upon denying the very factors that make their arguments possible in the first place. But if you press the more intelligent methodological individualists, they will admit that their presuppositions are, indeed, “methodological” rather than ontological, that they represent a kind of abstraction, and that such a methodology, and such an abstraction, are necessary in order to avoid getting stuck in top-down, totalizing theories (their aversion to which is often justified with citations from Karl Popper, Isaiah Berlin, or Friedrich Hayek on the dangers of totalitarianism).

But on the other side of the divide, Hegelians and other proponents of the “organismic metaphor” are just as insistent that their systematic (or “dialectical”) ways of doing things are the only alternatives to the absurdities of atomistic reductionism. I can’t tell you how many arguments I’ve had with Marxists, Zizekians, and others over the years, who insist that my Deleuze-inspired objections to the very notion of totalization, or to the idea that events occur only through a dialectic of negativity (usually up to and including the “negation of the negation”), is untenable: they claim that, to reject these “relations of interiority” is ipso facto to lapse into the absurdities of positivism and atomistic reductionism. The same is true for partisans of various sorts of systems theory (all the way from followers of Niklas Luhmann, to devotees of the Lacanian Symbolic order), who tell me that I cannot escape their system, because anything I say against it already presupposes it, and is already positioned somewhere within it. (Hardcore deconstructionists, despite their denial of the very possibility of totalization or a coherent system, are nonetheless also in this camp: as they argue — just like Lacanians — that one can never escape the presuppositions and aporias of Language. Deconstruction is entirely a theory of relations of interiority, even though it recognizes that such relations are never completed but always still in process).

What DeLanda says — which is indeed what Deleuze said before him — is that we need not accept either term of this binary (nor need we be stuck in the aporia of shuttling endlessly between them). What Deleuze and DeLanda offer instead is not the golden mean of a “Third Way,” but rather a move that is oblique to the very terms of the opposition. What does it mean to affirm the exteriority of relations? As DeLanda explains it, an entity is never fully defined by its relations; it is always possible to detach an entity from one particular set of relations, and insert it instead in a different set of relations, with different other entities. For every entity has certain “properties” that are not defined by the set of relations it finds itself in at a given moment; rather than being merely an empty signifier, the entity can take these properties with it, as it were, when it moves from one context (or one set of relations) to another. At the same time, an entity is never devoid of (some sort of) relations: the world is a plenum, indeed it is over-full, and solipsism or atomistic isolation is impossible.

Put differently, no entity can be absolutely isolated, because it is always involved in multiple relations of one sort or another, and these relations affect the entity, cause it to change. But this is not to say that the entity is entirely determined by these relations. On the one hand, the entity has an existence apart from these particular relations, and apart from the other “terms” of the relation (i.e. apart from the other entities with which it is in relation) precisely insofar as it is something that is able to affect, and to be affected by, other entities or other somethings. On the other hand, what the entity is is not just a function of its present relations, but of a whole history of relations which have affected it — or of “aleatory encounters” (as Althusser might say) with other entities, over the span (temporal and spatial) of its existence.

DeLanda distinguishes between the properties of an entity (which are what it takes with it to another context) and the capacities of that same entity (its potential to affect, and to be affected by, other entities). “These capacities do depend on a component’s properties but cannot be reduced to them since they involve reference to the properties of other interacting entities” (11). An entity’s capacities are as real as its properties; but we cannot deduce the capacities from the properties; nor can we know (entirely) what these capacities are, aside from how they come into play in particular cases, in particular relations, in particular interactions with other particular entities.

What this means is that entites of various sorts and scales — persons, but also (to use DeLanda’s own list) networks, organizations, governments, cities, nations — are all entirely real. (DeLanda resists putting “society” in this list, because he fears that such a term implies the logical topmost point of a hierarchy, a category that includes everything. He insists that entities always come in “populations” — taking the term in the sense it is used in “population genetics” — so that there can never be one, all-integrating topmost entity. Though I take his point, I also see no objection, on his own principles, to talking about societies in the same way we talk about any other level of entities. More on that in a moment).

To say that both individuals and wider social formations (and narrower, sub-personal formations as well) are real, is to be committed to what DeLanda calls “ontological realism.” This is in opposition both to the neoclassical economists who only recognize the reality of the individual, and think that anything of broader (logical or social) scope is just a linguistic fiction; and to the Hegelians (and Hegelian Marxists, and perhaps Durkheimian sociologists as well) for whom only the social is real, and the individual is regarded as a linguistic or ideological fiction. This means also to think entities non-essentialistically (every entity is historically contingent: its existence and its properties cannot be inferred, let alone be deduced logically; for the entity exists only as an effect of processes over time which could have gone otherwise). And further, it is to recognize that all entities (not just living things, but everything) are mortal — they have dates of coming-into-existence and passing-out-of-existence, they are not platonic forms but occupy a finite and bounded stretch of time and space).

To my mind, this overall ontological argument is what is important about DeLanda’s work, rather than the particular way he constructs a theory of “assemblages” — using terms from Deleuze and Guattari, but altering and simplifying them when necessary — in order to meet the requirements of his ontology. I think that other formulations that meet these requirements are possible — and indeed, that some alternative formulations are preferable. In particular, I would point to Whitehead’s metaphysics, which I think is better (more useful, more capacious, more cognizant of change, and more open to possibilities) than DeLanda’s. Whitehead also theorizes the externality, and non-totalizability of relations: his “actual entities,” or “actual occasions,” are stubbornly “atomic,” while at the same time relating to, and influenced or affected by, other entities. Whitehead insists, both that no entity can be what it is in isolation from all other entities, and that no entity is entirely determined by these other entities: this margin of indetermination, which is the “freedom” of the individual entity, but it is better described as a contingent “decision” than as a set of “properties.” Also, Whitehead distinguishes between these “actual entities” and what he calls “societies,” or aggregations of entities that possess spatial extent and temporal duration (whereas the actual entities themselves in a certain sense produce temporality and spaciality, rather than being located within them).

The distinction between “actual entities “and “societies” would seem to violate DeLanda’s dictum of a “flat ontology” (all entities at all scales have the same degrees of reality and sorts of properties) — though the “flat ontology” does apply for whatever we encounter in lived experience, since everything of this sort is a “society.” This seeming violation of the principle of flat ontology is something for which Whitehead has often been criticized. But what he gains by posing his ontology in this way is, among other things, that he is able to talk about change in a way that DeLanda is incapable of, and that he doesn’t need to share DeLanda’s phobia about extending his ontological realism to “society” itself. For DeLanda, saying that relations are external rather than internal means renouncing any sort of holism; Whitehead, however, is able to cheerfully embrace holism while at the same time posing the “whole” in such a way that it is irreducible to closure or totalization or full internal determination. For Whitehead’s actual entities are themselves events; whereas, for DeLanda, as much as he wants to proclaim the importance of (contingent) event over (fixed and closed) structure, events are still things that ‘happen to’ entities, rather than entities themselves. (For Whitehead, the things to which events happen are “societies” — which at the same time are composed of nothing more than these events, and the “routes of occasions” that link them together).

Note for further elaboration: a lot of this has to do with the way that DeLanda, through Deleuze, is ultimately channelling Spinoza, to whom the language of capacities to affect and be affected is originally due; and also Hume — again via Deleuze’s reading — in order to account for how the individual person exists as an “emergent property” of the assemblage of a quantity of impressions, ideas, and chains of association. Now, Whitehead writes a lot about Spinoza and particularly Hume, recognizing their importance but also their limitations, which have to do with the fact that neither of them think sufficiently in terms of events. Spinoza fails to think the event because of his absolute monism; Hume, because of his denial of “causal efficacy”, and development of a theory of mind entirely in terms of “presentational immediacy.” Where Deleuze uneasily juxtaposes Spinoza and Hume with Bergson, and DeLanda entirely ignores the Bergsonian side of Deleuze in favor of the Spinozian side, Whitehead is the one thinker who actually does — much better than Deleuze — integrate (using this term in the mathematical sense) Spinozian and Bergsonian imperatives. This needs to be explained further, in conjunction with Whitehead’s aphorism that “there is a becoming of continuity, but no continuity of becoming” (Process and Reality 35).

A lot more needs to be said about Whitehead — indeed, this is what I am hoping to write about in the months to come (for several talks that I have promised to give, and essays that I have promised to contribute to various anthologies). Hopefully my tentative formulation here of what he is doing, and how he both coheres with, and differs from, DeLanda, is not too cryptic.

The fact that DeLanda doesn’t say enough about, or give the right space in his theory for, becoming and events (which I think, would require more of a Whiteheadian language and approach than he is willing to adopt) leads to the other problems I have with his work. There’s a sense in which DeLanda adopts an overly cut-and-dried schematicism (dare I even say scholasticism?). Every phenomenon he discusses is classified in terms of its material and expressive components, its potentials for territorialization and deterritorialization, and so on and so forth. It’s quite disappointing, after DeLanda announces the openness that comes from rejecting the organicist internality of relations, that everything fits so neatly into these little boxes. Of course, this is always the problem with schematicim (going bck to Kant); but DeLanda seems inordinately and disappointingly reductive in the way that he schematizes. Deleuze is a big schematizer himself, of course; and it is important in certain instances to emphasize his schematicism, against those who see him (for good or for ill) as an undisciplined philosophical wildman. But on the other hand, there is a certain delicious poetic quality to Deleuze, and this is something that his acolytes all too often miss; this poeticism is entirely lacking in DeLanda.

The further result of DeLanda’s schematicism, and his inability to think about becoming, is that his actual discussion of society, in the later chapters of A New Philosophy of Society, is disappointingly bland, and entirely devoid of any consideration of such things as power, domination, inequality, or the production, appropriation, and distribution of a social surplus (I use this latter formulation to encompass both Bataille and Marx). He simply dissolves such things into a general description of aggregations of various sorts; he mentions negotiations and disputes between groups over the allocation of resources, but ignores the fundamental dissymmetry (and thereby, the antagonism) that are crucial factors in all such disputes. And he simply leaves out of his account the ways that Deleuze and Guattari, and Foucault as well, are deeply concerned with these issues. Marxists and Zizekians would probably argue that DeLanda’s omissions in this regard are an inevitable consequence of his pluralism and non-totalism. But it seems to me, again, that DeLanda’s (often expressed) hostility to Marxist formulations is not an inevitable consequence of his ontology; and that adopting this ontology (or better, the Whiteheadian version of it that I have tried to point to here) actually has significant advantages for Marxist theory, as well as for much else. All this is something I can only assert for the moment — a lot of my effort these days is devoted to working it out. So stay tuned. In the meantime, and to summarize, I think that DeLanda’s book is enormously valuable for the way it works out, and states so clearly, its ontological argument — even if DeLanda’s more concrete development from his premises is enormously disappointing.

Valerie and Her Week of Wonders

Valerie and Her Week of Wonders (1970) was made by Jaromil Jires after the Soviet invasion of Czechoslovakia put an end to the Prague Spring, and to most of the efforts of the Czech New Wave directors (for instance, Jires’ previous film, The Joke, was banned). Valerie is based on a surrealist novel by Vitezslav Nezval (which I haven’t read); it doesn’t involve politics in any direct way (though some viewers have seen an implicit, anti-Soviet political allegory hidden within it). The film’s eponymous heroine is a 13-year-old girl menstruating for the first time and coming to sexual awareness through a series of fantastic, oneiric events and encounters.

It’s hard to know what to make of this film, especially in its original Czech context. I remember its being marketed in the US, in the 1970s — though I never managed to see it back then — as a psychedelic, counterculture cult film, i.e. one you were supposed to see stoned. But I doubt that this was the way it was marketed, or received, in post-Soviet invasion Czechoslovakia. (By the way, pardon the digression, here is an amazing account, by the great Czech director Jan Svankmajer, of being given LSD in 1972 by the Czech military, as an experiment similar to ones the US military had conducted 10 or 15 years previously. Of course Svankmajer had a horribly bad trip — as who woudn’t under such circumstances?).

Anyway. Valerie is intensely, and quite classically, surreal. The plot is more or less linear, but filled with strange transformations and reversals, and involving themes and images of blood-menstruation, vampires and sex-as-vampiric-possession, and all sorts of suggestions of incest (father-daughter, brother-sister, mother-son). There’s a very beautiful shot, for instance, of a flower on which a drop of Valerie’s menstrual blood has fallen.

Valerie and Her Week of Wonders

The oneiric disassociations and repetitions/variations of bizarre sexual motifs are worthy of Bunuel (think of Belle de Jour) — but alas, the film entirely lacks Bunuel’s dryness and irony. Instead, Jires aims for a tone of rapture combined with frissons of horror. The images are suffused with light (for daytime scenes), and subtly shaded (in nighttime scenes) in ways that are often gorgeous, but also, often, so overdone as to feel rather cheesy or kitschy (terms that I intend descriptively, and not pejoratively); at times, the film modulates into the picture-postcard excessive prettiness of softcore Europorn (it’s not as explicit as, say, the Emmanuelle series, but we do get to see the breasts of the lead actress, Jaroslava Schallerova, who — like her character — was 13 years old at the time the film was made: this is something that would be impossible today. And then there are all those insert shots of a group of young women, all dressed in virginal white, cavorting and making out in a stream).

Still, despite this male-gaze prurience, Valerie does manage to maintain, for the most part, a female-sexuality based point of view, appropriate to its adolescent heroine. (Tanya Krzywinska, in the best article I have been able to find online about the film, rightly compares it to the fiction of Angela Carter, and to The Company of Wolves (1984), Neil Jordan’s film from Carter’s script). The look may sometimes be Europorn, but the narrative organization isn’t: there are none of those phallic climaxes that gratify the hetero male viewer, even when (as in Emmanuelle) the woman’s pleasure is being stressed. Or, to put it another way: Valerie is a film about female pleasure. But whereas in 70s Europorn, like so much straight porn, the male characters — and through them, vicariously, the male viewers — get the credit, or the gratification, for inducing and producing this female pleasure, in Valerie there is much more of a sense of the woman’s (I mean the girl’s) autonomous ability to acquire and sustain such pleasure.

I’ve said that Jires aims for (and often achieves) a tone of rapture. But this is less a St. Theresa-esque bliss beyond words, than it is a continual modulation of affect (and, in cinematic terms, of lighting and coloring) in ways that skirt (or flirt with) terror (the erotic/horrific frisson). Valerie is nearly raped by the local priest — but she escapes; the priest then has her burned at the stake as a temptress (but she emerges unharmed). And adult sexuality appears to Valerie as something (literally) vampiric: the figures of father, priest, and lover tend to become confounded with that of Nosferatu, and the pious grandmother with whom Valerie lives is transmogrified into a raging demonic figure of ungratified lust (at one point, she attains what she hopes is eternal youth by drinking a virgin’s blood). But these demonic and vampiric elements don’t have the sorts of puritanical connotations (dread and sexual repression) that they would have in an Anglo-American context. I hesitate even to call them psychoanalytic. The film is quite easily (as Krzywinska notes) open to psychoanalytic interpretation, but this very openness and obviousness obviates the need for any sort of depth psychology.

Valerie is about surfaces, not depths: the innocence and lightness of a play of metamorphoses, rather than the weight of sexual fixations and intractable ambivalences. This is why its moments of (generic) horror are never particularly horrifying or dread-inducing. And I think that this is also the reason for what I called, above, the cheesiness and kitschiness that its extraordinary visual beauty is always just on the verge of lapsing into. (I should add, sonic beauty: the score, with its harmonic tinkling and its vaguely religious a cappella choruses, is also quite ravishing in a way that comes perilously close to something entirely generic). There’s almost nothing that separates bliss from banality: Valerie and Her Week of Wonders is poised right on that nearly invisible edge.

Bad Luck

In Andrzej Munk’s Bad Luck (1959), the tragic history of 20th-century Poland is repeated as farce. The main character, Piszcyck, is a sort of hapless Everyman who stumbles through two decades of war, revolution, and political infighting without ever understanding what is going on, or why his life has taken the turns that it does. Piszcyck is played by Bogumil Kobiela, who (as my students noted) had already played a similar role in Wajda’s Ashes and Diamonds, where he provided a buffoonish counterpoint to the tragic ambivalences of the main plot. Here Kobiela dominates the movie, walking idiotically through history in a manner that prefigures Woody Allen’s Zelig and Tom Hanks’ Forrest Gump.

Bad Luck is, however, a considerably harsher and more sardonic film than either Zelig or Gump. Piszczyk displays a boundless desire to conform, to fit in, to do what everyone else is doing; but he remains utterly unconscious of the moral and political stakes of everything he does. Before the War, he manages to be beaten up, both by fascist thugs who mistake him for a Jew, and by cops who misidentify him as one of those fascist thugs. During the War, he finds himself successively as a collaborator with the Nazis, as a black marketeer making money off people’s misfortunes, and as a courier for the Resistance. After the War, he works both as a fake lawyer engaging in shady, dubious deals, and as an enthusiastic bureaucrat helping to build the glorious Communist society of the future.

Actually, this is only a partial list; Piszczyk’s story, which he narrates in a series of flashbacks, is incredibly convoluted and self-contradictory. The only constant elements are: Piszczyk’s boundless enthusiasm and good faith (no matter what he is doing); his disposition to take credit for — and to recklessly exaggerate — whatever good or creditable thing happens to him, while at the same time disavowing as “bad luck” whatever disasters he brings upon himself; his inability to comprehend (thanks to his childish narcissism) either the motives and feelings of people around him, or the larger social significance of whatever situation he is in; and his rather endearing ability to shrug off one disaster after another, since of course everything he tries to do ends badly. A weathervane never changes; only the wind does (as Daniel Singer once wrote of Philippe Sollers).

Munk’s mise en scene is clearly influenced by silent film comedy. Indeed, scenes from Piszczyk’s childhood are played like a silent film (or, more accurately, like the way silent film is typically perceived in the sound era) with generic music, exaggerated gestures, no dialogue, and the film speeded up to reflect the experience of watching a silent film shot at 18fps, but seen at the sound speed of 24fps. The rest of the film unfolds with normal dialog and pacing, but the influence of the cinematic imaginary on Piszczyk’s sensibility is indicated at least once, when he goes to the movies and sees some sort of exaggeratedly romantic melodrama, which helps to fuel the fantasies that drive him. He’s always particularly deluded about women, and many of his more idiotic moves are made in order to impress them, or as a result of his failing to understand their lack of interest in him.

There are several scenes that wonderfully epitomize the many levels of irony at work her. In one (set in pre-War times) Piszczyk finds himself sandwiched in between two political rallies: a pro-government one ahead of him, and a fascist one behind him. He doesn’t quite know what to do, so he shouts slogans of both groups alternately.

The other scene is set right at the start of the War. Piszczyk is in a cabbage field, when German airplanes fly overhead. At the first pass, he naively waves at them. The planes return, and start bombing the field; Piszczyk runs away from them in a zigzag, continually changing direction in order to avoid the explosions. It’s sort of like a Keystone Kops mishap, but with considerably higher stakes.

Bad Luck

Piszczyk’s idiocy, or innocence (the two here are synonymous) does several things. In the first place, it clearly works (as critics have noted) as a critique of Romantic nationalist myths, which portray the Polish people as unfailingly noble, heroic, and courageous. It’s possible to see Piszczyk as, in spite of everything, a survivor, who manages to muddle through everything thanks to his weird combination of infinite adaptibility and an (unjustifiably) clear conscience. His pathetric delusions and stupidities are perhaps to be preferred to those grandiose ones which have led the nation to catastrophe time and again.

It’s revealed at the end of the film that Piszczyk has been telling his story to the warden of a prison from which he is about to be released — Piszczyk is begging to be allowed to stay in jail, because this is the one place where he is told precisely what he has to do, and therefore he is able to avoid the “bad luck” that inexorably awaits him in the world outside. I don’t know whether Munk and Wajda were carrying on a sort of argument by means of their films dealing with World War II; but the ironies of Bad Luck‘s comedic situation are as dizzying, and as deep, as the ironies of the tragic, existential situations of Wajda’s contemporary films Kanal and Ashes and Diamonds.

But there’s something more. Piszczyk is always characterized, as I have already mentioned, by his optimism and sincere good faith, his boundless enthusiasm for whatever enterprise he is involved in, no matter how this contradicts what he was doing, and what he ostensibly believed in, before. This comes out especially in the last long sequence of the film, when he is working as a socialist bureaucrat in the government statistics office. Not only is he enraptured by the vast quantities of data he is collecting (and for which there doesn’t seem to be any further use), he is also thrilled to be able to inform his superior about the bad (and implicitly anti-Party) behavior of one of his co-workers. The superior carefully writes down all the information Piszczyk gives him; but he also voices suspicion of Piszczyk himself on several occasions, because Piszczyk strikes him as being just too enthusiastic to be believable. He feels all his suspicions confirmed when the co-worker frames Piszczyk for similar anti-authority behavior, and gets him fired and jailed.

Now, numerous accounts of life under state socialism have emphasized that there was enormous pressure both to inform on others, and to express boundless enthusiasm for the state’s vacuous and deeply flawed and failing projects. The result was a kind of universal cynicism: everyone was complicit in the ostentatious public affirmation of ideals and rituals which they all privately knew to be hollow and false. Everybody goes through the motions; and everybody “knows better.” Piszczyk’s true “failing” is that he entirely lacks this cynicism and hypocrisy: this is precisely why his Party superior finds his enthusiasm suspect. How can anyone truly serve the Party, if he fails to be aware that everything the Party stands for is a sham?

This is something like what Zizek calls “overidentification” (see the discussions of this concept here and here). Only where Zizek praises (deliberate) overidentification as a subversive and critical strategy, Munk presents it entirely immanently: Piszczyk doesn’t intend, and is entirely unaware of, the potentially subversive implications of what he does. And even leaving aside questions of intent and awareness, Munk is far more pessimistic than Zizek, as he doesn’t see overidentification as having any power to disrupt the system, to gum up the works. (To use Zizek’s own Hegelian vocabulary, Munk suggests — contra Zizek — that, not only are Piszczyk’s actions not liberating “for themselves,” they are not even liberating “in themselves” or “for us”).

There are two points that arise for me, out of this comparison between Munk and Zizek. First: overidentification is one of those concepts that arose in the context of “really existing socialism” — where it is quite appropriate — but that Zizek brings over into his analysis of postmodern capitalism as well, where it is arguably far less relevant (because consumer capitalism’s ability to appropriate and co-opt is far greater than the ability to appropriate and co-opt that was possessed by socialist cynicism and hypocrisy). Second: overidentification doesn’t have the political efficacy Zizek would like to endow it with; it is only relevant contemplatively or aesthetically (which is not a problem in any way for me, as a self-proclaimed aesthete — but which is a problem for Zizek). Part of Munk’s genius is that he was able to see all this so clearly, a generation before Zizek and NSK.

Ashes and Diamonds

Andrzej Wajda’s Ashes and Diamonds (1958) is more ambiguous, less monolithic and stark, than Kanal, but for that very reason is perhaps even more troubling.

The film takes place at the very end of World War II, in a small town in the provinces that has been spared the destruction of Warsaw. The main character, Maciek, is a soldier turned assassin; having survived fighting the Nazis in the War, he is now under orders to kill a prominent Communist Party leader. The Nazis are gone, but now, instead, Poles are fighting Poles. Maciek is played by the exceedingly charismatic Zbigniew Cybulski, described by some of my sources — rightly — as a sort of Polish equivalent of James Dean. He’s simultaneously sexy and just a bit menacing, appealingly cocky (and even a bit insolent) and yet at the same time filled with not just a James-Dean-like vulnerability, but also an anguish that he is only willing to express (I should say, betray) indirectly.

Ashes and Diamonds

The opening shot of Ashes and DIamonds shows a church tower with cross, then pans downward the whole length of the church to a foreground in which two men lie on the ground — to the right, sitting up slightly and speaking, Andrzej (Adam Pawlikowski), to the left, lying fully on the ground, eyes closed, Maciek. At first, he seems to be asleep; but then, somewhat indolently, and without opening his eyes, he asks a question. He wants to know something about the man he has been assigned to kill.

The killing is botched — the wrong car is identified, and Maciek shoots down in cold blood two innocent factory workers instead. He spends the rest of the film (which unfolds in the span of 24 hours, like a classical tragedy) both angling for a second chance at his assigned target, and continually being tormented by reminders of the men he has in fact killed.

Amidst all this, Maciek also manages — thanks to his charismatic good looks and determined teasing and flirting — to pick up the barmaid at the local hotel. But their one-night-stand turns, over the course of the night, into something like love: or at least, Maciek finds in her a kind of tenderness, and the possibility of connection to another human being, that has been completely absent from his life as soldier and assassin. In plot terms, I’m not sure this “falling in love” is entirely believable: it is too quick, too much of a cliche. But Cybulski’s performance is so remarkable that he carries it off and makes it affectively compelling. Maciek is filled with a macho charm and swagger, and yet underneath this — barely expressed, but nonetheless clearly visible — there are vast depths of anxiety, incertitude, openness to pain, and an oppressive sense of his own mortality.

Some of this ambivalence is mirrored, although in a less complex way, in Maciek’s intended target, the Communist leader Szczuka (Waclaw Zastrzerzynski). Szuczuka is a much older man; he hasn’t faced the horrors that Maciek presumably did, since he spent the War safely ensconced in Moscow. But he still remembers, and broods over the fate of, comrades killed nearly a decade before in the Spanish Civil War; and he is trying to deal with the pain that his son, whom he has not seen since before the War, has joined the same resistance movement as Maciek, and is now fighting the Communists just as he did the Nazis.

You might say that Szczuka’s unexpressed torment — no less than Maciek’s — means that he cannot fully and unreservedly represent or embody the will of the Party (which it is his job to do) — just as Maciek finds it increasingly difficult, in the course of the film, to fully and unreservedly identify with the role of assassin, even though this is a role that he has volunteered for, and willfully taken on. And this, perhaps, is why both of them must die by the end of the film.

This isn’t really the old cliche of stubbornly personal concerns coming into conflict with social and political one, or of the heroic individual in conflict with the Party or the State. Rather, it is something subtler and much more interesting. Both Maciek and Szczuka, insofar as they are “subjects” or “personalities”, have “identities” that are entirely in accord with their public positions or roles (as romantic soldier, and dutiful bureaucrat, respectively). What conflicts with this is something that isn’t quite their “inner selves” — because it is something that they are unable to express, or bring into full consciousness, even for themselves.This “existential” dimension (to use the terminology of the time) is inchoate, affective but not cognizable, present but not able to be “expressed.” It’s this that is irreconcilable with the public dimension of History, of duty to Nation, Class, or Party. And this inexpressible dimension is what’s conveyed indirectly, by Cybulski’s acting (as I have said already) and also by Wajda’s noirish cinematography, with its use of shadows, oblique angles, and tight two-shots, as well as by the pauses, the moments of inactivity or anticipation, woven into the unfolding of the events of the film.

Ashes and Diamonds

Finally, after much hesitation, Maciek does shoot Szczuka. It happens in a dark, noirish street. Badly wounded, Szczuka stumbles forward, and literally dies in Maciek’s arms. At just that moment, fireworks go off in the night sky behind them, in celebration of the news from Berlin that the German Army has finally surrendered, and the War is over. All the film’s ironies and contrasts come to a point in this one powerful cinematic moment. All that remains is the cruel anticlimax of daytime, impossibly bright and sunny after the long night of anguish and storms and rain, a daytime in which Maciek in turn is shot by Communist soldiers, so that he can die like a dog on the garbage-strewn banks of the river.

Mad Man Redux

Samuel Delany pointed out to me that, in my previous posting on his novel The Mad Man, I made a crucial parapraxis, or misreading: I quoted him as writing, in his opening “Disclaimer” to the novel, that the book was a “pornutopic fantasy”; when in actuality he wrote that it was a “pornotopic fantasy.”

The change in one letter is crucial. The Mad Man is not a “porn-utopia,” but a “porno-topia” (“topos” = “place”). As Delany wrote to me: “rather than [Thomas] More’s fibrillation between ‘ouk-topia’ (no place) and ‘eu-topia’ (the good place), I’m evoking ‘pornos-topia’ (the place of the prostitute — prostitute in the sense of one who indulges in ‘sexual exchange’ or ‘exchanging things for pleasure,’ money, other sex, communication, information, sexuality seen as part of the extant social exchange system, rather than as a sublime/transcendent occurrence outside the social exchange system).”

It’s all the more startling (and embarrassing) for me to realize that I translated “pornotopia” into “pornutopia”, in that my own reading of the novel is precisely that it does not present sex — even extravagant and copious (in quantity) sex — as being transgressive, sublime, or transcendent, but rather seeks to bring it back to the everyday. This means that The Mad Man should be understood, not as a utopia (a no-place or good-place), but rather as what Foucault called a “heterotopia” (an “other-place”). Foucault writes that heterotopias, “as opposed to utopias,” are “real places, actual places… in which the real emplacements, all the other real emplacements that can be found within the culture are, at the same time, represented, contested, and reversed, sorts of places that are outside all places, although they are actually localizable.” (This from a 1967 text of Foucault’s called “Different Spaces”).

(Recall, too, that Delany’s much earlier novel Trouble on Triton (1976) was subtitled “an ambiguous heterotopia”; the book can be read as, among other things, a response to Ursula LeGuin’s The Dispossessed (1974), which bore the subtitle: “an ambiguous utopia.”)

As a pornotopia or heterotopia, The Mad Man is explicitly concerned with sexuality in relation to “the social exchange system.” And indeed, this is something I didn’t say enough about in my previous posting. Indeed, I wrote there that “there is a lot here, which I lack the space and energy to get into, about the logic of sexual exchange, and how it relates to, and potentially differs from, the ubiquity of market exchange.” But this difference in logics is of course crucial. The two murders in the novel are precisely the result of a clash. between market exchange and another form of (noncapitalist) sexual exchange. The homeless “Mad Man Mike” institutes a strange rule of sexual exchange and sexual ownership, in which the cost of sexual desire/activity/transference is fixed at precisely a penny; and this comes into tragic conflict with the stringencies and desperations of the “market” for hustling at The Pit, the hustler bar in which the novel’s two murders take place.

I think that The Mad Man stands alongside Marcel Mauss’ The Gift and Pierre Klossowski’s La monnaie vivante (Living Money, unfortunately still not published in English translation) as one of the great texts about alternatives to capitalist/market version of (commodity) exchange.

(Note 1: I realize that I am leaving a lot out here, giving way too summary an account. One also has to look at, for instance, Braudel’s claims about the medieval “market” being something very different from the “anti-markets” of large-scale capitalist commodity exchange; not to mention other anthropological accounts, like Alan Page Fiske’s typology of forms of social exchange).

(Note 2: it was rather amusing to see how, in their “Freakonomics” column in this past Sunday’s New York Times Magazine, Stephen J. Dubner and Steven V. Levitt went through all sorts of bizarre contortions in order to explain our habits of holiday season gift-giving in terms of standard — bourgeois, capitalist — economic rationality).

Kanal

Andrzej Wajda’s Kanal (1957) was one of the first post-War Eastern European films to become known in the West. It’s an intense film about a group of Polish soldiers, during the last days of the failed August/September 1994 uprising in Warsaw against the Nazis. These soldiers are doomed; they know it, and we know it (a voiceover narrator informs us of their fate right at the beginning). The film’s power comes from the way it makes us inhabit the duration of lives with no future and no prospects.

The first third of the film more or less follows war-movie genre conventions: we get to know the members of the platoon, their personalities, traits, and foibles; and there are some battle sequences. This part of Kanal is most noteworthy for its harsh landscape of smoking, bombed-out urban ruins, and for Wajda’s long tracking shots of the troops lost, or hiding, amidst the rubble. (All this is a bit reminiscent of early Italian neorealism, especially Rossellini’s war trilogy).

But after this introduction, the film takes place entirely in the Warsaw sewers (apparently the Polish word “kanal” means, not “canal,” but “sewer”), into which the soldiers have descended in an effort to escape the Nazis, and hopefully reach the one downtown section that is still held by the rebels. We are immersed in a spooky and terrifying underworld (“immersed” and “underworld” are meant both literally and metaphorically). Groups of men and women wander through miles of tunnels, waist-deep in water filled with sludge and excrement. Some die, some go mad, some make it back to the light above, only to face various ironic fates nonetheless. Space is limited in the tunnels, and Wajda’s shots are claustrophobically close and tight. The lighting is dim and unsteady, and rather eerie.

Some moments are downright hallucinatory (though the POV is always strictly objective, never going into the delirium of any individual character): the appearance of a light in the distance; a sudden surge of water sweeping through the tunnel like a miniature tsunami; a hysterical crowd runs through the tunnels, beset by imaginary terrors; an excruciating, scarcely human moan and cry that turns out to be the death-rattle of a soldier lying unconscious in the water. It’s these details, these small, horrible events, that drive the film. Something happens, and then we subside back into the torpor of soldiers slogging through the tunnels, getting more and more fatigued, waiting, waiting, and slowly dying.

The film does depict, and affirm, a certain kind of heroism, rather than attacking the very ethos of war and heroism, in the way that certain other nearly contemporary films (Kubrick’s Paths of Glory in the West, and Andrzej Munk’s Eroica in Poland) do. But this heroism is existential rather than political and military: it has more in common with the ethos of Samuel Beckett ‘s plays than it does with that of the typical war film, from West or East, that is largely concerned to glorify the military and the nation. Ultimately, Kanal is a film entirely without hope; not the least of its virtues is that it entirely refuses the upbeat-ending-in-spite-of-everything that was de rigeur as much in “socialist realism” as in classical Hollywood (and that is still maintained today by the likes of Spielberg, who almost obscenely insists on finding that “upbeat moment” even in films like Schindler’s List and Saving Private Ryan).

The Fireman’s Ball

The Fireman’s Ball (1967) was the last film that Milos Forman made in Czechoslovakia, before he left for the West, and a distinguished Hollywood career. It was shown for a few weeks in Czechoslovakia in 1968, but banned as “anti-Party” when the Soviets invaded and crushed the “Prague Spring” reform movement.

The Fireman’s Ball is slyly understated and satirical; it makes no direct political statement, but works clearly as a political allegory. It’s the story — as the title indicates — of a ball (together with beauty pageant and raffle) put on by the volunteer firemen’s unit of a small provincial town in Bohemia. The whole film is a nearly plotless display of buffoonery, corruption, and pomposity. The sheer organizational incompetence of the old men who make up the firefighters’ unit, and who organize the ball — the Central Committee, as it were — is matched only by their petty dishonesty and their attachment to the (supposed) dignity of their uniforms and office.

The film takes place mostly during the course of a single evening, that of the ball. Everything possible goes wrong: all the raffle gifts are stolen (evidently by the firemen themselves), the beauty pageant never takes place (the young women who are the contestants, embarrassed and worn out, hide in the bathroom instead of taking their places on stage), the senile former leader of the unit never gets his (belated) retirement present (though he frequently toddles up to the stage, always at precisely the wrong moment, to receive it), and the firemen are unable even to put out the nearby fire that breaks out in the course of the evening (their truck gets stuck in the snow, and they are reduced to ineffectually shoveling snow onto the fire, while a large crowd drinks beer as they watch the spectacle).

My description makes the movie sound like a straight-up, knockabout farce. But one of the noteworthy things about The Fireman’s Ball is the way it resists such a categorization. Its touch is (deliberately) too light for physical comedy. The cast of non-actors doesn’t go for big laughs, but instead plays everything fairly naturalistically. Even when a young couple are groping each other under a table, while the fireman sitting at the table tries to stop them without calling attention to what’s happening, we get a sense of slightly pained befuddlement rather than outright slapstick.

Throughout the film, pointless arguments go on at almost excruciating length, without ever reaching a moment of open conflict, let alone resolution. Everyone remains polite throughout, respecting the code of “saving the appearances,” no matter how inane the circumstances. A hypocritical veneer of civility is always maintained, even when the firemen are issuing pompous orders, and the people of the crowd are finding ways to flout them. Throughout it all, the band continuously plays its waltzes, and the crush of people in the ballroom fills the screen. All this, plus a reliance mostly on medium shots, makes for a busy, clotted, exhausting mise en scene: just as there is never a sense of climax, there is also never one of release or relaxation. I’m inclined to say that this is an instance of form matching content: the pace of the film, its indirections, its failure or refusal to cohere even into a purely negative meaning, reproduces the feeling of what (I imagine) it was like to live in the bureaucratic “socialist” society of the time (though, of course, the film makes the situation entertaining, in a way that actually living there and then would not have been).

The closest thing to a climax in this deliberately anticlimactic films comes when one of the firemen is exposed to the crowd trying to return one of the items he had stolen (an enormous cheese), and faints from the humiliation of being thus discovered. The other firemen strongly disapprove of his gesture; the leader of the group declares indignantly that he would never let any impulse towards honesty let the dignity of the organization be called into doubt. In an interview included as one of the extras on the DVD, Forman says that this was the line that incurred the wrath of Antonin Novotny, the Communist Party boss of Czechoslovakia at the time. (The Prague Spring began when Novotny was deposed). What this demonstrates, I think, is less the violence and absolute control of the post-Stalinist system than its complete (and absolutely demoralizing) cynicism. That is to say, it’s not totalitarianism (understood as a system in which every aspect of life is completely regulated and controlled by the State and the Party, whose ruthlessness would belie the underlying ideals that they claim to respect), but rather a generalized state of venality, pettiness, and favoritism: a condition that (in the words of Kafka, the greatest Czech author, though one who predated both Fascism and Communism) “turns lying into a universal principle.” Forman’s achievement is to create an aesthetic rendition of this condition, without offering an apologia for it, but also without even the slightest hint of heavy-handed moralizing.

Intimate Lighting

I’ve long been a fan of the underrated Czech director Ivan Passer, who emigrated to the US after the Russian invasion of Czechoslovakia in 1968, but who has never attained the fame of his compatriot and colleague Milos Forman (with whom he worked as a screenwriter and assistant director on Forman’s pre-1968 Czech films). In the US, Passer has directed one film I really love, the brilliant and downbeat neo-noir Cutter’s Way (1981), and several other interesting ones, like Born to WIn (1971, starring George Segal as a self-deluded junkie who is never able to pull himself together) and Haunted Summer (1988, a melancholy, surprisingly absorbing, and psychologically rich drama about Mary and Percy Shelley, and Lord Byron, and Mary’s writing of Frankenstein).

But I had never before seen Passer’s best-known film, Intimate Lighting (1965), the one feature he made in Czechoslovakia before he left. Intimate Lighting is a beautiful film, which creates an odd feeling of stasis or suspension, both because of its gorgeous high-contrast black and white cinematography, and because it’s a film in which almost nothing happens. I don’t mean by this that it’s a film that somehow embodies pure duration, the form of time passing, of temporality in its pure state (which is how I would characterize the films of Antonioni and of Bela Tarr). But rather, Intimate Lighting dwells entirely within the quotidian, a time that is ordinary rather than extraordinary, overtly uneventful, and yet filled with the microscopic actions and passions and happenings that fill and consume our lives, often without our even noticing.

The plot of Intimate Lighting, such as it is, is quite simple. A musician, no longer young, but just starting to push middle age, with his chic younger girlfriend in tow, comes from the city for a weekend, to visit an old friend of his in the provinces. The friend lives with his wife and kids, and his old but still active parents, and has pretty much given up on his musical career — he works, instead, as the headmaster of a small music conservatory out in the sticks. Various personal interactions ensue, but nothing that’s the least bit “dramatic.” We go to a funeral, at which the provinical son and father play mournful music, followed by a wake, at which they play energetic, upbeat tunes while elderly peasants drink and dance. The girlfriend wanders the grounds of the house, plays with some semi-feral cats, and has a sweet conversation with the “village idiot.” The provincial friend is always complaining to his wife and mother about how the hens are always getting into the garage, and trying to lay their eggs under his car. The two friends get drunk together, act silly and dumb, and reminisce about their old times as music students.

And so on. We are left, not with anything tragic, nor even with the sort of global sense of disillusionment and disappointment that we find, for instance, in Flaubert’s Sentimental Education, but only with a series of local, trivial, transient irritations and frustrations (and also fleeting moments of minor pleasure), that stubbornly don’t add up to any sort of bigger picture. There are hints of the contrast between the pretentious cosmopolitanism of the city (where the visiting musician and his girlfriend come from) and the weary traditionalism of the country; but this distinction is never directly articulated, and never comes to a point of conflict. And neither of the alternatives seems that attractive, anyway.

I’ve been describing Intimate Lighting in terms of what’s “missing” from it. But such a description is a bit misleading. For the film doesn’t withhold anything (in the way so many modernist narratives do). Nor is it empty (in the sense, mentioned above, that Antonioni’s and Tarr’s films are deliberately “empty”). Rather, the film is quietly contemplative, and (how do I say this?) entirely immanent to, on the same plane as, its subject matter. Quotidian. The everyday is subtly aestheticized — as much on account of the luminousness (if I can put it this way) of the lighting as anything else.

But aestheticism itself is de-idealized and drawn into the quotidian. I am thinking especially of a sequence where the two protagonists, the country protagonist’s father, and a friend of theirs from the village (an older man, a retired pharmacist) are playing a Mozart string quartet. They do this for themselves, without an audience, just for their own pleasure. The performance is not a polished or concentrated one — they are continually interrupting themselves, engaging in teasing banter and petty bitching and quibbling, and ceaselessly complaining about one another’s performance — not to mention irritated outbursts at any of the women who interrupt them for so much as a moment. And yet, we get the sense that playing this music, getting absorbed in it, is one of the few pleasures in life that these men have. And yet, on the other hand (for, in this movie, there is always an “on the other hand”), this aesthetic pleasure is itself ordinary rather than extraordinary: it doesn’t bear any meanings beyond itself, it doesn’t valorize itself as a superior instance of “culture”, it is fleeting and entirely unredemptive.

In an interview that comes as a bonus feature on the DVD, Passer says that he had hoped to make a film that people would watch many times; that he wanted the experience of watching it to be like visiting old friends or family: you already know exactly how these people will act, what they are going to do, and yet you get pleasure in seeing them again anyway. Exactly.

Eastern European Film

This coming semester (starting next week) I will be teaching a class on Eastern European Films 1956-2006. The syllabus (basically a list of films being screened) is here. I am teaching this class basically in order to learn more about the subject myself; I’m no expert. I am showing a few films I love (Vera Chytilova’s Daisies, Dusan Makavejev’s WR: Mysteries of the Organism, Bela Tarr’s Damnation, Emir Kusturica’s Underground, Jan Svankmajer’s Lunacy), a few that I respect more than love (works by Andrzej Wajda and Krzystof Kieslowski, for instance), and a good number that I have never seen before. There are films from Poland, Hungary, Czechoslovkia and its successor states, Romania, and Yugoslavia and its successor states. (MIssing — due to my ignorance rather than any better reason — are films from Bulgaria and Albania).

One of the class requirements is for each of the students to keep a film journal, in which they comment on each of the films we see. In order to set an example — or perhaps because I will also be learning about this stuff myself — I will do likewise, and comment on all the films we see in this blog. (And perhaps on some additional films as well, which I watch as background).

If nothing else, this ought to help me to increase the frequency with which I post on this blog — one of my New Year’s Resolutions for 2007.

Volver

To say that I liked Volver is not, perhaps, to say very much; since I have long been a fan of Almodovar; I’ve seen all of his feature films, and liked all of them, more or less. As “more or less” goes, Volver is pretty strong among Almodovar’s recent films, it is better than Bad Education (which I wrote about here), and at least as good as All About My Mother; though it doesn’t quite reach the sublime heights of Talk To Her.

Volver, like much of Almodovar’s recent work, is an unashamed melodrama. People who complain that there is less of the campy, perverse, sacrilegious, over-the-top “transgressive” humor here than there was in Almodovar’s early films, or even than in the last few, are missing the point, I think. I love all that fun stuff, of course; but I also feel that it often played the role of a defense, a disavowal, an alibi: Almodovar put it in as a kind of cover, in order to get away with the melodrama that was his real cinematic passion. Far from agreeing with the cliche that his recent films, and this one especially, are more “normative” than all the ones about junkies and drag queens and fetishists, I’d say rather that Volver is more disreputable than (for instance) Dark Habits, or even Law of Desire (which remains nonetheless one of Almodovar’s greatest films), precisely to the extent that it doesn’t hide or deflect in any way its basic melodramatic drive.

Melodrama is one of those things that (nearly) everybody loves, but that nonetheless can never be spoken of approvingly in polite company. For instance, we’ve seen Quentin Tarantino lovingly resurrect such “low” genres as the revenge/splatter film, the blaxploitation film, and the martial arts flick — and even give these genres a “feminist” twist, as he argubly does with Pam Grier in Jackie Brown and with Uma Thurman in Kill Bill — but can you imagine Tarantino giving a similar loving reconstruction to melodrama? I can’t (though, of course, I’d be thrilled if he surprised me). In this respect I think that Almodovar remains the more radical filmmaker, even if his recent films, like this one, are superficially the kind of tony art film fare that people who wouldn’t be caught dead in a theater seeing a “genre” picture can say they like (not realizing, of course, that the “Euro art film” is as conventionalized, that is to say as much of a genre, as any sortt of film out there).

I’ve said a lot about melodrama at various times on this blog (most extensively, perhaps, in relation to Buffy the Vampire Slayer). I’ll try not to repeat myself; I’ll only point out here that, of course, for the last 100 years or so, melodrama has largely been the province of women and gay men. It’s disreputable because it isn’t macho enough. In Volver, Almodovar gives us an almost all-female cast. The films spans intergenerational relations — mothers and daughters — across three generations; and the film concerns the emotional ups and downs of these relationships, bringing them to a kind of resolution or reconciliation (not a redemptive one, but one in which the characters gain the ability to live with what they have felt, and what they have done).

Men are only onscreen marginally in Volver, and the only role they play in the plot, really, is that of the father-as-incestuous-rapist. In expelling this monstrous father from the scene of familial relations, the women in the film literally get away with murder — something which Almodovar clearly presents as ethically justified. I can imagine the Lacanians being up in arms at this, in sheer horror: what could be more narcissistic and regressive and New-Agey? where’s the Law of the Father? etc. etc. But I think that reading Volver in psychoanalytic terms is precisely wrong: any attempt to do so is short-circuited precisely by the way that the familial and “oedipal” dynamics of the film are so upfront, so obvious, so clearly and overtly “citational.” Everything in the film is something we’ve seen before: Almodovar does not proclaim any sort of transgressive liberation from oedipal dynamics, because these dynamics have already exhausted themselves as cliche — they are so omnipresent, so utterly evident, that they don’t even need to be “deconstructed” (deconstruction, in any case, is precisely a strategy of complicity with that which is being deconstructed; Almodovar doesn’t need to perform any such deconstruction of the oedipal, because he has already given plain evidence of its banality. He simply says “of course; so what?” and moves on to something else).

So far I haven’t been as clear as I would like. I said that Volver is citational; everything in it is something we’ve seen before. I should add, heard before: since Alberto Iglesias’ score is so self-consciously reminiscent of Hollywood non-diegetic music (particularly, perhaps, of Bernard Hermann’s great scores): the music doesn’t make us feel joy or sorrow or relief or tension and suspense, so much as it makes us self-conscious about the fact of hearing movie music that is supposed to signify and induce such feelings. That is kind of what I mean by “citational”: it applies to the screenplay and characters, and to Almodovar’s camera movements, as well. This heightening of a certain generic quality is itself one of the mechanisms of melodrama; emotions aren’t singularly personal, as much as they are transpersonal and enacted. They are states of mind, or (more physically) costumes and systems of posture and gesture, that the actors “put on” when they inhabit their roles; and that we the audience “put on” as well when we watch the film, identifying with those generic roles. And this kind of “dress-up” and obvious taking on of superficial roles is a way to inhabit emotions in their pure state: before they have been personalized, and given the heavy meanings and entrenched limitations of the oedipal drama. Melodrama, in this sense, is precisely the way out from tragedy. Tragedy is meaningful, and oedipal, and eventuates in catastrophe; but melodrama is entirely passional — and thereby, however painful, also purely transitional, rather than conclusive. (This is why melodrama is so familiar to us as a never-ending serial form, as with daytime soaps and Latin American telenovelas). There is always another act, another twist. Volver means “to return,” and the film’s conclusion is really just a situation where life will go on, with doubtless more twists and more convulsions. (There will always be more fathers, and they will always have to be murdered anew; but this is precisely why the oedipal drama is too banal to govern the film’s situations with some sort of Symbolic meaning; and why the relations of mothers to daughters are always ones of reconciliation, resignation, and continual renewal, rather than some sort of Imaginary reflection and fixation).

The film’s two divas, Carmen Maura and Penelope Cruz, are both as prickly and annoying as they are charismatic, and this itself is part of the charm of Volver. Roles are fluid, emotions are as fickle as they are overwhelming, and even though acts always have consequences, these consequences are themselves negotiable and mutable. Almodovar invests everyday life with unaccustomed emotion; but he also renders emotion in so light and airy a way that — even at its most negative — it seems more an adventure than a burden.