Word

 
I just finished reading James Wood's article in the New Yorker on Sarah Palin's semantics. In 'Verbage' Wood discusses the anti-intellectualism that underpins the Republican ticket. Moreover their 'war on words' has reached a climax with their nonsensical VP candidate Pain. She can certainly be labeled as linguistic maverick with her deliberate flouting of conventional grammatical codes, in both vocabulary and phraseology. I suppose this means she's truly a radical breaking free of linguistic norms in order to deliver to all those Joe Sixpacks out there a more honest and direct way of communicating. Sort of like Tupac with marginalized black men in the 90s. Her use of language should be subject to analysis for years to come, as a nuanced product of a certain type of 'all and only' American culture. 

This photograph is another gem from the New York Historical Society. It depicts loads of badges from previous American elections. 

Authentic Bicycle Thieves

Charles Burnett described the story of Bicycle Thieves as "diabolically simple". I think you'd be hard pressed to elaborate on "Man gets bike. Man looses bike. Will man ever find bike again." Simplicity is what make this film so ethically complex and dramatically heartbreaking, although it explicit about neither. The images we see are just a guy and his son trying to find a bike. 

It the viewer who connect these images with radical social commentary. We are plunged into a moral grey zone, in much the same way as a Graham Green novel, where we identify the criminal a victim, the right as wrong, and the bad as necessary: our moral absolutes fail to stand the test. The workers in this film are forced to the thieving trade because they live in a state that fails to provide for the poor. In order to survive they have to renounce social duty for individual gain. 

Again, it is the simplicity of this film which makes it such a sophisticated interrogation of post-war Italy. The documentary style (although highly manufactured) is what Godfrey Cheshire describes as an 'ethical stance' which 'continues to represent a struggle for authenticity'. Here is where I think the film becomes involved with contemporary America. The entire nation is gasping for any last grain of authenticity they can believe in politics. McCain's slogan 'The Original Maverick', implies the Republican ticket provide some kind of root source, a primary, unfettered, unfiltered character, to it's voters. 

Obama's campaign is centred around 'change', which is the clearest demand of 'Bicycle Thieves'. After watching that film it's impossible to think that the status quo of its characters should be permitted to continue. The Democratic ticket's compact slogan – one verb 'to change', seems in complete alignment with the socialist principals of Italian neorealist emerging from fascist rule with a fractured cultural identity and complicit guilt in the atrocities committed by the Nazis, being unearthed at the time the film was made in 1948. 

Yet the Obama slogan is still extraordinarily vague. It doesn't pin down precisely what is going to change, in the way that the Republican ticket identifies 'original' expressly with 'Maverick'. This American election seems more like political theatre than ever before. Yet we seem to be sliding further and further away from the 'total cinema' of the neorealist social conscious message for change, to a vague and non-committal rallying cry. It's function is to rouse rather than deliver.