Hey there, internet world. After nine months of grueling physical labor and scrounging in the gutter for spare change, I finally earned the $10.00 I needed to renew my domain name, so The Marksist Faction is back in action. To my former readers: welcome back (if any of you are back). To my new readers: welcome to my blog. I hope you exist. Alright, here goes…
During my last semester at WashU, I wrote an optional senior honors thesis. We German majors had a choice: either do what comes naturally and write in English or put your brain through a cognitive paper shredder and write in German. Being the masochist that I am, I chose the latter. In the end, after several weeks of bed rest and daily electroshock therapy, I was pleased with my decision, but I’m still not sure how I managed to finish the project. Guess that’s what happens when you spend four weeks living in the library, fueled only by 24 oz. coffees and your own panic because you didn’t start researching or writing till a month before your deadline. You go into a sort of waking coma and somehow, when you regain consciousness, everything is done. The only logical explanation is this: a band of German-speaking elves lives in the stacks and helps out the tired, poor, huddled undergraduate masses yearning to breathe free.
I wrote my thesis on Wim Wenders, a member of the New German Cinema movement of the ’60s and ’70s. Unlike most directors, Wenders had no interest in being a storyteller. Rather, he wanted to make films that capture reality and the passage of time, both of which stand at odds with a fabricated narrative. Unfortunately, this pursuit proved impossible; movies need stories for structure, coherence, and entertainment value. In the 1970s, Wenders reconciled the narrative/anti-narrative opposition with his Road Movie Trilogy, which includes Alice in den Städten, Falsche Bewegung, and Im Lauf der Zeit. (Funny thing about the last film–the title translates as “in the passage of time,” but distributors opted to call the American version Kings of the Road. Sounds like an exciting, Easy Rider-esque film, right? Well, it’s not. In fact, this is the single most boring movie I’ve ever seen. Check it out if you hate dialogue, action, and plot and love endless shots (pretty shots, I’ll grant you) through the window of a beat-up van.)
Anyhoo, I argue Alice in den Städten is a model for a cinematic approach that attempts to challenge narrative while representing reality on celluloid. Through the film’s episodic structure, use of the long take, and closing scene, Wenders’ images retain a certain degree of autonomy yet still manage to satisfy the viewer’s need for narrative form and a sense of closure.
*Note: the two previous paragraphs were inspired by the abstract I wrote for “WashU’s Senior Honors Thesis Abstracts: Volume 2, Spring 2010.” During college, I learned it’s possible to plagiarize yourself. I also learned plagiarism is the worst crime anyone can commit. Aggravated assault, extortion, homicide…all child’s play. For these reasons, I’m citing myself.
In 1968, Wenders made Silver City, his first film and greatest venture into the land of story-free cinema. The young director, high on his own artistic ambition and a whole lot of marijuana, simply stuck a camera in the windows of several Munich apartments and filmed people walking by. No script, no actors, no nothing. This goes on for thirty minutes with only ten cuts. That’s Silver City. Riveting.
Now here’s where this post gets interesting. I recently splurged on Daria: The Complete Animated Series. Truly a great impulse buy, I tell ya. For no reason at all, here’s a picture of me as Daria before WashU’s Art Prom, an annual art school-sponsored costume party known for its creative themes (e.g. cartoons) and way too open bar:

La La LA La La
Since I have no job, no summer projects, and virtually no obligations whatsoever till I leave for Hamburg at the end of August, I’ve spent a good chunk of the past week working my way through seasons 1 and 2. In the last episode I watched, touchy-feely English teacher Mr. O’Neill pairs off the class and assigns each group to make a movie. Daria and Jane’s film, The Depths of Shallowness: A True Story, explores a day in the life of Quinn, whose primary concerns include figuring out which side of her face photographs better and making sure her pores are cute. However, before they land on this theme, Daria and Jane fool around with a few other options, including this one:
Jane (placing a camera in a tree): There. Tree Cam.
Daria: You’re just gonna leave it running?
Jane: Only a day or two. It’ll catch everyone passing by through the tree’s totally objective point of view.
Daria: Riveting.
Jane: Andy Warhol filmed eight hours of a guy sleeping and people thought it was brilliant.
Daria: Those people changed their minds after they got into 12 step programs.
Jane: Wait! I think I just saw some leaves rustle.
Daria: There’s our climax.
Jane: …maybe we need a script.
Wow. Silver City much? It’s like I’m in the library all over again, scrambling for secondary sources and fighting off the shakes cause I’ve got 70,000,00 miligrams of caffeine coursing through my system. Ah, precious memories.
But DAMN! If only he’d jumped 30 years into the future and turned on MTV, Wenders could have saved himself a lot of time and effort. He also could have spared me three hours of watching a couple guys drive around Germany in complete silence. I should get myself a DeLorean, build a flux capacitor, steal some plutonium from Libyan nationalists, go back to 1968, send Wenders to 2010, give him my dvds, buy a dvd player from Best Buy, give Wenders the dvd player, send him back to 1968, and let the rest take care of itself. Now THAT’s what I call a summer project.