In anticipation for the York University inaugural film-philosophy conference 'Coming to Terms with Film-Philosophy' on May 23-24, here is an essay I wrote for a Marxism and Form graduate course on Alain Badiou's cinema as a philosophical situation as applied to Jean-Pierre Gorin's Routine Pleasures. - D.D.
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Abstract
This
essay will analyze Jean-Pierre Gorin’s film, Routine Pleasures (1986), through Alain Badiou’s conception of
cinema as a philosophical situation. A close reading of the film, paying close attention
to Gorin’s voice-over commentary will be performed. The analysis will focus on
the specific narrative and formal strategies of the film, while also situating it
within Gorin’s larger body of work, and elaborate on his interest in a popular
American culture, such as the anachronistic model train club, and his relation
to his mentor Manny Farber. Badiou’s general philosophy will be discussed in
particular his conception of the philosophical situation in cinema, choosing
sides and politics. Badiou’s writing on cinema, most notably the 2003 Cinema as Philosophical Experimentation
and his essay on Gorin and Jean-Luc Godard’s Tout va bien, will provide a framework to better understand Gorin’s
historical development and the formal operations of the film. The conclusion
will offer fresh insight into contemporary concerns of the political and the
aesthetics.
Alain Badiou on Cinema as a Philosophical
Situation
For
Badiou cinema is a philosophical experiment, which has its role of clarifying
the distance between truth and power. To verify this thesis it needs to bear scrutiny
and will be tested through applying it to an analysis of Routine Pleasures. One major component of Badiou’s philosophy is of
the event. Badiou writes, “We must
think the exception. We must know what we have to say about what is out of the
ordinary. We must think change in life.” This leads to two particular interests
for Badiou in terms of cinema, which is its relationship to knowledge and as a
living relationship of transformation. Slavoj Žižek would describe the
importance of the event for Badiou in terms of its resistance to the utility
function of ideological state apparatuses and through its engagement with a
universal cause that disrespects opportunistic considerations.
Badiou’s notion of cinema as a philosophical
situation is non-evaluative and prescriptive. For Badiou, philosophy is first
to clarify the fundamental choices of thought, secondly to clarify the distance
between thought and power, and finally to clarify the value of the exception.
So how would this apply to the analysis of a film? How could a film fulfill the
role of clarifying the distance between truth and power?
One of Badiou’s examples of a philosophical
situation comes from Plato’s dialogues, that of Gorgias, where Callicles gets into a confrontation with Socrates.
Their debate is a philosophical situation because,
Socrates’ thought and Callicles’ thought have no
common measure. They are foreign to each other. And the discussion between
Callicles and Socrates consists solely in showing that we have two kinds of
thought here with no common measure, a relationship between two terms that are
foreign to each other.
The philosophical situation is the moment when
choice is clarified, when a form of existence is confirmed. This response from
the audience to think about the narrative unfolding in terms of having to choose, to choose between two types of thought, and forming a decision is
one of Badiou’s example of how film can perform philosophy.
These are just some of his general ideas from his
philosophy, which, as he sees, can be shown
through cinema. For Badiou cinema is
the best art form to show the world today,
to create something new and produce revolt. Badiou writes,
I would say that cinema is a metaphor for contemporary thought… A thinking that’s
grasped in the mobility of its reflections, a thinking that absorbs human
presence in something that exceeds it, that takes it over and projects it all
at once A representation of the world in which human presence is affirmed over
against an extremely powerful exteriority.
This film-philosophy must be universal, and
implicitly address the masses, which he traces its history as building upon an
older tradition such as Stéphane Mallarmé’s poetry.
So then what is the event for Gorin and in Routine
Pleasures? What knowledge does Routine
Pleasures produce and what relationships does it transform? And if for
Badiou, cinema transforms philosophy and the very notion of an idea by creating
new ideas about what an idea is, then what exactly does this mean in regards to
Routine Pleasures? As well if cinema
is a philosophical situation for Badiou, which he defines as the conflict
between two non-related and opposing terms, through its argumentation and
emerging ideas, then how exactly is this illustrated in Routine Pleasures? These are some of the questions that this essay
will attempt to answer.
Routine Pleasures and Badiou’s Event
Routine Pleasures is the second film in Gorin’s California trilogy,
which includes Poto and Cabengo
(1980) about two young girls who speak in an anomaly dialect and My Crasy Life (1992) about a Samoan
street gang in Long Beach, California. Routine
Pleasures is perhaps the most autobiographical of the three films since in
it Gorin analyzes his own interest in the American mythologies that motivated
him to move from France to San Diego, California to work at the
interdisciplinary film program at the city’s university, which Manny Farber helped
form. It is an unclassifiable film as it goes from documenting a miniature
railway club to analyzing Manny Farber’s paintings to becoming a free form filmic
diary.
What choices or sides are spectators forced to
make in front of Routine Pleasures?
And are there opposing thoughts being presented? The film is divided into three
autonomous perspectives. There is the model train club, and the diversity of
its group (all who gather at the Del Mar Fairgrounds every Tuesday evenings),
there is Farber, who is there through Gorin’s accounts of their conversation
and through his paintings and criticism, and finally Gorin, with a heavy French
accent describing his journey into both of these worlds.
If there are differences between the groups, such
as backgrounds, age, classes, political affinities, it is not an antagonistic
relationship between the two (such as was the case in Badiou’s example between
Callicles and Socrates), but of compatible world-views that for brief periods
come together. But since Gorin is coming to the project from the perspective of
the filmmaker, one might assume that he holds a position of power. But this is
not the case as Gorin elaborates in an interview with Jean-Paul Fargier, Ici et là-bas (Cahiers, October, 1986, N°388),
There was an enormous amount of work to make these
guys actors, as they have never been in front of a camera… I had many problems
directing them. It took me a long time to make these guys subtle, capable to
appear relaxed and even to have a certain dominance over me. What interests me
is when the subjects dominate over the filmmaker, when they impose their own
logic and force a change in the original idea and it then becomes a voyage full
of surprises.
These conflicts and accommodations come out in
multiple scenes throughout the film. The club members who includes conductors,
dispatchers and mechanics get the opportunity to discuss their own backgrounds,
life and loves, which reveals them to be more complex humans. For example,
Corky Thomson discusses participating in the founding of the club in 1958, his
work as a refrigerator repairman, and his loving wife Barbara whom he makes with
his own Super 8 films of real trains. The specialized knowledge of the model
train hobbyist and their discussion of it allow them to assert an authority and
intellectual rigor to their field. The reason that they allowed Gorin to make his documentary was that they could
eventually get the unused footage to then make their own film. And finally the members even made a replica of Gorin’s
Citroën car for their landscape to initiate him in the club, which they also
used to express their annoyance with him when he overstayed his welcome.
But Farber is perhaps more important to the
shaping of the structure of Routine
Pleasures. Gorin described his meeting Farber as one of the most decisive
encounters of his life while Farber has described Gorin as his ‘twin brain’.
Even though in the film Farber is only presented through a series of
photographs he is still very much present through Gorin’s recounting of some of
their encounters and his penetrating analysis of his paintings (Have a Chew on Me, Birthplace: Douglas, Arizona). Gorin describes Farber’s role in Routine Pleasures in the Fargier
interview as being, “constituted as a mythological personality, as if he was a Virgilian
guide through this American landscape, more of a psychic American landscape
than a real one.”
What Farber contributes is an influence on the
structural patterns of Routine Pleasures.
Through Gorin’s recounted conversations with Farber, two forms of thought are
confronted, and stimulate Gorin to re-focus his film, which he does. The film is divided into many sections, all
with descriptive intertitles, and accompanied with jazz to transition the
scenes. Gorin utilizes Thelonious Monk strategy of the wrong note at the right moment, which inevitably produces the right note. This imperfection and form
of improvisation parallels many of Farber’s own ideas as elaborated in one of
his seminal essays White Elephant Art and
Termite Art (1962) – that of not aiming to create an entire world, but to dig deep into a very specific one and through it to express something meaningful.
Gorin describes this approach in the film,
[Farber] went for, he said, ‘Films where the
spotlight of culture was nowhere in evidence where the filmmakers could be
ornery, wasteful, stubbornly self-involved, doing go-for-broke art and not
caring what comes of it.’ And he wrote the same way, ‘He attacked it as the
termite’s way, a relentless gnawing at the borders of the subject, a way to
chew on it so thoroughly, that there was nothing left to spit out.
Farber would also influence the progression of the
film. As when Gorin recounts that this would be his equivalent of a Howard
Hawks, William A. Wellman, John Ford or thirties worker out-fit films
(Gorin’s references), Farber would retort to, “Drop the nostalgia bit, and dig
in.” Gorin would also re-orient the film when Corky hints that Gorin should
film more of their footage (that of the toy trains circulating, which extra
stock footage Gorin would give to the club), and when Gorin asks Farber if he
could include his paintings in Routine
Pleasures, it would now also force Gorin to split the focus of the film between
the train club and with Farber.
These acts of reflection and action could be seen
as Badiouan events, that of psychological and temporal ruptures for Gorin which
creates an experience where there is a before
and an after. Badiou writes, “philosophy
is the moment of the rupture reflected in thought.” These paradoxical
relationships, that of being steadfast in one’s views and then letting things
change, would be the synthesis goal of Badiou’s philosophical situations.
The film enacts these confronting perspectives,
but unlike Badiou’s example, there is a common measure between Gorin and his
subjects and there appears to be a harmonious progression. If the philosophical
situation in cinema is the moment when a choice is clarified, this can be
illustrated by how Gorin realizes how to more honestly proceed and acting upon
this. But this is not the antagonistic relation between reason and power,
knowledge and the state that Badiou had in mind.
Perhaps a better example of this relation can be
seen through the focus on these club members and their relation to their period.
The activity of the club members necessitates a desire and commitment to return
the Del Mar Fairgrounds at least twice a week. This choice, decision and
commitment can be seen as political. Gorin sees Routine Pleasures as a film about the eighties, as described in the
Fargier interview,
It’s a film about the privatization of obsessions, which I think is a fact of the times.
It’s a film about an increasing conservative country, but made from the inside
and without any irony. It declares that this phenomena is really American, that
of a group that is held together by reactivating a lost America through
imagination.
This would be the outside-of-the-frame Reaganism
of the period. In face of the restrictive political government of the times,
these club members provide a breath of fresh air, that of leisure, mastering
their universe, and proceeding at their own pace and time. To choose to be on the one side with these club
members is that of identifying with these routine pleasures, modest tasks and
joy in the small. This parallels some of Badiou’s own social commentary, such
as his response to rapid capitalism by emphasizing slowness.
This relates to the importance Badiou
places on the idea of potential victories. The notion of victories, and the
recognition of the victories, are events for Badiou. According to Badiou,
For a long time, with the idea of revolution there
was the hope of a great potential victory, a definitive irreversible victory.
And then the idea of revolutions disappeared. We are the orphans of the idea of
revolution. As a result, we think that no victory is possible anymore, that the
world has lost its illusions, and we eventually become resigned. Cinema,
however, says in its own way: ‘There are victories even in the worst of
worlds.’ Naturally the victory
probably doesn’t exist any longer, but there are individual victories.
To be faithful to these victories has the
emancipatory quality of offering hope for a better future. Through the
organization of filmmaking to render a sensible worldview out of the infinite
possibilities of existence, these scenes and images of victory provide a
counterpoint of hope in contrast to a despairing reality. Perhaps modest, the viewing
of the activity of working on these miniature train sets instills a vicarious
excitement. As Gorin describes it, “Theirs was an imagination that went for the
humdrum and the routine, and within that routine little flurries of activity
that gave the game its salt.”
The
idea of these small victories transitions to Badiou’s ideas on love, which he
describes as, “Quite simply, love is also what resists death, as Deleuze and
Malraux said about the work of art. No doubt this is what true love and the
work of art have in common.” Similarly to philosophy’s role to discern the
distance between truth and power, the event of love expresses the gap between
this privileged relationship and the ordinary rules of life. This can be
illuminated by Routine Pleasures in a
few ways: for the club members there is the expression of their effort and
energy, which they put into their trains and carts, in the phrase,
‘Good-looking train.’ For Farber how his paintings reflect one of his life
philosophies, ‘That it – life – wasn’t too big a deal, and shouldn’t be painted
as one.’ Or how Gorin steadfastly gets absorbed into his filming to the point
of corresponding with his German producer Stein idiosyncratic and
undecipherable letters.
Routine
Pleasures is also biographical
for Gorin and reflects his own history and relationship to politics. One of
Gorin’s regular comments in interviews, after having long been known as one of
founders of the politically motivated Dziga Vertov Group, is, from an interview
with Camille Nevers and Vicent Vatrican, French
Connection: Entretien avec Jean-Pierre Gorin (Cahiers, January 1994, N°476),
It’s kind-of funny that one can’t start talking
about me without saying: ‘Twenty years ago he was one of Jean-Luc Godard’s
collaborators. Since then we haven’t heard from him, but we now have found him
again, and he’s not dead…’ So, yes, I would rather talk about something else.
Badiou has appeared at least twice in Godard’s
films: he is cited in La Chinoise
(1967) and appears briefly giving a lecture on Husserl to an empty hall on a
cruise in Film socialisme (2010).
Godard is also filmmaker who Badiou has written the most about and who he
describes as the great director of contemporaneity. Badiou has even written an
essay on a Godard and Gorin film, The End
of A Beginning: Notes on Tout Va Bien, which film he describes as an
allegory of gauchismes on the wane.
This is the rupture in his past that would lead Gorin
to move to the United States where he experienced his important encounter with
Manny Farber. Gorin describes it in the Nevers and Vatrican interview, “this
occasion has led me to move onward after my Calvinist relation to Jean-Luc
Godard. With Farber I encountered a personality with a bizarre language, who at
first really seduced me.” Routine
Pleasures is the story of this change in Gorin’s life.
In Routine Pleasures Gorin discusses his
new life. The voice over states, “It had been my fifth Fourth of July here. I
wasn’t French anymore but I wasn’t quite American either. It made me prone to
bouts of unspecified nostalgia… And one led me to the Pacific Beach and Western
and to the train people.” On the year 1958, the opening of the train club Gorin
remarks “The time of De Gaulle’s return to power and of my first stumble into
politics.” He goes on, “Their strange connection to childhood threw me back to
the heroes of mine. I had been brought up by a Trotsky-ite and fed a steady
diet of American proletarian potboilers because the Stalinist kind wasn’t
tolerated at home.“
Gorin’s previous Marxism, commitment in mastering
the English language and understanding the reality of American culture emerges
throughout Routine Pleasures. Gorin
notes,
Wasn’t it my fascination with the noble hand that
had landed me from Paris, France in the makeshift station of the Pacific Beach
and Western for a chat with Chester… an old navy who was always the first one to
file in every Tuesday night?
While Farber describes Gorin more like, “You are
all Remembrance of Things Past. But
they aren’t your things and this isn’t your past.”
These biographical events for Gorin
can be related to Badiou’s ontology, which Hallward describes as, “Badiou
defines ontology as what is ‘sayable of being as be-ing’, that is, what can be
articulated of being exclusively insofar as it is, in the absence of all other qualities including the contingent
quality of existence itself.” This relates to mathematics because its
possibilities represent what can even be thought of as being in its totality.
Mathematics isolates the gesture of presentation in the present and through
this equation Badiou is able to find a language to describe the general
situations of all potential situations. For Hallward, “L'être et l'événemen begins, then, with the decision that one is
not and once we have this decision it follows that multiplicity is ‘the general
form of presentation’.”
This multiplicity of presentations
relates to Gorin’s biography as recounted through their singularities in Routine Pleasures and confirms Badiou’s
ontology as a situation of being and events. The event and truth being that
which stimulates a change in being, that of not being as being and the
declaration of it as such. Hallward elaborates,
The operation of a truth can be divided into a
number of closely related moments: the naming of the event; the intervention
that imposes this name and makes it stick; the division of those elements of
the situation that affirm or fit the name from those that do not; the
establishment of an enduring fidelity to this name.
The intervention is the courage to name the event
and affirm its truth. Gorin through the recounting of his biography suggest a
fidelity to the experiences that he has passed through and is actively faithful
in embracing and acting upon these events.
Conclusion
That
of returning to Routine Pleasures in
2016 offers a fresh perspective on the film. More so than as a documentary on
an anachronistic miniature train club, meditation on Farber and his paintings
and film criticism, or even Gorin’s evolving Marxism and his interest in
American culture. Instead its charms of the club routinely come together for
the pleasure of a common good with the modest aims, not of fame or riches, but
to take their long and slow time to set up this miniature world, which ends up
offering one of the best pictures of what is positive in American society. Routine Pleasures is a miniature epic,
an “America under budget and in a shoe box,” according to Gorin. It should be
appreciated along other comparable films such as James Benning’s American Dreams (1984) and Lewis Klahr’s
The Pettifogger (2011). There are
even more of its pictorial and formal qualities that are worth mentioning
before concluding such as all of the details on the many trains and carts or the
film’s shift away from black-and-white to color film stock when the trains
start to get active. Or even its unique and musical use of sounds and noises
such as that of the machines or of the club’s nature recordings. So much in Routine Pleasures allows for the visual
and sonic reorienting in its viewer, which Badiou’s philosophy allows to better
comprehend in its singularity. An important film then and still today.
