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Tag: Derek Hawthorne

  • July 17, 2020 Derek Hawthorne 16
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Nine

    5,423 words

    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…)

  • July 13, 2020 Derek Hawthorne 2
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Eight

    5,468 words

    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…)

  • July 3, 2020 Derek Hawthorne 4
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Seven

    5,283 words

    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…)

  • June 12, 2020 Derek Hawthorne 3
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Six

    4,963 words

    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…)

  • June 3, 2020 Derek Hawthorne 8
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Five

    6,056 words

    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…)

  • June 1, 2020 Derek Hawthorne 4
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Four

    4,672 words

    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…)

  • May 20, 2020 Derek Hawthorne 1
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Three

    5,153 words

    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…)

  • May 14, 2020 Derek Hawthorne 7
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part Two

    5,115 words

    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…)

  • May 8, 2020 Derek Hawthorne 8
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    The Birds
    Or: Everything You Always Wanted to Know About Coronavirus (But Were Afraid to Ask Hitchcock & Heidegger), Part One

    5,805 words

    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…)

  • June 23, 2014 Derek Hawthorne 3
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    German Cinema Classics 
    Heimat (1938)

    Heimat poster9,830 words

    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.

    (more…)

  • September 12, 2013 Derek Hawthorne 2
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    D. H. Lawrence on the Metaphysics of Life

    morpheus-iris-014,439 words

    1. Life and the “Creative Mystery”

    Lawrence believes that the chief thing modern science simply cannot explain is life itself. And he regards life as an irreducible, and ultimately inexplicable, primary. (more…)

  • September 11, 2013 Derek Hawthorne 6
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    D. H. Lawrence’s Critique of Reductionism

    peacock_peahen

    Tobias Stranover, “Peacock, Peahen and Poultry in a Landscape,” 1684

    3,141 words

    In his essay “Why the Novel Matters,” Lawrence writes, “To the scientist, I am dead. He puts under the microscope a dead bit of me, and calls it me. He takes me to pieces, and says first one piece, and then another piece, is me.”[1] This is unfortunate because, as Lawrence never tires of repeating, “life, and life only, is the clue to the universe.”[2]

    (more…)

  • August 29, 2013 Derek Hawthorne 10
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    German Cinema Classics 
    Der Herrscher (1937)

    derherrscher-large4,843 words

    Der Herrscher (The Sovereign) is a fascinating film for a variety of reasons. The popular idea of cinema in the Third Reich is that is that every film was rife with propaganda. In fact, most films of the period were purely escapist fare, with minimal propaganda content. When propaganda was present, it often took the form of allegory (as in Kolberg), rather than speechifying or preaching. (more…)

  • August 21, 2013 Derek Hawthorne 10
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    D. H. Lawrence’s Phallic Traditionalism

    Sacred phalluses, Delos, Greece

    Sacred phalluses, Delos, Greece

    4,361 words

    Sex and Religion

    D. H. Lawrence argues that through the sex act, individuals participate in some kind of mysterious power running through nature. But does this momentary experience have any kind of long-term effect on them? Lawrence directly addresses this question. When the sex act is over, he writes, “The two individuals are separate again. But are they as they were before? Is the air the same after a thunderstorm as before? No. The air is as it were new, fresh, tingling with newness. (more…)

  • August 19, 2013 Derek Hawthorne 11
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    D. H. Lawrence on the Meaning of Sex

    Georgia O'Keeffe, "D. H. Lawrence Pine Tree," 1929

    Georgia O’Keeffe, “D. H. Lawrence Pine Tree,” 1929

    4,925 words

    D. H. Lawrence is best known to the general public as a writer of sexy books. In his own time, his treatment of sex made him notorious and caused him to run afoul of the authorities on a number of occasions. I have no desire to rehearse in detail the well-known history of Lawrence’s troubles with censorship, (more…)

  • August 15, 2013 Derek Hawthorne 9
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    D. H. Lawrence on Idealism & Evil

    B.J.O. Nordfeldt, "D. H. Lawrence and the Three Fates"

    B. J. O. Nordfeldt, “D. H. Lawrence and the Three Fates”

    4,086 words

    The Origin of Evil

    D. H. Lawrence believed in the reality of evil, but he believed that its source lay in the human soul. “Abstraction is the only evil,” he wrote.[1] By abstraction he does not refer to the process of making generalizations or forming concepts. Instead, he means the tendency of human beings to abstract themselves from feeling, from intuition, from nature, and from the present. Abstraction is fundamentally evil, for Lawrence, because it makes most of humanity’s crimes possible.  (more…)

  • August 13, 2013 Derek Hawthorne
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    D. H. Lawrence’s Critique of Idealism

    3,603 words

    D.H.-Lawrence-21The Nature of Mind

    “We are now in the last stages of idealism,” Lawrence writes in Psychoanalysis and the Unconscious, and he goes on to claim that psychoanalysis is conducting us through those last stages.[1] Furthermore, he also tells us that idealism is “the one besetting sin of the human race.”[2] What does Lawrence mean by idealism, and why is he so opposed to it?

    (more…)

  • August 9, 2013 Derek Hawthorne 11
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    D. H. Lawrence on the Unconscious

    DHLawrence7,659 words

    Lawrence and Psychoanalysis

    Without question, the most unusual books D. H. Lawrence ever produced were his two “psychological” works: Psychoanalysis and the Unconscious (1921) and, especially, Fantasia of the Unconscious (1922). These texts are absolutely crucial for understanding Lawrence, for in them he sets forth an entire philosophy.

    (more…)

  • July 30, 2013 Derek Hawthorne 7
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    The Journey to Tilsit:
    A Song of Two Movies

    Sunrise-Poster17,194 words

    Many people consider F. W. Murnau’s Sunrise: Song of Two Humans (1927) to be the greatest film of the silent era. But most are unaware that it was remade under Hitler as Die Reise nach Tilsit (1939), and directed by the notorious Veit Harlan.

    Both films were based upon a novella – titled Die Reise nach Tilsit (The Journey to Tilsit) – by Hermann Sudermann. (more…)

  • August 31, 2012 Derek Hawthorne
    Print

    Nacionalismo & Racialismo na Filosofia Alemã:
    Fichte, Hegel & os Românticos

    3,733 words

    English original here

    1 – Fichte e o Destino da Nação Alemã

    J. G. Fichte (1762-1814), o primeiro dos grandes idealistas alemães pós-kantianos, é uma figura importante na ascensão do nacionalismo alemão – e tem sido muitas vezes acusado de ser um dos pais fundadores do Nacional-Socialismo.

    (more…)

  • August 20, 2012 Derek Hawthorne 20
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    Nationalism & Racialism in German Philosophy:
    Fichte, Hegel, & the Romantics

    Philipp Veit, "Germania," 1848

    Philipp Veit, “Germania,” 1848

    4,354 words

    Portuguese translation here

    1. Fichte and the Destiny of the German Nation

    J. G. Fichte (1762–1814), the first of the great post-Kantian German Idealists, is an important figure in the rise of German nationalism – and has often been accused of being one of the founding fathers of National Socialism.

    (more…)

  • December 16, 2011 Derek Hawthorne 5
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    Opfergang:
    Masterpiece of National Socialist Cinema

    Kristina Söderbaum in "Opfergang"

    6,105 words

    1. Introduction

    I learned about Opfergang from an unlikely source: a documentary on the Slovenian philosopher Slavoj Žižek. In one segment he is shown browsing in Kim’s Video in Manhattan (at its old location on St. Mark’s Place). As he does throughout the documentary, Žižek engages in a kind of frantic monologue, and at one point he names his three favorite films: King Vidor’s The Fountainhead (this really surprised me), Sergei Eisenstein’s Ivan the Terrible, and Veit Harlan’s Opfergang. (more…)

  • October 13, 2011 Derek Hawthorne 3
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    S.O.S. Iceberg

    10,030 words

    Editor’s Note:

    This is the fourth and final part (for now) of Derek Hawthorne’s series on the German “mountain films” of the 1920s and 30s. See the author’s review of North Face for an overview of this genre, its principal characteristics, and why it should interest readers of Counter-Currents.

    1. Introduction: From Vertical to Horizontal

    S.O.S. Iceberg is not a mountain film. (more…)

  • August 22, 2011 Derek Hawthorne 3
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    Storm over Mont Blanc, Part 4

    5,229 words

    Part 4 of 4

    11. Death on Mont Blanc

    Act III of Storm over Mont Blanc begins in the aftermath of the death of Hella Armstrong’s father. Hella and Prof. Armstrong had come to visit Hannes, the lonely Wetterwart, atop Mont Blanc. (more…)

  • August 19, 2011 Derek Hawthorne 4
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    Storm over Mont Blanc, Part 3

    3,750 words

    Part 3 of 4

    7. Ascending and Descending

    Storm over Mont Blanc divides neatly into three acts. (more…)

  • August 17, 2011 Derek Hawthorne
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    Storm over Mont Blanc, Part 2

    2,421 words

    Part 2 of 4

    3. Above the Clouds

    Storm over Mont Blanc opens, appropriately, with shots of the mountain itself and of Hannes’s cabin, situated high above the clouds. (Fanck’s working title for the film was Über den Wolken, Above the Clouds.) (more…)

  • August 16, 2011 Derek Hawthorne
    Print

    Storm over Mont Blanc, Part 1

    2,154 words

    Part 1 of 4

    1. Introduction

    Stürme über dem Mont Blanc (1930; literally, Storms over Mont Blanc) is my favorite of the Arnold Fanck mountain films. (more…)

  • August 2, 2011 Derek Hawthorne 2
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    The White Hell of Pitz Palü, Part 2

    5,257 words

    Part 2 of 2

    “It was only a narrow crevasse in the Palü Glacier,” Johannes Krafft says, “but it reached far down into the darkness.” In a flashback, we see Maria Krafft at the bottom of the crevasse. Is she unconscious, or dead? “There — an urgent cry for help came out from the icy depths — Maria was still alive!” We see Krafft peer over edge, but he can see nothing. He ties his rope to his pick, sticks it deep in the snow, and climbs down into the crevasse. (more…)

  • August 1, 2011 Derek Hawthorne
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    The White Hell of Pitz Palü, Part 1

    4,097 words

    Part 1 of 2

    1. Introduction

    The White Hell of Piz Palü (Die weisse Hölle vom Piz Palü, 1929) is considered by many to be the finest of Arnold Fanck’s mountain films. As pure cinema, this may well be the case. Though the film does not have quite the philosophical richness of Fanck’s The Holy Mountain, there is definitely more here than meets the eye. (more…)

  • July 19, 2011 Derek Hawthorne 2
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    The Holy Mountain, Part 2

    5,169 words

    Part 2 of 2

    4. “Diotima’s journey into the mountains”

    Due to the film’s many delays and mishaps, UFA called Arnold Fanck back to Berlin at a certain point and informed him that The Holy Mountain was canceled. (more…)

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