cinderella story

To many, its a fiction, a narrative we manufacture about ouselves, one that borders on the pretense of kitsch, yet the world of Walt Disney has always represented a utopian promise of freedom, something complementary and necessary within the broader cultural dialog of American manifest destiny and the larger realm of the relations between the individual and nature. Obama at Disney World was a well conceived idea, a meta layer of authenticity touching at a profound sense of  populist images that mediate our lives.

In Sergei Eisenstein’s writing on Walt Disney, basically a rough draft called Method, he studies the relationship between ancient thought and art practice. Disney is central here, because of the work with the synesthetic affects of sound and the then new color technologies like early technicolor, and, concerning montage how visual rhythms can unite with animism, totemism and the plasmatic qualities of form. Eisenstein perceived these characteristics were connected to a long genealogical ancestry and an ages-old yearning for the freedom that could permit one to imagine and  represent heretofore different relations of man and nature.

“A place like Disneyland represents [the] quintessentially American spirit.”- Obama

Eisenstein and Walt Disney. Read More:/2010/02/mouse-traps-reality-flaps/

Its interesting how Obama in using Disney as a backdrop tries to harness movement, naturalness and unpredictability within a political culture that represses it. After all, all candidates are confronted with a challenge of attempting to communicate to millions of voters under a dogged and viscious gaze of a  opposition and media that will shred them at the hint of any miscue. What arises then i a political culture that is  devoid of spontaneity or intimacy. Americans live in a huge country of 330 million people and literally thousands of conceptions of the good and best way to govern with regard to policy. …

In 1944 Sergei Eisenstein wrote: “Walt Disney’s work is the most omni-appealing I’ve ever come across. In terms of material, Disney’s pictures are pure ecstasy – bearing all the traits of ecstasy (the immersion of self in nature and animals, etc.). Their comicality lies in the fact that the process of ecstasy is represented as an object: literalized, formalized.” Read More:

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—”To close half the Magic Kingdom for the purpose of a White House invitation town hall meeting on phony main street on behalf of a phony president, just strikes me as weird,” Gingrich said.—

He flew Air Force One to Florida to utter a few words to “invited guests only” and closed down Disney World’s Main Street to those who had purchased tickets. After about a 15 minute talk, he was back onboard going to NYC. What a waste of time and money to use Air Force One for all this campaigning at more than $68,000 fuel cost per hour.
“The White House is literally shutting down ‘Main Street USA’ — including dozens of vibrant shops, restaurants and attractions,” Recher told HUMAN EVENTS. “[Obama’s] job-killing policies have already shut down many real Main Streets across our country, so I guess it makes sense.” Read More:
The New York itinerary included a $35,800 per ticket fundraiser at the home of film director Spike Lee and an event starting at $100 per ticket at the famed Apollo Theater featuring performances by singers Al Green and India.Arie.

---In one sense, the film, put out by Warren Beatty with little concern for whose toes might get stepped on, can be summed up as an attack on the growing conservatism of the Democratic party, which is becoming increasingly more difficult to distinguish from its Republican rival. Bulworth is unrepentantly cynical in its view that all politicians are in the back pockets of big business and that every elected official, whether Democrat or Republican, is a member of an exclusive club. Hypocrisy, self-interest, and greed are the three forces that drive every campaign, and Senator Jay Billington Bulworth (Beatty) has had enough. --- Read More: image:

Outside the theater, mor

an 100 people demonstrated on behalf of several groups, including Occupy Wall Street and, and some carried signs that read “Obama Wall Street Stooge” and “Capitalism (equals) `Democracy’ for Billionaires.”

Inside, Obama touted his administration’s work on everything from health care to ending the Iraq war. But he warned an enthusiastic crowd of about 1,400 supporters that, “everything we did over the last three years is now at stake in this election.” Read More:

… What is not overly discussed is the contention that capitalism, in spite of its record of producing prosperity and wealth would through what economists call creative destruction, would eventually undermine the social and governmental institutions that have nurtured and protected it. …


It’s mid-March 1996, and Bulworth, an incumbent Senator from California, is running for re- election. However, like the Michael Douglas character in Falling Down, he has reached the breaking point. After taking out a $10 million life insurance policy with his 17-year old daughter as the sole beneficiary, he puts out a contract on his own life, then goes on the warpath against special interest groups. Discarding a prepared speech about the country standing “on the doorstep of a new millennium,” he tells an African-American audience that the government doesn’t care about them because they don’t contribute enough money to re-election campaigns. Later, at a black tie dinner attended by Hollywood types, he launches into a tirade about the poor quality of movies. To a mostly-Jewish crowd, he declares, “My guys are not stupid. They always put the big Jews on my schedule.” Suddenly, Bulworth’s “tell it like it is” philosophy is a national sensation, attracting the attention of millions, including a young black woman named Nina (Halle Berry), who is determined to show the Senator what life is like for those who live in South Central L.A. Right in the middle of everything, Bulworth suddenly decides that he wants to live, but learns that calling off a hit isn’t as easy as setting one up. Read More:
“Bambi, of course, must not be ignored. Bambi is already a shift towards ecstasy—serious, eternal: the theme of Bambi is the circle of life, the repeating circle of lives.
No longer the sophisticated smile of th twentieth century towards totems. But a return to pure totemism and a reverse shift towards evolutionary prehistory.
Bambi crowns, of course, the whole study on Disney.
The greatness of Disney, as the purest example of the application of the method of art in its very purest form. ( Sergei Eisenstein ) …..“The rejection of the constraint of form, fixed once and for all, freedom from ossification, an ability to take on any form dynamically. An ability which I would call “plasmaticity,” for here a being, represented in a drawing, a being of a given form, a being that has achieved a particular appearance, behaves itself like primordial protoplasm, not yet having a stable form, but capable of taking on any and all forms of animal life on the ladder of evolution.” (Eisenstein )

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