I Love Dick

Cinephilia and/on Television and/on Masters of None/ I Love Dick

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Chantal Ackerman, ‘Je, Tu, Il, Elle’

I Love Dick, the TV series is doing such great things on television – great female filmmakers – Jill Soloway, Andrea Arnold, Kimberly Pierce, — exploring ideas that concern women: the show is about women, female desire, the female gaze, women on film. I’m finding it like a great art film of the sixties. You might not have a great time watching each episode but you’re dying to talk about everything in it with your friends. However, since none of my friends are watching it, I was driven to read the Chris Kraus novel on which it’s based. Reading it, one becomes conscious of a certain cinephilia.

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Susan Sontag described cinephelia in her classic New York Times article, ‘The Decay of Cinema,’ as the love of a specific kind of cinema – modernist, complex art cinema – attached to a ritual of viewing, on a big screen in the dark. ‘The conditions of paying attention in a domestic space’, she wrote, ‘are radically disrespectful of film’. I prefer the more expansive and inclusive description offered by Girish Shambu of a ‘new cinephilia’ in his great eponymous book on the subject[1]: ‘it includes the ‘art cinema’ that was primarily (Sontag’s) taste, and it includes the traditional theatrical viewing experience of the era she mourned but also has many other kinds of viewing situations. Further, it is an internationalist cinephilia, not just in terms of the films but, equally important, in terms of the cinephiles themselves.(Loc 20 of 832, Kindle)’ Furthermore, and importantly, it also involves ‘an active interest in the discourses surrounding films’.

In the novel of I Love Dick Chris Kraus uses sentences like ‘Back at Dick’s, the night unfolds like the boozy Christmas Eve in Eric Rhomer’s film My Night at Maud’s’ (p.4). She includes speculations like : “Who’s independent?” Isabelle Huppert’s pimp demanded, spanking her in the backseat of a car in Sauve Qui Peut (stet). ‘The maid? The bureaucrat? The banker? No!” Yeah. Chris Kraus assumes that everyone has seen those films; that her readers are cine-literate and cinephiliac. Guy Bolton’s excellent murder mystery, The Pictures, draws on knowledge of Hollywood in 1939, The Wizard of Oz, Louis B. Mayer. Other novels’ borrowings are more structural and include filmic aspects of point-of-view and narration.

Film cultures are an essential reference point to 21st century culture in general and cinephilia is one of the ways of engaging with it. The TV series of I Love Dick takes it even further than the book because it’s not only referencing the films but deploying Shambu’s more expansive notions and taking on the discourses around the films. Thus we see how the second episode is inspired by Chantal Ackerman’s Je, Tu Il, Elle and uses clips from the film to structure the show. In the first episode we get a whole dramatization of aspects of Laura Mulvey’s ‘Visual Pleasure and Narrative’ cinema and other feminist writings on ‘the female gaze’ and a dramatic exposition of discourses around Women in Film citing once again Ackerman but also Sally Potter and Jane Campion and doing a montage of their films.

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Cinephilia seems to have become central to long form television. I was reminded of this when watching the Season Opener of Aziz Ansari’s Master of None, ‘The Thief’. Dev (Aziz Ansari) has now moved to Italy, speaks basic Italian, learned how to make pasta and made a group of friends in Modena. The show begins with the camera panning from a pile of Marcella Hazan’s classic Italian cookbooks on one bedside table to a pile of DVD’s — including Bicycle Thieves, La Notte, La Dolce Vita, 81/2, Amarcord, L’Avventura – on the other. Italy is conveyed through food and a series of films from a very particular period, those largely taught in film studies courses.

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Dev’s dilemma is taken directly from Bicycle Thieves, it borrows not only the look (b&w), the central premise (but in this case a mobile phone rather than a bicycle) and even classic shots (see below). Of course, this is a comedy: the tone is different. Here the theft doesn’t result in tragedy but merely in Dev losing a date. But part of the pleasure is in recognising the classic Italian art cinema dimension of the episode. And the pleasures of ‘The Thief’ are enhanced not only by recognising the references but by being familiar with the discourses around them. Its comedy relies very considerably on a very particular set of knowledges which it assumes as shared but is only common to an audience with a particular education or a self-acquired cinephilia.

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José Arroyo

[1] Girish Shambu, The New Cinephilia, Montreal: Caboose Books, 2014.

Mansplaining About Women and Film

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A fantastic dramatisation of some of the debates around women and film which many of you will recognise. Kathryn Hahn as Chris is a filmmaker whose latest film has just been rejected from the Venice film festival because she hadn’t secured rights to the music. Dick (Kevin Bacon) asks what it’s about and Chris explains that her film is about a woman — all women — and society’s crushing expectations. ‘Sounds horrible’ says Dick and then goes on to comment how it sounds like she’s crushed by something. Dick then behaves like a dick , talks through her to her husband (Griffin Dunne) and proceeds to mansplain why women filmmakers don’t make good movies. It’s a fantastic scene — Sally Potter, Jane Campion and Chantal Ackerman — get trotted out in defence. I also love the husband’s tokenistic inclusion of Susan Sontag as a coda to the conversation. Chris, torn between outrage at the ideas expressed and desire for the Dick doing the mansplaining, is something to see. I love ‘I Love Dick’.  It’s terrific.

 

José Arroyo

‘I Love Dick’ and the female gaze.

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Kevin Bacon appeared last week on the Graham Norton Show to promote his new series for Amazon Prime, I Love Dick, and talked of how it was explicitly about the female gaze. I was a bit surprised  — this is not usual talk-show fodder — but intrigued. And indeed — as you can see in the clip above — this does seem to be the case. I can’t remember seeing a star ‘entrance’ on-screen as driven by a woman’s look since Redford’s introduction through Streisand’s gaze in The Way We Were (Sydney Pollack, 1973). It’s fascinating. That the Dick in question is based on Dick Hebdige, the celebrated cultural theorist and author of Subcultures: The Meaning of Style London: Routledge, 1979) and — my own favourite of his works — Hiding in the Light: On Images and Things (London: Routledge, 1988),  is an added attraction.

 

José Arroyo