Skip to main content

Cosmopolis and Privilege

In the book "Cosmopolis" by Don Delillo, Eric Packer is a ludicrously rich head of a financial firm who rides around in his limousine all day on his way to get a haircut. Outside the vehicle, the world around him rages and writhes in turmoil. People fill the streets protesting capitalism, but all Packer feels is amusement. This lack of empathy is a symptom of Eric's privilege. His privilege is a trait he has built upon with every dollar he's gained and luxury he's bought. Every ordinary event and interaction is now seen through new eyes; ones less attuned to the hearts of those struggling to get by. He sees the events around him as a spectacle, and uses the windows of the limo not only as a protective shell but also as a socioeconomic disconnect from the world around him. To Packer, everything he sees through the window is a stage set for him to interpret at his leisure, and only those he rides with are the selected audience members. One such audience member is Shiner, his security guard who travels with him at all times. Shiner is a bridge between worlds in the story, a man with a job that requires muscle, but who frequently communicates with Packer. This makes him both an observer and a participant, as he is exposed to the dangers and whims of the outside world, but also carries some of the same filter of privilege that Packer bears. Packer has one humanizing element though, one that runs throughout the entire story and in-fact drives the plot (and limo) forward. He wants a haircut, but not just any cheap shave. He wants one from a little barbershop across town, not elegant or fancy in any way. This is a symbol that deep down, Packer has the core of an every-man, a middle class American, but one who's vision is still clouded by his status and standing. Packer treats most of those around him with disregard, but this one barber, he treats with uncommon respect. It's a window, a hole in his ozone, to his true character. Just for a short time, Packer rolls down his bulletproof window and we see the real Packer within. We only see a flicker of him in the shadowy interior, but as the reader we know he's there. To the reader, this book is alarming not only because of Packer's lack of humanity, but because it shows us just how easy it can be to slip into the same cushy shoes he wears. In reality, the author attempts to show us, all it would take would be a bit of spending money and a high seat to sit on.

Comments

Popular posts from this blog

Week 13 - Curate Yourself

Trying to find content that interests me is pretty difficult, because usually when I’m done with homework I’ll try to meet up with friends and get out of the house as soon as possible. One format that I watch occasionally are inline skate videos, though! I skate, and the way I learned to do so was by practicing a ton, plus watching skaters who are better than me. At home in Colorado, I have friends who play hockey and regularly inline skate, but here in Florida it’s a little rarer. Because of that, I’ve found communities for inline, online. The community is actually really great because roller skating has hit a pretty massive slump from it’s dominance in the 80’s to 90’s, so the people who still skate are the most passionate, skilled, and do it mainly for the fun of it. Everyone in the community really takes a lighthearted approach to skating and don’t take themselves too seriously, and because so little people inline skate, the groups you form are tight. Nobody cares about image or ...

Week 14 - Social Media (Why are we embracing studio culture?)

One cause which I really care about as an animator is the current state of the VFX industry. To understand the full story of how the industry, and the artist who work in it are being abused, watch the 2014 movie “Life after Pi” . Basically, every major movie uses VFX and digital art extensively, in every scene. Most live-action movies have at least one digital element in each shot, and this means lots of work for VFX artists. However, this large demand unfortunately means overworking respected VFX studios, or outsourcing work to countries where workers are similarly abused. The schedules that digital artists in the film industry keep are massively unhealthy, and the stress that these schedules put on them and their relationships are even more obscene. For anyone entering the industry, their choice is either to accept an unstable position under a director who won’t look at their work until post is wrapping up, and then give you changes to do with no additional pay and without shifting...

Week 9 - The Voice of Wes Anderson

I watched “Fantastic Mr. Fox”, “The Grand Budapest Hotel” and “The Royal Tenenbaums”, three films by director Wes Anderson. Each movie showcases Anderson’s authorial voice, Budapest and Mr. Fox more-so than the Tenenbaums. These two movies are completely fictionalized, while “The Royal Tenenbaums” is in a more traditional building in a real city. Anderson’s later movies, one a piece of stop-motion animation and the other featuring a make-believe hotel, lend themselves to more imaginative situations, and therefore lends more freedom to the filmmaker to make many more creative choices with the filmmaking. In a world or a structure where the viewer is unfamiliar with the ‘rules’ of the universe, more can be done directorially before immersion is broken. This is important, because Anderson’s actors always behave strangely. By strangely, I mean speaking curtly and often formally, with long pauses. The dialogue is very secondary to the visual storytelling. It’s used to supplement the vi...