Philosophical Imagination, Aesthetics, and Creative Writing

Author: Lou Hsienhua

  • Radical Authenticity: Looking at Abdellatif Kechiche’s Films

    阅读中文版

    by Tome Loulin

    I’m made and remade continually.

    Virginia Woolf

    Filming is creating ways for us to see something different, familiar, unseen, seen, exotic, and alien in a new sense maybe because for most of us, seeing only one side of something is not enough and film provides us with the opportunity of seeing the world differently. Now, it’s almost ubiquitous to speak of film metaphorically as one of several popular metaphors regarding film goes that every person is the protagonist of their own film; Similarly, that the metaphor that life is a lengthened film is used and accepted so widely suggests we all have a want to feel our life is worth watching, i.e. worth living and the pain we have endured. Unlike literary works that evoke us to imagine a mental world that enriches our real world experiences, visual arts like film present us with a different way of focusing and of paying our attention. Choosing a film to watch is like deciding to pay a very different attention to something that we haven’t been well aware of. Yet, almost every kind of art is focused on our utmost desire to authenticity—what we are and where are we going?

    The purpose of creating an involved plot is, perhaps, to make those who expect to discover something that could only be found in film think deeply about the themes that often require more serious attention in order to see the true depth of truth. Most of the films Kechiche directed involve critical inquiries to real life struggles that socially marginalized groups—such as North African immigrants in French society and sexual minorities—have experienced. In Blue Is the Warmest Color (2013), the emotional span of the whole film is extremely broad, giving audience a different sense of reality.

    In Blue Is…, Kechiche depicts the emotional and professional apprenticeship of Adèle, a high-school student in Lille who falls in love with older art student Emma. The pair embark on a passionate sexual and domestic partnership, the film tracing its stages from two protagonists’ first encounter to the sublimation of their relationship and from their parting of ways to post-separation reunion, which gives the viewer a touched and engaged experience with a sense of being involved in an alternative reality.

    This authentic way of telling and showing something that is too hard to be told and presented properly brought a sharper contrast between the romantic imagination and brutal everydayness in actuality, as the story presented by the film is already too tough to experience, let alone review it.

    Tome Loulin

    In the film, the focus is put on the irreconcilability and fragility of inter-class communication. It is almost too hard for a film-goer after seeing the film not to absorb the theme that the ordeal of inter-class loving relationship is eternal given that the film’s depiction of an often-overlooked reality is almost as vivid as ever, i.e., the difficulties and social invisibility experienced by sexual minorities and the marginalized.

    Speaking of the art of performing, Kechiche’s way of directing is an authentic one if not brutal. In an interview with the Guardian, he was described to ‘delight in bringing untested non-professionals to the screen.’ This faithful, if not radical, realistic way of art making is nothing unheard-of before. Art itself as a profession is about realism at first place. And before the camera was invented, paintings, except for its religious use, were widely made for the purpose of depicting the powerful and upper-class elites. Ordinary people before the age of camera were deprived the right to visual artistic creation. Art history is a history of exclusion because of the great division between the poor and the rich. And of course, the access to artistic creation is not all controlled by the powerful, the well-off, or elites but there did exist some hurdles that obstruct a more inclusive artistic imagination from emerging anew.

    From 19th century Russian realism tradition to postmodern reflection on radical modernistic experiments in art, there is certainly a revival of a new taste for realism in artistic creation. Regarding his working-class upbringing, Kechiche, born in Tunis in 1960 but resettled to Nice with his parents at the age of five, reflects “For me the important thing about living there (his flat in Paris’s Arabic area, Belleville) is that it’s a working-class district, it’s the social rather than the ethnic aspect that matters.”

    Through his depictions on working class people, we see something unseen but extremely familiar before, which is our innermost authenticity. Life is not about pretention nor is art.

    Tome Loulin

    The narration of Blue is…, is a lifelike one, and this radical authenticity is further reinforced by a scene depicting Adele, the protagonist with a working-class background, walking alone in the alley, being the final climatical point at the end of the film. This authentic way of telling and showing something that is too hard to be told and presented properly brought a sharper contrast between the romantic imagination and brutal everydayness in actuality, as the story presented by the film is already too tough to experience, let alone review it. Perhaps because people can more or less share this kind of love – the complex feeling that returns and goes away like a lonely self-reploquise, it is also a unique taste of sadness mixed with happiness.

    It is not the first time that socially marginalized experiences are depicted and focused by Kechiche. Before Blue is…, there is Couscous(2007) whose subjects deal with old-ages, immigration, and remarriage—all hard ones. It could hardly say that what Kechiche experienced in his childhood as an immigrant in French society doesn’t influence how he interprets about art in general. Through his depictions on working class people, we see something unseen but extremely familiar before, which is our innermost authenticity. Life is not about pretention nor is art.

    Kechiche’s imagination about what lens should focus on creates a new way of seeing the unseen. In Philosophical Investigations, Wittgenstein wrote that a mental image is the image which is described when someone describes what he imagines. By imagining radical-authentically, our very ideal of how should our authenticity be defined and presented gives us a new way of describing the experience that we had felt extremely familiar with but rather incompetent to describe accurately. And, of course, our specific way of seeing and imagining what matters to us does matter.

    Tome Loulin
    Feb 15th 2021

  • A Life of One’s Own: Living the Dreams

    There is something deeper inside of us that is calling, urging us to escape something else; yet, hardly could we find out where and what it is. Something, it’s always the notion of something that is most hard to be named precisely or defined properly, so is our notion of self-liberation, which is hardly an unattractive concept–different people interpret it differently–and has thus gained a lot of philosophical and literary attention seriously.

    Virginia Woolf wrote in her book, A Room of One’s Own, that “lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.” indicating a sense of insecurity that has been felt throughout times by people who write while at the same time worrying about their restraining circumstances. Fear for the spiritual and artistic creativity being deprived by a lack of material security and of personal privacy still resonates to a large audience today. Many difficulties facing us today are still basic ones–the lack of personal space and financial security.

    Many people are still consumed by issues like poverty, abusive upbringing et al., making them hardly able to write about something other than a reflection of what they experienced, out of anger, insecurity, and helplessness.

    It’s no good, perhaps nightmarish, to have no choice but to live in a dorm with two other strangers during the first semester of my postgraduate programme, with covid restrictions–unable to move out, having no means to avoid the sense of being envied against, but to endure this, in this dorm, a strange and foreign space. Being forced to live with those unmindful of what you are valuing is like preparing a meal that would certainly be left uneaten–in vain.

    It was raining when I stepped out of the bus that carried me to the university. The first time I went to Wuhan in years after the pandemic. Everything, almost, I saw—Xiangzhang trees, tiled roads, and stone railings on the lakefronts in the campus—was getting wet.

    I remembered that several months before when I was walking on the road to the dorm with one of the strangers and listening to NPR news podcast, the stranger suddenly said out loud that ‘you learn so hard that I feel pressured.’ For a while, unable to process what I’d heard exactly perhaps because it was too novel a realty to grasp immediately, I replied: “none of your business.” But certainly, this boundary-shaping answer opened the door of an ineffable animosity between me and the person.

    Concerning literature, rarely do authors write their unpleasant experiences without proper reasons or contemplation because to write about something means to examine the matter deeper and to tell the truth instead of purely presenting different social phenomena one observed in his/her daily life. To write seems to me like transcending our current understanding about something—something unnameable, never told before—and making the unseen seen and the unheard hearable in an imagined space where things are observed in a thorough fashion. But writers’ commitment to truth-seeking doesn’t mean that absurdities and hostilities observed in human world are not worth serious attention. Instead, to understand certain social phenomena in which serious literary imagination took place has required even more time for writers to process what we thought we know, how can we describe the subject properly and what we tell to readers in general. Perhaps because our society didn’t pay much attention to social-gendering and sexually derived judgements about social norms, many people around me still talk in a way that assumes my personal image is somehow defined by my biological gender, which as the fundamental notion of our social functioning is socially constructed.

    It’s no exaggeration to say that heterosexuality has unfeelingly shaped the ways that our society structures and social norms are formed as well. Many languages in the world are gendered ones, making the potential resistance to this linguistic gendering even harder for us to put up with–it’s already occupied our mental world. because of the heterosexual dominance in our social structure-shaping, it’s worth noting that in literary discourse, what has shaped our mind can shape our culture; and there have been many literary works deemed classic helping construct the ethos of an ethnicity and these works are still mostly the ones that reinforce an imagination that many minority groups could hard relate to. No wonder Cao Xueqin, a male writer, would write in his novel Hongloumeng or the Story of the Stones(1791) that the male body is made of mud but the female body of water; this plain heterosexual idealization certainly reflects the writer’s thought about relationship between gender binary and heterosexual dominance. In many ways, our literature world is still dominated by certain forces of gender-derived stereotypes about social minorities whose voices were often left unheard and silenced. Somehow, the current shape of power structure in literary discourse reflects directly that in our society. We are taught to be the member of a society instead of our family now because the way we make us alive has drastically changed. We learn certain ‘useful’ skills through compulsory public education that usually reinforces a preset ideology of gender norms, which often took many years for a person to undo, to fill the social role that is deemed valuable in order to survive. While regarding literature, we hear the voices of the powerful that usually shape ours in order to write, to get fit literally by following these social and cultural standards, to write ‘appropriately’. But independent-mindedness is not getting our society’s approval nor is the purpose of writing. Imagine how hard it would be to describe a same sex relationship in a literary work comparing to a ‘normal’ one and how risky it may seem to write a piece, a serious one, about sexual minority without being judged in a way that rarely has a heterosexual romance writer has been.

    The very sense of inequality both in our social survival and in our aesthetic creation could still be felt powerfully in our everyday experiences. One, who as a member of a marginalized group continues to dedicate his/her marginalized experience to the very artistic creation, would certainly encounter the very sense of being constantly judged in a way that rarely had heterosexual or mainstreamed persons understood or wanted to. Their indifference to our untold, unspeakable, and socially silenced sufferings is the most obvious indication of their collective ostracisation–we do not belong.

    Being socially excluded in a closed space where escape is hardly an option means to endure a nonverbal cruelty inflicted by a majority group aimed to enforce their values, through the indication of group hatred against perceived outsiders.

    Not hearing, not seeing, or not minding anything related to the marginalized group is perhaps the easiest thing to do. What’s not easy for those majorities to do is to not define, label, and name ‘them’ and ‘us’. I am not what ‘he’ sees and thinks. I am, like any mortal beings in this world, undefinable. Why should they think they have the authority to define our identity and have the power to tell us how we should feel about what we feel? Abnormal or normal, mainstream or marginalized, where is the line?

  • 回顾

    渡口

    大海在天上，云是海浪

不知名的人在桥栏边

温润的水岸边

晚夜微暖的风

远望着，纯然的青峰

川行的人流间

有位渡翁

行舟在这片人海间

无名的树木，还有多少岁月青葱

暗淡的倒影，自行车行过匆匆

也许，那无名的树林间

也涌过这夏日的水潮

从此后

心中的浪，还有多少年岁涨伏

-楼林(Tome H. Loulin)
2020 湖北

    The Years

    曾经在熙攘的街头穿行，戴耳机，疾风驶过的人流中，偶尔迎风流泪，因为戴墨镜，所以不太在意。与他一同在东湖骑行，中途休息，我坐在椅子上望着落日发呆，身后是往来的骑者，他特地带了移动音箱，仿古式的，样式别致，播放的是一首法文的歌，我强学发音，许多都念错了，他沉默着，用手机拍下了那湖面上的落日。我问是否可以连他的音箱，他点头，表同意。那时已是晚夏，湖边的微风拂过，归去时我走在后面些，旁边有自动售水机，走进才发现灯光下都是昆虫，好在水不受影响。我回访武汉只记得东湖适合散步谈话，因为风景好，那晚却不复往昔的寂静，不知是否因宣传的多了，还是没有其他合适的自然公园。

    他曾住一厅式的公寓，布局温馨。在家的时候，我的祖母看到我睡最小的房间，便同我说，等我去学校后就搬到小房间睡，因为温馨。他的书桌上堆放着资料，上面是贺卡与明信片，多是学生写的感谢信。现在写信寄信的人少了，心里总是空落落的，觉得是信息时代的憾事。正好在这里满足了这感受，沉默的房间里，时间仿佛也慢了些。

    美国疫情刚受关注时，NBC电视台放慰问卡片销售攀升的消息，许多人为逝者的亲人寄慰问卡片，是比电子化信息更能表达关怀之意的仪式。看到电视上播放的卡片，想起了在我的母亲曾短暂经营的文具店里，我曾总是翻看明信片，偶尔看到信上预先印好的小句子，大多数携语，心里总感到亲切。

    行旅归后，很少有机会重访东湖，也许是怕独行，熙攘的人流间，独自行走有突兀感，三三两两的人影下，怕那种特别感受。我总是这样，独自的时候，就想与人同行的感受。偶尔夜深的时候，淋浴水流过，心中涌过温热的水潮，不喜欢开灯，觉得LED灯光不自然，所以宁愿漆黑些，玻璃门的亮光点缀着，像暗潮。

    家中

    那时，也许是还在成长着，对夏日有亲切感，当然其灼热的午后除外，第一次去北京的时候，是几年前了，近秋，但还是炎热异常，是干热，所以穿长袖长裤也适当，汗水较易干？曾经，在家乡的夏日，自己用一个午后拍照——用三脚架拍摄。现在摄影师不容易找，所以自己拍。

    搬回家的时候，做好了去沙哈拉的准备，小的城市与年轻人不大相符，但因为房租的缘故，所以回家乡还是较理性的选择。我用手机控制镜头，沉默中，只有窗外知了的声音陪伴我最久，像生命的鸣奏曲。