Kant said that there was a secret mechanism in the soul which prepared direct intuitions in such a way that they could be fitted into the system of pure reason. But today that secret has been deciphered. While the mechanism is to all appearances planned by those who serve up the data of experience, that is, by the culture industry, it is in fact forced upon the latter by the power of society, which remains irrational, however we may try to rationalize it; and this inescapable force is processed by commercial agencies so that they give an artificial impression of being in command. There is nothing left for the consumer to classify. Producers have done it for him. – p. 124-5, Horkheimer and Adorno, Dialectic of Enlightenment
Huh? I am not a bum. I'm a jerk. I once had wealth, power, and the love of a beautiful woman. Now I only have two things: my friends and... uh... my thermos. Huh? My story? Okay. It was never easy for me. I was born a poor black child. I remember the days, sittin' on the porch with my family, singin' and dancin' down in Mississippi. – Steve Martin as Navin R. Johnson in THE JERK
What got me ruminating on the star-spectacle was a double-feature of the star-studded quasi-biopic of Bob Dylan, I’M NOT THERE, and the quasi-star-studded BEOWULF. I’ll deal with the latter in my next entry. Contrary to the average Hollywood celebrity, Bob Dylan’s a star who largely created the stories surrounding him, sold his image based on those stories, but always resisted those stories once the media and his fans began to reflect him through them. In his film, Todd Haynes tries to walk the line between individualism (subjectivity defining itself) and his own radical semiotic belief that everything is just stories, signs signifying other signs. The problem here is that if there is no core Dylan that we can ever arrive at, only a series of stories that we compile, how can we understand or appreciate what was Dylan resisting against or why he was resisting it, since that rebel is nothing but another confabulation, no truer than the rest? As the title suggests, the movie tends to celebrate Dylan’s resistance to being defined, giving its subject what he wants, another story portraying him as he’s always portrayed himself, not responsible for anything he says about himself or others. It’s hardly surprising, then, that Dylan gave permission to use his music for the film. The irony here is that, despite its postmodernist structure of multiple narratives, the film divines a core Dylan-construct by giving into and clearly defending his side of the story, or stories.