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redantsunderneath · 4 years

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I’ve Never Seen David Lynch and George Lucas in the Same Room at the Same Time…

The thematic parallels between David Lynch and George Lucas are something I keep coming back to again and again, but their careers and evolution have a lot of overlap too. They were born in the earliest Boomer cohort (George Lucas in May 1944, David Lynch January 1946) and had experiences growing up that were colored by the idyllic 1950s, but shifted into a distrust of authority structures that was common for many of their age cohort in the 1960s. They both came of age wanting to do something physical with her hands that felt creative to them in large grimy spaces - fixing cars for Lucas, and painting and installations with a fascination with organic materials, industrial metal, and rot for Lynch. They both fell into film because they were looking for something that satisfied their artistic bent (although film was never a primary aspect of her life to that point). They wound up making a handful of short films over a 3 year period, culminating in a longer short-film that would eventually get them noticed at roughly the same age (Electric Labyrinth THX 1138 4EB [1967] and the Grandmother [1970] for Lynch).

These films netted both of them a patron (Francis Ford Coppola for Lucas, the American Film Institute for Lynch) and started filming their first feature-length film two years after those films. They both got their biggest name recognition bump by films released in 1977 and pulled away from the power of the studio system in roughly 1984. Famously, Lucas offered Lynch a chance to direct what would become Return of the Jedi in about 1981 ( I prefer the story where Lucas does this by picking him up in a Lamborghini - I’ve heard a phone call version too, but it’s not as perfect) and Lynch answered something like “it’s your movie George, you direct it.” They both spent the mid 80s in movie jail, and although they took very different paths in general after (I’ve been emphasizing the similarities) there are still things that jibe in the history - they both reminded people of what they liked about them with a late 80s movie, spent a lot of the 90s on TV projects, did one project around classic radio, returned to theatrical notice around the millennium, all the while generally keeping their own council and disappointing a lot of fans.

There’s obviously a world of difference. Lucas is a left brained technologist who equated freedom with an owning of the means of production. Lynch is it right brained impressionist seeing freedom-as no one ever being able to tell you what to do, acting as a solo artist with collaborators who merge with his sensibilities. Lynch is a production lone wolf, depending mostly on people believing in him and funding him, and losing out in the popular consciousness by making uncompromising art that may not be what the audience wants, meaning funding is sometimes hard to come by. Lucas is like the Democratic party controlling the Congress and presidency - having total power but unable to turn that into what he really wants to make, somehow. The idea of Lynch selling his body of work to Disney is absurd.

But the correspondences in this are telling and help to explain the thematic similarities and divergences. Plus, the differences often relate to the similarities - Lucas identifies with corrupted controlling paternalistic power as a horror of inevitable capture of the individual by larger structures, while Lynch sees the corrupted masculine influence as an archetype, the call coming from inside the house, agency coopted by a collective taint in the universal pattern . But on some level these are the same thing - what is this person I am capable of becoming seeing as I am in control but yet not, doing horrific things? Lucas’ constant commentary on slavery is about hegemony and a systemic oppression he is complicit in, while Lynch has whole pantheons of beings that turn people into vessels that oblate the self and make them act on subconscious programming. Neither probably think the word neoliberalism too much but tend to communicate similar things about it is almost diametrically opposed ways.

The thematic similarities are rooted in a few areas that unpack in to a variety of subspaces which overlap – patriarchal structures as psychoanalytic dynamics (more Freudian father fixation for Lucas, Jung for Lynch), boomer generational failure as socio-first-but-economics-ultimately, the artist as in struggle with larger forces (largely of the self), and an eastern religious metaphysics that is American Christian in flavor. The major line of difference running through this is gender/sex/desire, Lynch being on main with a lot of spiritual overtones of sin, guilt, and “the fall” and Lucas finding this kind of guilt and sin as a secondary phenomenon that is mostly actively suppressed and unconvincing when it shows up; yet both wind up often finding physical consummation at direct odds with art in a gendered creation way (that also links Eraserhead to Age of Ultron and the original Frankenstein). Try doing a psychosexual reading of Howard the Duck sometime.

Lucas’ developmental through line is this: dude in love with 50’s culture but informed by 60s counterculture makes a movie where the young granola-ish revolutionaries win against the fascists in an effort to rewrite society but, having secured rights for “independent spirit” reasons now finds himself in control of something huge and immediately starts making art about boomer men becoming their controlling fathers and then moves on to movies where powerless freaks are the real focus. After a creatively fallow period, he comes back to make a sequel/prequel trilogy that is one of the most misunderstood complicated statements about people becoming what they hate as an eternal cycle at the level of the personal, the societal, the political, the spiritual, the artistic, you name it!

Lynch’s developmental through line is this: dude in love with 50’s culture but informed by 60s outsider/art counterculture makes a movie where the young artist struggles with the idea of a regular life, initiated by fatherhood, which attempts to destroy the artistic spark, after which he enters the Hollywood system and makes an artist as freak movie and a movie about plucky rebels conquering space authoritarianism (that the future of is books about that ending in messianic authoritarianism) and then disavows that system. He then proceeds to make art about subject and object as a supremely gendered thing, in a land that has fallen from grace, moving inexorably towards the idea of eternal cycle at the level of the personal, the societal, the political, the spiritual, you name it!

They both have an idea of the father-artist identified with the abject oppressed, under siege as figure, resentful from being kept from creation, over a career realizing that their “self” is the horrific villain of their own story. For Lynch, this is psychosexual, then spiritual, with a resisted toxic masculine urge to control and overwhelm, often in a violent way. It is the artist’s own urges that get in the way of making art, of desiring in the universe that has an unbalanced power structure from some far off echoes of an original symmetry breaking inherent to the archetypal gender dynamic. For Lucas, it is the realization that the artist in control has a tendency to become the controlling dad and sexual relations are inherently problematic in a political and spiritual way. Real art seems impossible if the artist has control, identifying with the downtrodden is a bit of a lie, happy endings can’t happen not because of the happiness bit because of the ending bit. For both, there is a fundamental flaw in the cycle, which is patriarchal in nature, but Lynch just approaches this much hornier.

The boomer part probably requires the most discussion, but the TLDR is that they are both are crawling out, through Vietnam, from the 50s social order, and grappling with how badly the 60s idealism failed. Lucas does this in the prequels as a big canvas critique of how the social revolution was co-opted by the generation not being able to see its own flaws, of not seeing the system taking over again, an Empire calling itself a Republic. An inability to look in the mirror and really see. The wisest oldest hippie is the only one who sees what’s happening, but is powerless as his apprentices are inevitably spit out, and the next generation has to be raised not by a skeptic but a true believer in “liberal” “democracy” (cynic quotes theirs).

Lynch is interesting here in that he most directly addresses this only in Twin Peaks, but we see more naked reflections, divorced of contemporary politics, in his other works. In Twin Peaks, Ben Horn is the Palpatine figure, who winds up a sweet old man buying off the harm his life’s work and progeny have produced while ignoring the poor and next generation personally. Jacoby the neutered, fried Yoda that eventually slides into Alex Jones territory (the canonical Boomer ethos in a nutshell – “what me” neoliberalism and change the world ideology going crackpot). All of Twin Peaks except for Fire Walk with Me is directly socioeconomically generational (Bobby Briggs becomes a young Republican in season 2, the mill, the trailer park), but the other works are full of class issues informed by Lynch’s age. From Blue Velvet’s suburban kid exploring his darker side by going to the poor part of town through a career of classist low-life encoding (Bob is a denim jacket wearing homeless person, all the covered in grime by the dumpster/trailer park characters, Ronette as the factory floor version of Laura, etc), culminating in Inland Empire and Twin Peaks the Return chronicling the fall of man as partially an (generationally specific in TP) economic fall into a unequal class defined world of needing an opening and leaving the house to labor as where evil is born. TP OS is about how boomers turned out just as bad, the Return is about how we inhabit the world of their ideological blindness.

All filmmakers seem to, at least to a certain degree, bring the question of creation of art directly into their work via distant or close metaphor. In Eraserhead and Elephant Man, Lynch values the spark of art which the downtrodden protagonist is trying not to lose. In Dune, the visionary with a big project that seeks to upend the system (but that we know eventually become something even worse) is a project that fell apart due to studio interference. Blue velvet is about the act of watching awakening something uncomfortable in us that is incompatible with normie life (it wouldn’t be weird to say it was about porn). Twin Peaks is about television, FWWM about movies, and all at least partially about closure being a death act in art. Lost Highway is about the artist tortured by desire, Mulholland Drive about desire being central to be eaten alive by the Hollywood system. Inland Empire is about filmmaking as a way into understanding the world on a deeper level (as is its unofficial sequel Inception) to cure its ills. All of this is art’s struggle against power, with an element of the major powers being subconscious forces that control us leading to desires that ablate the artistic impulse.

Lucas' projects have over time been about a young upstart independent filmmaker, losing his soul by becoming successful, and becoming the system, man. He then tries desperately to identify as really not the one in charge, until he admits to what he has become. He consistently dips back into filmmaking as an adventure or a good fight, but he has to set these in a time period before his birth. As in Lynch, having a child is equated with not being able to fulfill the kind of artistic destiny, but Lucas goes further in equating it to an excuse for why the powerful artist goes bad and needs redemption. He had a naïve or-is-it canny motif focused on the short inhuman outsider, often related to music or primitive settings (often with wooden cages) as a recurring thing for a while. These characters are often wise, or at least no filter tell-it, and are similar to the Elephant Man. This is a trope, sure, the wise different wavelength other, but there is also an identification of the artist at knowing and right yet impotent and a clue to the author’s metaphysical system.

Lynch is the mainline protestant in upbringing and very much influenced by a kind of proto-eastern religion (you can just say the Vedas for shorthand). Lucas is not very religious, but was brought up Christian, influenced by Christian symbolism and became interested in world religion as narrative via figures like Joseph Campbell. Hence, they both gravitate towards some kind of Gnostic Proto Christian, So-Cal zen, Thomas Aquinas “gets” Plato kind of amalgam, which informs their work. Lynch has veered towards an eternal cycle framework, and the very physics compatible idea of something in the past breaking and causing consciousness/suffering, through which we can achieve joy as a counter only through letting go of the self, and the recurrence of ruptures on all scales demonstrating a fractal pattern of hurt and redemption. Lucas also sees a big cycle, but it is one more of human existence as narrative that has a tendency to return, with a little bit of Nietzsche and movie eastern spirituality thrown in. Both believe in a recurring pattern that plays itself out in a way that is terrible, but hopeful, as the struggle is where hope derives from. Both have inherently Christian ideas and symbols in their work but lean back on non-Christian ideas that the Christian ideas have a history with. Lynch has his virgin Mary as the real Christ figure female angels that show up, while Lucas has turnt space Jesus.

Suffice it to say that the tree trial scene in the Empire Strikes Back and the lodge sequences in Twin Peaks are a very good place to start looking for how the two auteurs meet. Compare Anakin/Luke Skywalker to Mr C, look at the 90s turn they both made, register their seeing the “sleeper must awaken” of fiction being terribly fraught, compare the force vs. the universal field, the way their relationship status and partners carve their work into eras, and their continued existence as mainstream experimental filmmakers.

#george lucas #david lynch

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wellesleyunderground · 5 years

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Wellesley in STEM: Jenn Wiegel ‘08, Veterinarian

WU STEM series editor Katie Kinnaird interviews Jenn Wiegel ‘08, a practicing veterinarian.

WU: Jenn, thanks for taking time to chat with us! You are a practicing veterinarian in Gibsonville, North Carolina. What drew you to being a vet?

JW: Every since I was a little girl I wanted to be a veterinarian. I always loved animals and this loved was sealed when I received my first kitten for my 7th birthday.

WU: Do you have a favorite part of your job?

JW: I most enjoy surgery and pleasant clients. :) Puppy and kitten visits are usually fun too. My favorite appointments are those with young children (though not so young that mostly all they do is fuss). I always offer to let them listen to their pet’s heart with the stethoscope. I usually ask them if the pet’s heart sounds okay and they almost always answer with authority that it does. It’s so cute!

WU: You majored in Econ with a minor in Astronomy at Wellesley. This seems like a less tradition pre-vet major. How did you decide to go into veterinary medicine? Did your major prepare you to be a vet in unexpected (or expected) ways?

JW: I’ve always wanted to be a veterinarian, but during my first year at Wellesley, I attended a pre-professional meeting that made it sound next to impossible to get into some of these professions (vet, MD, JD, etc). So I lost a little confidence in myself. It wasn’t until the summer before senior year that I decided I would go back to the dream of being a vet. I don’t know that this really influenced my major choice, however. I was never very interested in being a biology major because I never wanted to teach biology or work in a lab. I’m sure there are more things you can do with a biology degree than that, but 18 year-old me didn’t know this. I am a very practical person, so majoring in Econ was logical in that I could always fall back into any sort of business or finance job with this degree.

And Astronomy? Well, Astronomy was just fun! And I love math! Also, while I do love Star Wars, I will always chuckle at Han Solo’s line about making the Kessel run in “12 parsecs” because parsecs are a measure of distance, not time. Oh Astronomy nerdiness!

WU: How did Wellesley more generally prepare you to work with animals and their human caretakers? Where there any courses or professors at Wellesley that had a particular impact on you and your chosen career?

JW: I had many great professors at Wellesley who helped me along the way with recommendations, but I can’t say I think there was a certain course at Wellesley that helped with the animal or “pet parent” aspect of my job. I recall Professor Marc Tetel being very encouraging when I was the only senior in Bio 101. He was a great professor! There were other professors that I still regard as influential in my life path (Prof. Ryan Frace in history and Prof. Randall Collaizzi in Classics), but I think they just helped contribute to my lifelong love of learning and not specifically anything to do with veterinary medicine.

WU: What is the process for becoming a vet? What is the schooling like? Is there residency?

JW: Becoming a vet requires a 4-year undergraduate degree and then a 4-year veterinary medical doctorate. There are prerequisite courses that all veterinary schools require (the usual sciences and often public speaking as well), but many schools also want you to demonstrate animal or veterinary work experience as well. There are residencies for veterinarians. We essentially have all the specialties that physicians have and they all require a residency with the exception of being a general practitioner. All veterinarians graduate as GPs. If a vet does want to specialize, she would need to do an internship for a year prior to residency.

WU: A prerequisite in public speaking for working with animals is super surprising! Could you say a bit more about how this requirement fits into your veterinarian life?

One of the biggest and most important aspects of my job is client education. Veterinarians spend a lot of time speaking with people in order to help their animals. Taking public speaking as a course helped me be more comfortable speaking in public, particularly strangers (I took public speaking at UConn one summer and knew no one in the class). It’s very important to be clear and concise with what you’re saying and to be able to present medical conditions or treatments in a way that is easy to understand.

WU: What is the most interesting experience that you’ve had as a vet? What was the funniest or most unexpected experience?

JW: I’ve had so many incredible experiences on this journey. Prior to graduating from veterinary school, I did multiple study abroad trips where we worked with native wildlife/animals and people in those countries. These places included Australia, South Africa, Jordan, Ecuador & the Galapagos, Hawaii, and the Florida keys. In Ecuador, I got to draw blood from the jugular vein of a jaguar and in South Africa, took part in an enrichment program for cheetahs. I really love big cats and so these experiences were incredible. In Florida, I did an externship at a 24 hour hospital that sees a large amount of exotic animals (birds, reptiles, small mammals, etc). While there, the Animal Planet TV show “Gator Boys” brought one of their gators to have his jaw repaired by the owner veterinarian of this practice. I got to be the anesthetist for the alligator which was awesome and nerve-wracking at the same time. I may have even been on TV! (I don’t have cable, so I don’t know!) I would say that was the most unexpected experience I’ve had.

The funniest experience I’ve had as a vet happened my second year out of school. I had an appointment on my books for a wellness cat visit for a 10 year old female spayed kitty named “Tabitha”. This cat had been with the current owners for about 8 years and had been to 3-4 previous veterinarians. I had the documents from this cat’s previous visits so I knew her history. When we perform physical exams, veterinarian usually do a “nose-to-tail” evaluation. Well, I got to Tabitha’s tail, lifted it, and,to my surprise, saw that Tabitha was actually a neutered male cat. Luckily the owner had a good sense of humor when I announced “It’s a boy!” Somehow it had been missed that Tabitha, who had wandered up about 8 years prior, was actually a neutered male and not a spayed female. The owner and I certainly had a laugh about that one for quite some time.

WU: For those of us who considering adding an animal into our families, what recommendations do you have for making this decision? Do you have any suggestions for making the decision and/or preparing our homes?

JW: Actually, there are some great online resources for this. For first time pet parents, they may want to check out this page. The AVMA is our national professional organization and they are very devoted to public education, so they have several pages to help individuals decide what kind of pet is right for you. If you already have an established relationship with a veterinarian, then you may want to ask him or her for a recommendation. If your vet knows you well, they may know whether a cat or dog or a certain breed of pet would work best for you and your family.

WU: Healthcare for humans and the associate costs are big talking points in the US right now. Are there similar conversations or issues surrounding animal healthcare?

JW: Yes and no. There is health insurance for animals, but it works completely differently than human health insurance. I would encourage pet parents to consider getting pet insurance. It does not cover routine care (exams, vaccines, etc), but would could accident or illness and might make having to make a tough decision a lot easier. I worked as an emergency veterinarian full time for about 13 months and unfortunately there is a lot of finance-driven euthanasia because people are not financially prepared for an emergency. Having accident/illness insurance (which is basically what pet health insurance is) could mean life or death for a pet.

There are some veterinarians who are worried that animal healthcare will become as crazy as human healthcare, but I just don’t see how this could happen.

WU: Wellesley Alums seem to be everywhere! Where’s the most unexpected situation where you’ve met a Wellesley alum?

JW: Actually, I just bumped into a Wellesley alum (even an ‘08er) at the top of the Seattle Space Needle in July! I happened to be wearing a Wellesley hat that I bought my husband at reunion. Berenice Rodriguez stopped me and asked if I had gone to Wellesley. I realized I recognized her and we discovered that we were the same class year. We never knew each other well at Wellesley, but well enough to recognize each other! Neither of us live in Seattle, we were both there on vacation!

WU: So many STEM fields are mostly male, and as a result, many women experience challenges breaking into and being part of their chosen communities. As a female veterinarian, have you faced any challenges? What helped you keep moving forward to become the effective vet that you are?

JW: I have not personally experienced any challenges to becoming a veterinarian as a woman. The vast majority of veterinarians are female. In veterinary schools nationwide, 80% of the students are female so it's a lady-dominated field. There are plenty of women-owned practices, etc. I really only find that the biggest issues come when other strong-willed women (as clients) try to play a virtual spitting game to try to one up me intellectually. I have experienced a lot of negativity from these female clients. Whenever I’ve had a client complaint, it has always been a woman. Unfortunately, the general populous is not as supportive of successful, strong women as Wellesley.

WU: What about your life, beyond your work as veterinarian, are you most proud of?

JW: Most proud of? I guess I’m not sure. Oh wait - maybe it was the epic road trip I took in 2010 prior to going to veterinary school. (Blog here: http://lifeisahighway2010.blogspot.com/) I still love telling people about that. Enjoy the most? That’s easy - travel! I love going to new places and experiencing new things. I’ve been to all 50 states (by the age of 27) and 20+ countries. My husband and I love going to the movies, playing trivia, and taking day-trips. I enjoy cross-stitching and crafting.

WU: Okay, time for the big controversial question. Are you a cat person or dog person? … Just kidding! What I meant to ask is “do you have a special animal companion in your life?”

JW: No controversy here! I am 100% a cat person. Always have been, always will be. Don’t get me wrong, I like dogs and I certainly enjoy seeing them at work, but kitties are where my heart is! My (most recent) best kitty companion passed away suddenly last year. His name was “Major Tom” and, boy, was he handsome. Big yellow eyes, fluffy orange tail, and huge paws. I’m still a bit misty eyed about his passing, but got to be his cat-mom for a glorious decade. I do have some great kitty companions at home right now - Smokey Jo (Major Tom’s sister and my little shadow), Carolina Jane (a princess cat if I ever met one), Sergeant Boots (the shy, gentle, sweet type with an arresting meow), and Marigold Marie (who despite her permanent limp, is very handicapable, thank you very much!). They’re all very sweet, loving companions. They greet me and my husband each and every day as we get home from work, can hardly wait for you to sit down before they’re in your lap (and I mean all of them, at once), and stand guard patiently outside our bedroom in the morning for food and affection. I’ve always had great cats who do all these things.

#Wellesley underground #Wellesley in stem series #Jenn Wiegel #class of 2008 #veterinary medicine

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