When I recently read the September 17th issue of The New Yorker, I was struck by Anthony Lane’s review of David Sington’s documentary about Apollo astronauts, “In the Shadow of the Moon.”
Lane’s final sentence concludes: “. . . [M]aybe, however many movies we see, there’s something about the Apollo experience that should remain indescribable--drifting away from our imagination, as if out of radio contact, on the dark side of the moon.”
What a beautiful sentence--and an interesting starting point for considering the remarkable emphasis on film that’s taking place on our own campus this fall. The Global Film Series launched its season last week, and the Political Science Film Series begins tonight with “All the President’s Men.” We can look ahead in the campus calendar to find a series of Italian films and another of Postmodern Film Screenings.
Three of the four series promote films set in other countries, written in other languages, and directed by artists with imaginations nurtured in other corners of the globe. The Global Film Series, for instance, focuses this semester on African film, featuring works about Senegal, South Africa, Mali, Nigeria, and Mauritania. The languages in these films range from French and English to Wolof, Hassanya, Zulu, Bambara, Ibo and Yoruba. The stories span from re-workings of Biblical and Shakespearian narratives to engagements with the harsh details of 20th century apartheid or the contemporary lives of ordinary Nigerians.
For most of us, nearly all these languages are “out of radio contact,” and for many of our students, these places might as well be the “dark side of the moon.” Certainly, a film series cannot be expected to illuminate all the complexities of these cultures, but it’s a beginning. The Italian films on tap this semester likewise invite students to explore both a culture and a culture’s perspectives on ideas, issues, and known events: soldiering, World War I, the nature of friendship, the Holocaust. All these places, people, and events are to some extent “indescribable--drifting away from our imagination[s],” yet the language of film and film’s visual economies have a way of anchoring the unfamiliar.
With films from America, Spain, and Mexico--set in such contexts as the far past of Sparta, the modern past of the Spanish Civil War, the recent past of “Father Knows Best,” and the near future of 2027--the Postmodern Film Series suggests that film can translate (indeed, can upend) familiar narrative conventions, leaving us somewhat lost in space and time. Instead of anchoring us, they deliberately set us adrift with our imaginations to chart a course. Since we’re in the business of fostering imaginations, this dislocation and disorientation should be encouraged.
Finally, the Political Science Film Series includes a number of well-known films that explicitly raise questions about politics, policy, and social issues. But these films--all of which challenge students to think about 20th-century issues such as Watergate, the Cold War, race relations--also challenge another assumption: that the only thing to do on Friday nights is to “party.”
Coordinated by faculty members and involving faculty-led introductions, screenings, and discussions, all these film series model for students the kinds of engaged lives adults can lead--lives where watching movies and talking about them, reading books and discussing them, learning languages and using them, reading newspapers and arguing about them, exploring other cultures and struggling with how they are always still “drifting away from our imaginations” are all part of being an educated person (even on Friday nights). So I thank the faculty members who have put so much energy into this semester’s film offerings: Scott Cohen (Global Film Series), George Piggford, C.S. C. (Postmodern Film Series), Antonio Barbagallo (Italian Film Series), and the Political Science Faculty (Political Science Film Series--with Richard Finnegan, Celeste Lay, and Jim Millikan leading the discussions this semester).
As I mentioned last week, the Martin Institute--in collaboration with the Honors Program--kicked off its programming this year with a film: Eugene Jarecki’s documentary, “Why We Fight.” Jared Green’s erudite introduction to that film set a standard for how faculty can welcome students into critical engagement with such texts.
In spite of the fact that film series such as these are one feature of how we are dramatically increasing the focus on global and political issues and on intercultural understanding in our curriculum and co-curriculum--and in spite of the increasing percentage of our student body who are abroad in short-term, semester-long, and year-long programs--our students report relatively low levels of satisfaction (on surveys of student engagement such as NSSE and the senior Exit Survey) with their own understanding of international issues, their “understanding and appreciating cultural and ethnic differences,” their appreciation for their rights and responsibilities as citizens, and their opportunities to have serious conversations with students and faculty of different religious beliefs, political opinions, personal values, and social, racial or ethnic backgrounds.
So, as we work together across the College to address the diversity of the student body and of the faculty and staff, I encourage you to encourage your students to take advantage of these campus opportunities for developing their intercultural understanding, for expanding their capacity as citizens, for participating in frank discussions, and for expressing differences of opinion. At the risk of losing the Apollo metaphor altogether, it’s not “rocket science” that the world of work and further study they will enter expects them to be prepared for, open to, and engaged with such complexities.
Best regards,
Katie