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selenak: (The Doctor by Principiah Oh)
Because the recent novel brought Dickens to mind, here's my absolutely favourite essay about Dickens as a writer, by George Orwell. It's not just insightful about Dickens' novels, it reminds me how literary criticism, or, to use an internet term, meta can be - neither bashing rant nor uncritical rave, but with an appreciation for the qualities and awareness of the flaws at the same time. (Mind you, Orwell when he was being bitchy about a writer was great fun, too: one of my favourite quotes of his is from his essay "The Sanctified Sinner" about Graham Greene and sums Greene up thusly: “He appears to share the idea, which has been floating around ever since Baudelaire, that there is something rather distingue in being damned; Hell is a sort of high class night club, entry to which is reserved for Catholics only.”) But back to his wonderful Dickens essay, which you should all read no matter whether you love, are indifferent to or hate Dickens' novels: Orwell on Dickens.

Jules Verne fanboying Edgar Allen Poe.

I hear yesterday was international talk like a pirate day. I missed that, but here are two piratical songs nonetheless:

Amanda Palmer sings Seeräuber Jenny in Munich. It's a powerful performance, and as a side aspect, her German pronounciation is awesome. I remember Wolfgang Wagner telling me that singers from the English speaking world find singing German tough because of the ch- sounds. (While Spanish singers who do have that sound in their own language master it easily.) Well, Ms. Palmer has no problem there.

I am the very model of a Gallifreyan buccaneer: in which some genius has taken the song from the Big Finish audio "Doctor Who and the Pirates" and matched it to tv show images. Hooray!

Lastly, a link for [personal profile] skywaterblue:

This much I know by Yoko Ono
selenak: (Gollum)
Yesterday evening, I saw the 1999 American version of Animal Farm on TV which I hadn’t watched yet, and it provoked extremely mixed emotions, mostly due to the ending. And no, I don’t mean that they added a “downfall of the regime” moment; that’s what they did in the cartoon, too, and I never expected this version to actually keep Orwell’s ending, with the pigs victorious and still in power.

However. Animal Farm, despite a more universal appliance, is very obviously a satire on the Russian Revolution and Stalinism. (Snowball as Trotzky, Napoleon as Stalin, etc.) And the 1999 movie kept these parallels much more than the cartoon had done. So the end, not a counterrevolution, but a breakdown complete with the arrival of new owners, a smiling, waving human family (blond to boot), which per voiceover gets defined as true freedom, pretty much ruined the film for me which until then I felt mostly positive about. Because Orwell? Wouldn’t have thought being taken over by new capitalists had anything to do with freedom. Better than Stalinist tyranny, yes. A free state of being? No.

The confusing thing is that until this point, the humans were presented as rotten, the film drawing the pigs/humans parallel long before the other animals did. Other new elements, such as TV being used as opium for the (animal) masses to keep them from protesting against the work conditions and the pigs taking more and more privileges, were well-thought of, either. So why the ending? Why not leave us with the breakdown, and the return of the exiled animals, or go, as the cartoon version did, for a counterrevolution, if you think Orwell’s ending is too depressing?

On that disgruntled note, happy new year, everyone.

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