Tag: Derek Hawthorne

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You can order Johnson’s Novel Takes: Essays on Literature, available for order here

James O’Meara and Derek Hawthorne joined Greg Johnson to discuss his new book Novel Takes: Essays on Literature. It is now available to download or listen to online.

Topics include:

1:30 – Why did Greg decide to publish this book?
10:00 – How James inspired Greg to read A Confederacy of Dunces
13:43 – Greg’s essays on the Dune saga (more…)

You can order Derek Hawthorne’s book Being & The Birds or: Everything You Always Wanted to Know About Heidegger (But Were Afraid to Ask Hitchcock) here.

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Derek Hawthorne‘s new book, Being and “The Birds,” was the subject of the latest broadcast of Counter-Currents Radio. Philosopher and film critic Hawthorne draws on the thought of Martin Heidegger to illuminate Alfred Hitchcock’s 1963 classic film The Birds, about a series of savage and inexplicable bird attacks on Bodega Bay, a sleepy California fishing village. Hawthorne argues that The Birds depicts a Heideggerian “event” (Ereignis): a sudden and fundamental transformation of the meaning of everything. Modern men believe we are masters of our own destiny. Heidegger calls this “humanism” and rejects it completely. The Birds is an anti-humanist film. In the space of one weekend, all pretensions to the understanding and mastery of nature are shattered, and man is reduced to helplessness in the face of unfathomable mystery. (more…)

Jean Raoux, Pygmalion Adoring His Statue, 1717

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Alfred Hitchcock’s Vertigo (1958) and Luchino Visconti’s Death in Venice (1971) are both concerned with love and the ideal. If you love cinema, you will love these films, which I would rank among the greatest ever made. They can teach us a lot about love, idealism, art, and different sorts of desire. Be advised that there are a great many spoilers ahead.

Vertigo is the story of John “Scottie” Ferguson (played by James Stewart), a San Francisco policeman who retires from the force after a deadly rooftop chase leaves him with severe acrophobia (fear of heights). (more…)

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Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8

Mitch gathers Melanie’s still unconscious body into his arms and carries her down the stairs. Lydia walks ahead of him, carrying an oil lamp. “Oh, poor thing! Poor thing!” she says. Her resentment toward Melanie now completely gone, she feels only pity. Lydia goes to fetch bandages, as Mitch lays Melanie on the living room sofa. He asks Cathy to get some brandy, (more…)

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Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7

At first, we hear the sound of birds singing. The sound is pretty and harmless. Is it the lovebirds in the kitchen? Then we hear fluttering and flapping. This grows louder and louder and the pretty singing of a moment before is replaced by angry cawing and screeching. It is one of the most interesting scenes in the entire film. (more…)

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Part 1, Part 2, Part 3, Part 4, Part 5, Part 6

With the gulls now retreating, Mitch and Melanie leave the Tides restaurant and make their way up the hill to Annie’s house to retrieve Cathy. All is deathly quiet. As they approach the schoolhouse, they see that the crows are back and perched all over. “Look, the crows again!” Melanie says breathlessly. (more…)

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Part 1, Part 2, Part 3, Part 4, Part 5

(Editor’s Note: Mr. Hawthorne apologizes for repeatedly announcing the conclusion of this series. He is making it up as he goes along.)

For the last two installments, I have been principally occupied with an exposition of the ideas of the later Heidegger, and with a Heideggerean interpretation of The Birds. There is much more to be said, (more…)

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Part 1, Part 2, Part 3, Part 4

In the last installment, I began to explore the possibility that The Birds can be understood as an “existentialist” parable. I argued that the film depicts what Heidegger calls das Ereignis (the event): a sudden and fundamental transformation of the meaning of everything. (more…)

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Part 1, Part 2, Part 3

We ended our last installment in the midst of the pivotal scene in the Tides Restaurant. There, we met Mrs. Bundy, a droll parody of modern, Western, pig-headed scientism. With arch condescension, she refuses to believe Melanie’s stories about the bird attacks. “Impossible!” Mrs. Bundy declares. “Their brain pans aren’t large enough. . . Really, let’s be logical about this,” (more…)

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Part 1, Part 2

The police are called, and Mitch is asked to meet the sheriff at the Fawcett farm. Some detectives from Santa Rosa are going to join them there. Presumably, Mitch is expected to repeat his mother’s account of finding the corpse of Dan Fawcett, its eyes pecked out by homicidal birds. (more…)

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The next day, Melanie attends Cathy’s birthday party, as promised. It is held outdoors at the Brenner home, behind the house. A dozen or more children are present, along with some parents. Annie is also on hand, to help out. Colorful balloons have been strung up, and there is a long table covered in cake and other treats. Mitch and Melanie (still wearing her green suit) have been drinking and decide to leave the party briefly while the children play. (more…)

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I watched Hitchcock’s The Birds the other night, for the first time in years. Alone in my apartment, isolated for weeks now due to Coronavirus, I had a sudden hankering to watch the film. Some little. . . um. . . bird was telling me this was what I needed to see, right now. See it I did, and I have carried away what it has to teach us about the current crisis and, strangely enough, how Heidegger is the key to understanding this enigmatic film, which has haunted me for years. (more…)

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Heimat is one of the finest productions of Third Reich cinema, and by any standard it is an excellent film. The title means “homeland,” and in the minds of many the word Heimat is closely associated with National Socialist ideology. Indeed, a close study of this film can give us priceless insights into the true nature of that ideology. But the results may surprise you.

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