Author: Henry Burby

MHC 10201 Gustavo Interview – Large 540p

The shadow hero tells the story of a nonstandard superhero in a nonstandard way. It is, in many ways, a love letter to the golden age of comic books, in the 1930s and 1940s. however, it also comments on several elements of this genre, and the society and times in which it flourished.

In the first place, the book comments on the lack of superheroes belonging to ethnic minorities, specifically Asian ones. Perhaps unsurprisingly, there were no Asian superheroes early on in the genre. Though I don’t read comic books very often, I do know that this shortage has survived to our times, at least within Marvel’s hugely successful cinematic universe. though there is one quasi hero character, Tadanobu Asano’s Hogun, he is definitely a bit player, with almost no screen time. In any case, The Shadow hero comments on this issue by presenting the reimagined backstory to a very minor character who may or may not have been the world’s first Asian super hero. In the book, he often experiences prejudice, including surprise that there could even be such a thing. Even sympathetic characters such as Detective Lawful express racist attitudes. Green Turtle seems very far from the more traditionally Anglo Anchor of Justice. However, the author brilliantly points out the duality there as well. The Anchor is a clear stand in for arguably the most American superhero of all time, Superman, who, lest we forget, is an alien. However, since he appears to be a white human, he is considered as such. The Anchor, on the other hand, reveals himself to be a rather frightening looking alien in a human suit. This implies that, without his mask, he would not be generally accepted either.

There are several other variations on the superhero myth on display in this book. One example is the self involvement of Hank’s mother in his superhero career. Many superhero origin stories involve parents, but they usually don’t take active part. The hero usually takes up the mantel him or herself. However, Hank’s mother drives her son’s training, and even attempts to give him superpowers through dangerous processes similar to those of traditional heroes. She wants this life for her son because she feels it will give him a leg up in America, not because she particularly cares about justice.

From 1994-2010, changes in immigration, policing, and finance, along with new vulnerability, changed the character of New York. A huge influx of immigrants from new areas ballooned the foreign born group of the population to 37.8%. They represented their first political majority in the 2009. Mayor Giuliani’s conservative policies created conflict in liberal New York. The 9/11 attacks and the 2008 financial crisis changed local and world perceptions of the city, and left the city’s future in question.

After the 1965 repeal of immigration restrictions, new immigrants from the Caribbean islands and east Asia broadened New York’s culture, but clashed with older groups, but blended with each other. Russian Jews rescued Briton beach, after the soviet breakup of 1989. Their transition was helped by their middle class status, and they integrated fairly easily into the larger Russian population.

 

Asian groups, on the other hand, took, and were forced into, a more isolationist approach. Traditionally, the Chinese population was very confined, and they were barred from all but laundries, restaurants, and tourism. After 1965, the population of Chinatown soured. They rescued the garment industry, though conditions were often unsafe. The mostly southern Cantonese remained trapped in Chinatown. Richer Chinese urbanites avoided their southern countrymen, but grew to overwhelm them by force of numbers. With the rich controlling most of Manhattan, lower class Asians decamped to the outer boroughs. Thus, Chinese American voting is widespread, but divided between rich and poor. Class conflict also came from the “model minority myth”. Some, such as the affluent and educated Koreans, were unable to rise because of their poor English, so they tried to force their children to do so. Middle class Koreans pooled resources, and broke into retail. It is not clear that Asian groups will unite, politically or ethnically.

Puerto Ricans, like the Italians, tended to move back and fourth between New York and their home island. Though politically active, they are last in education and finance among the city’s ethnic groups. After their first huge boom in the 50s, their numbers stabilized, and they are now being overtaken by a large number of Dominicans, but their recent debt crisis has driven their numbers up again.

Dominican populations continue to grow in Upper Manhattan and Queens. Though easily able to fid work, they had no access to unions, and, as is often the case, the language barrier keep many isolated, and disorganized. None the less, Dominican women tend to stay in the city, as they face less sexual discrimination there then at home.

Both groups are joining with smaller Latin American groups to form a larger Latino identity.

West Indian groups are also growing and unifying, as seen by the size and diversity of the popular West Indian American Day Parade. Many conflict with African Americans, though this is changing. Early on, West Indians stood apart from the group they were sorted into by white census takers. They found more solidarity during the civil rights movement and the police brutality of the 1980s and 1990s. They now make up the majority of the black population. , but though they identify with African Americans, they vote apart.

Though not unitized, immigrant voting has sent more minorities into politics, and stigma is decreasing, though not as fast as some would like.

 

Mayor Giuliani redefined New York’s social contract by gutting its longstanding social aid structure. The so called “Compassion Industry” of social welfare and Medicaid was reduced, and Giuliani attempted to shift services and amenities into private hands. He got 600,000 off welfare by making them ineligible for it. he did this to reduce fraud, though figures showed that most who applied for aid were eligible for it, and a rise in numbers of homeless New Yorkers suggested that some were not able to haul themselves up, despite being forced to live without aid. Giuliani also attempted to force able bodied citizens to work for public aid. Many dropped out of CUNY, because they had relied on aid for their tuitions. He made tax cuts to benefit business, and the rich. Giuliani also changed the school system. in an attempt to raise standards, he reduced school budgets, and instituted merit based support of schools, teachers, and students. He abolished CUNY’s longstanding open admissions policy. He dabbled in restrictions to self expression, threatening to cut support for a museum in an attempt to have an “offensive” painting taken down. He also attempted to restrict the traditional tolerance of protest, closing city hall park to restrict demonstrations. His reputation was helped by his response to the 9/11 attacks, but he was not reelected. Giuliani has been compared to LaGuardia, as both broke rules to input their agendas. The variance of these agendas was considerable, however, with LaGuardia supporting the poor and the minorities, and Giuliani backing the rich.

Emma Lou constantly misunderstands the situations and people around her. Of course, she is hardly alone in this. The Blacker the Berry is chalk full of people who don’t understand each other; in fact, it is not clear that anyone ever really does. However, some are worse at it then others, and Emma Lou certainly belongs to the former category, at least until the final few pages of the book.

To me, the most interesting instances of Emma Lou’s lack of understanding regard her love life. She has no understanding of Weldon’s reasons for being with her, and she misinterprets the cause of his departure. Of course, she cannot entirely be blamed for this, as he keeps his motives from her, and tells her only what she wants to hear. However, her assumption that he feels comfortable leaving her because of her color is problematic. It puts the blame on her skin, something she cannot help. Her assumption that she has been discriminated against is not such an issue in this case. It may, in fact, be more comforting then the truth, that she is only one of a string of lovers. However, in other cases, her race consciousness is more serious.

Much later in the book, Emma Lou’s assumption that any color is better then her black skin leads her to use gimmicky products which have a mostly negative affect on her, making her look “Purple.” In her phase as a teacher, she feels isolated by the rest of the staff, and assumes this is because of her skin. However, the reader learns that it is really because she keeps to herself, and doesn’t try to get to know them, and because her “Lightening Products” make her look eccentric and intimidating. Her feelings cause her to isolate herself even more, leading her colleagues to avoid an apparently fragile person. They are to blame for not approaching her personally, but she also interprets their note as a sarcastic joke about her color, and she isolates herself even more. Thus, her lack of understanding increases her self isolation, and when the other teachers respond by avoiding her, she assumes the problem is her skin color, which, again, she cannot change.

 

 

Passing Judgment

To chose between Claire and Irene is complex. Both have their issues. She tells Irene that she is willing to turn her back on anyone, sacrifice anything, to get that she wants. This is, to an extent, true. However, she is in a sense, innocent. Her dazzling good looks and talented tonged allow her to defuse almost any situation, and win over almost anyone. Even Irene is not immune to her charms. Because she can get whatever she wants, she functions with a kind of sardonic amorality, which makes it difficult to judge her actions and thoughts. She is not completely self reliant, as shown by her loneliness, and desire for contact, but she is completely self absorbed. This selfishness makes her irritating, but in a way, makes her impossible to judge. She is, in a way, not responsible for her actions. Claire is, as Irene observes, a sort of child.

It is tempting to side with Irene, but she is also very complex. Though it is a cliché, she is very like Claire, and many of the things she hates most about Claire either come from jealousy, or are her own worst qualities. she is frustrated that Claire can break all the rules, playing with fire and not getting burned. Despite her isolation and captivity, Claire has a certain inner freedom which Irene envies. In the end, Irene changes, adopting Claire’s ability to break the rules when she murders her. Irene’s overwhelming lamentation at the end of the book is very reminiscent of her earlier response to her abusive father’s death, more a release of pent up frustration then a show of genuine sorrow. Irene is also very controlling; she wants to make her husband and children the best they can be, and claims to know her husband better then he does himself. This phrase reminded me of Ballew’s claim that his acquaintances understood blacks better then they did. This seems to suggest that Irene is not as good a judge of character as she thinks she is. I regard neither character particularly highly, and I believe they are both subject to thoughts and feelings beyond their direct comprehension

Henry Burby

MHC 10201

4/4/16

I have never been any kind of reliable or structured diarist. In addition to giving future biographers something to use for voiceover montages in their documentaries, (Heh) keeping a journal in this class has showed me some benefits of journaling, which I had never really been aware of before.

For a start, it forces us to self refine and reflect on our ideas. Whenever I consume a form of media, I naturally form ideas about it. Watching the godfather two would have stimulated my thoughts, whether it was assigned or not. However, by being forced to develop those ideas, they reach a higher level. Not only are they condensed into a form which is easier to share with others, but I get a better idea of what I personally believe on the subject. Being forced to consider a small aspect of a paper, book, or film has also shown me that first, there is enough material in any section of work to write a paper about, and second, that I am actually capable of finding it. This was especially effective when I was assigned a specific topic, rather then choosing my own. Putting me in a box, and forcing me to turn out an imperfect discussion of a topic has made me grow as a writer, and a thinker.

Another element was simply procedural, again, being forced to write a short, fairly unrefined piece every week. When I first learned that I would be doing this, I was slightly intimidated by the prospect. However, early on, my workload was so light that I could afford to spend far more then the suggested time of 30 to 60 minutes per entry. I spent a large section of a day on the Gangs of New York essay. However, soon my ability to spent all the time I wanted was lost in a tide of other, more high stakes work. I never thought I would be able to turn out anything half decent in so short a time, but I am beginning to develop that skill (I hope. I suppose it is for the reader to judge…).

My favorite assignments were the film analysis papers. I have recently become very interested in film reviewers and analyzers, in various forms (The video on Shot/Reverse shot is from every frame a painting, one of my favorite Youtube channels.). however, if I had not been assigned to actually do what they do, and dig a little deeper into film techniques, I would probably never have tried to do so. Now that I have, I am considering taking a film class, or at least analyzing more in the future.

The assignments I enjoyed the least were defiantly the summaries, which I found far more challenging then I anticipated that I would. Simply reproducing a condensed version of someone else’s’ writing presented no opportunity for creativity. Trying to decide which facts and details to leave out, simply to fit into a page limit annoyed me, because I think that the details are the most important thing about history, and the most interesting. I know that a total inclusion of all details related to an event is impossible and excessive, but cutting history down to “This thing happened on this day” misses the point somewhat. That said, this feeling may have come from the fact that I am still not very skilled at summarizing. There, are no doubt, people who can leave just the right details, and allow the piece to be interesting. However, currently I need a very long time to properly process the information, and figure out how to present it, and until I am able to really increase my productivity speed, I will probably continue to dislike summarizing.

I would say that my experience with journaling in this class has been mostly positive. Whether I could do it daily is doubtful, but even weekly journaling, about assigned subjects, has helped me in many areas, and I value the experience.

Henry Burby

MHC 10201

3/25/16

 

Street Life in a Strange Land

Many stories attempt to tell what it is like to disembark in a totally alien land, and try to portray the alienation of most immigrants who truly know very little about their new home when they first arrive. Though many are very successful, the The Arrival, by Shaun Tan, takes a different, and very effective strategy. It puts readers in the shoes of an immigrant, and allows them to experience a new land themselves. The sequence of eight images, of the street life around the protagonist are equally strange and alien to the reader as it is to the immigrant, and approximates what it might be like to walk the streets of a totally foreign city, without any prior knowledge of its culture, flora, fauna, clothes, etc. The experience is made more realistic by the fact that, accept for the last, each image, is from eye height, and presumably shows the protagonist’s vantage point. Each picture presents the reader with some new element to wonder at. First is the newsboy, selling papers printed with strange symbols which the reader cannot understand. This is a recurring theme in the story. From the title page, the reader is unable to read any of the words in the story. this is exactly what happens to many immigrants, who have no experience with the native language of their new country. The language may be fascinating, or even beautiful (It is both in this story), but if it cannot be understood, it presents a serious problem for a visitor. One example from this story is when the protagonist takes the job putting up signs, and accidentally pastes them upside-down. Simpler issues include not being able to read maps, or understand documents, two more issues for the protagonist. The second picture introduces the strange animals of the new country, and their relationship to humans. The animal seems to be a cat/lizard/owl hybrid of some sort. In the modern first world, it is easy to find images of, and information about, all the discovered animals on the globe. However, in the past, and today in poor areas, this was much more difficult. The reader has the same reaction to this creature that a turn of the century Malaysian immigrant would at first sight of a New York City pigeon. The separation between the protagonist and his surroundings is heightened in later images by the introduction of strange clothing, devices, and food, all which mystify the reader and the protagonist. However, the most powerful element is the little boy standing next to the man being shaved. He stares directly into the eyes of the protagonist, from behind the sheet around his father’s neck, possibly for protection. His unusual hat seems strange to us, but the protagonist’s fedora seems to be equally bizarre to him. While everyone else in the scene ignores, or doesn’t notice, the protagonist, this boy, possibly because of his young age, looks unabashedly at the weird man in the dented, brimmed hat. The reader never learns how intelligent the animal companions are, but it is worth noting that the cat/lizard/owl also stares, possibly for the same reason. In any case, the feeling of not entirely friendly scrutiny is the same in both images. In the final image, the reader separates from the protagonist’s perspective, and sees what the natives do: a confused, lost looking man, trying to find his way around.

Henry Burby

MHC 10201

3/20/16

Ragged Dick, Horatio Alger’s feel-good, rags-to-riches tale, was the most influential defense of traditional societal values and structures in pre 1900s America. It portrayed the city in a positive light, and placed great faith in the idea that, by working hard, and living lean, anyone could be successful. However, these preindustrial teachings were incompatible with the rising heavy industry and capitalism in its New York City setting. Set against Alger’s optimistic, well meaning, social Darwinism was Maggie: A Girl on the Streets, by Steven Crane. It warned that, for the industrial poor, social mobility was often impossible. Both books held some truth. In the late 1800s, New York was the center of industrial America; the richest, poorest, and most corrupt city in American history. Some celebrated this new “Empire City”. Others feared its combination of both extreme wealth and poverty, of a level never seen before. Mark Twain called this period “The Gilded Age”; beneath its facade of success lay poverty.

The New York City of the late 1800s was changing fast. The cut-throat tactics of the robber-barons drove the country forward, and since these elites were based in New York City, their momentum brought electricity, gas, elevated trains, and bridges to Gotham. The city was swelled by the huge influx of Jewish and Italian immigrants. Politically, its hopeless corruption found new depths.

William Magear Tweed, aka Boss Tweed, successfully unified the local Democratic Party and the Tammany Hall Political organization, and embezzled millions from public funds as the first American political boss. He refined and ran the Tammany political machine, which used kickbacks, violence, repeat voting, and ballot manipulation to ensure almost constant political control. By 1869, Tweed had a “Ring” of friendly politicians controlling both New York City and Albany, which he used to promote home rule and power for NYC. He erected many important buildings, which advanced the city culturally, municipally, and socially. Though he avoided Blacks, and angered reformers, he was loved by any who sought to turn a profit. However, his downfall was triggered by three elements: rioting, which demonstrated his inability to control the lower classes he depended on, his grotesque portrayal in the political cartoons of Thomas Nast, and most importantly, the release of his financial records, which revealed the full scope of his corruption. He had, for example, raised $13,000,000 to build the $250,000 County Courthouse, and pocketed the difference. While tweed was out of office by 1877, the system he built kept Tammany in power 1933, and powerful till 1961.

Though the poverty divide in New York and America was severe, the release of Jacob Reiss’ “How the Other Half Lives” made it impossible to ignore. His photographs of the slums raised awareness among the powerful, and forced them to take action. The book was followed by crackdowns on police corruption and brutality, the building of public amenities, such as baths and parks, and education reform, both through the centralization and eventual desegregation of New York’s public schools. The book educated the rich, and led many to abandon their former Social Darwinist beliefs, and to raise standards of living. One such leader was Josephine Shaw Lowell, who began supporting workhouses and prisons, but later advocated for living wedges. She also fought for women’s suffrage and organized boycotts of exploitative businesses. Reformers fought to end child labor, helped and learned about the poor in settlement houses, and formed numerous private societies to aid the needy. Many new social ideas were first seen in NYC.

The American labor movement also began in the Empire City, as it was the nation’s industrial capital. Early on, attempts at labor reform were rabidly put down. Though unions began to form by the late 1860s, demonstrations and strikes were turned into battles, with the police, and even the military, working at the behest of the industrialists. Labor activist and leader Samuel Gompers learned the difficulty of change during the 1877 Cigar Makers Strike, which was put down by blacklists, evictions, and violence, as well as lack of resources and organization. He also worked with the brief Central Labor Union, which banded twelve New York unions together, recruited across color lines, and used various tactics to promote worker’s rights. 2,000 marched in NYC’s first Labor Day parade. However, violence ended the 1886 Horsecar Workers Strike, and the boycott, a powerful weapon used in conjunction with the strike, was deemed un-American, and outlawed. The reputation of labor organizers was further damaged when the bombing of a protest in Chicago’s Haymarket Square killed seven policemen.

Threatened, outlawed, and now branded Anarchists, laborers turned to politics. The CLU backed, 1886 mayoral run of reformer Henry James demonstrated the power and numbers of New York workers, and unified them under one banner. George’s nomination forced both Democrats and Republicans to nominate reform-friendly candidates. George found the support of union members and leaders. His Tammany rival felt that labor and capital should work together, and followed the Social Darwinism of Alger, which also prevailed in the minds of the powerful at the time. However, George’s campaign helped to dispel the idea that the poor were happy with the current system. Though he lost, the large turnouts in his favor, both in the polls and the streets, showed the strength of popular discontent, and began a brief national flirtation with labor politics. When this movement collapsed from without and within, the American Foundation of Labor used the “New York Model” to begin a more grounded national movement. However, as seen in the brutal repression of the 1895 Brooklyn Trolley Strike, both industry and government were still strongly apposed to the disturbance caused by organized labor. Four years later, the Newsboys Strike met with more success, partly because the newsies had been organized for many years, and partly because they attracted more sympathy and support from their elders. This last may seem to undermine the strike’s impact, but it showed an increased urge to protect children, which wasn’t seen previously. By the end of the Gilded Age, the social question had not been answered in New York, but the growing awareness between rich and poor had sown seeds which might sprout in the future.

Henry Burby

MHC 10201

3/14/16

Entering the Sanctum

The scene where Michael visits Roth’s Florida house (1:01:45) touches on several elements of mob life, such as its relationship with the straitlaced culture of the United States, the way its business is transacted, and the role of women in the mob hierarchy. The scene begins with an establishing shot of Michael closing the door of his car in front of the suburban Miami house of Hymen Roth. There are several signs of the dangerous mob presence under the surface of the shot. Both the house and Michael’s car are brightly colored, and cheerful in the dazzling white sunlight. However, their interiors are dark and mysterious, indicating that they hold dark secrets, and are not as respectable as they seem from the outside. The use of eerie music makes the audience feel uneasy. Cut to an eyelevel shot inside the house, facing the door. Michael can be seen approaching through the glass door. Michael wears light colors, symbolizing his outer respectability, but his bodyguard, who can be seen in the background, behind a vivid pot of flowers, represents the threatening and alien presence of the mob, with his black clothing contrasting against the brilliant colors of the rest of the shot. The camera focuses steadily on Michael throughout the shot. As Michael and enters the shadow of the house, Roth’s wife enters the shot from the right, slightly in front of the camera. Her pink dress and welcoming manner make her the perfect housewife, but, like all the women of the film, she holds no power at all in the world of the Mob. As such, the camera never focuses on her face. She welcomes Michael, offers him lunch, and is gone, her purpose served. As Michael enters through the door, the music stops, and the rest of the scene takes place with only natural sound effects, and dialogue. This creates a sense of realism for the audience. Michael and Roth’s wife exit on opposite sides of the frame, further indicating her standing. Cut to close shot of Michael entering the black double doors of Roth’s throne room. Cut to medium shot of Roth, slouched in his chair, watching the football game. He only turns to look at his visitor when Michael speaks. The seat of Roth’s power is shrouded in shadow. The camera is at Roth’s seated eye level, so when Michael enters the shot to shake Roth’s hand, his head and face are too high to be seen in the frame. This shows that he has not yet gained Roth’s close attention. When Roth invites Michael to sit, he accepts his visitor into his realm of power. This shot is followed by two medium shots of the two men. Instead of the classic two shot, the camera is positioned between Michael and Roth, perhaps indicating that they are sizing each other up. They still maintain the politeness of the outside world as they discuss small talk. Cut to a fairly long shot of Roth and Michael together. Their sharing of the shot indicates that they connect over the reference to the mob presence in the world series, the first time illicit activity is mentioned in the scene. However, the camera focusses on Roth, because he controls the power in the room. Similarly, the two men’s chairs are far apart, indicating that Roth and Michael are still separated. Their brief comradery is broken by the awkward silence as they discuss the attempt on Michael’s life. Roth expresses regret at the event, but he makes only sporadic eye contact, indicating that he is lying. Since he was behind the attempt, he is again separated from Michael. He makes solid contact again only when he expresses his opinion that good health is the most important thing in life, because he is again telling the truth. Cut to long shot of Michael closing the door, Roth rising to turn up the volume on the TV, and Michael drawing his chair nearer. The characters are moving their conversation to the next lever, so they share the shot again. As the scene becomes more intimate, the characters close themselves off from the outside world, and get closer to each other. The football game represents the presence of ordinary American culture in the scene, and while it gets louder, the mob world continues beneath it. Cut to the first close up of both men, as Michael sits. The next block of dialogue is expressed in a series of two shots, with both men sharing the frame. Michael’s line, “You are a great man, Mr. Roth. There is much I can learn from you” Expresses his true feelings. He knows that Roth ordered his assassination, but he respects the old man, and knows that he must learn to be as subtle and deadly himself. The final shot of Roth is interrupted by a car, passing behind the window shade. It foreshadows the entry of the wife, in the next shot. Cut to Shot of Michael, with Roth’s wife entering the room through the door. Again, because the camera is at the eyelevel of the two seated men, her face is cut out of the shot, indicating that she has no influence on the scene. Cut to long shot of Roth, Michael, and Roth’s wife, bearing a lunch table. More of her body is seen in this shot, but her head only enters the frame as she sets down the table, and turns down the volume of the television set, and her face is never seen. This indicates her role in Roth’s life: a pleasant, attractive, friendly, and powerless presence who takes care of Roth and the house. She has no place in the business of the Mob, and, if she is aware of her husband’s activity at all, she never mentions it. The door she opens to enter the room remains open until she leaves, and neatly cut’s Michael’s face out of the shot, further indicating her separation from her husband’s world. Once she leaves, Roth begins to speak before the camera returns to it’s former proximity, because, after the wife’s interruption, it takes a few moments for Roth and Michael to recapture their former intimacy. However, the next shot returns to the previous format of close two shots, and this closeness persists for the rest of the scene, as the two men return to Mob business.