Wow good questionhttps://twitter.com/ericlinuskaplan/status/1319127424064319488 …
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Replying to @peligrietzer
They didn't go after the notion of politically engaged art! The movie is about the politically engaged artist being hired away by Hollywood and losing his soul. Wow, the whole concept of "selling out" as a storyline really has become that opaque, huh?
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Replying to @carlzoilus @peligrietzer
Are you suggesting Wallace Beery wrestling picture's aren't political art???!!????
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Surely they're treating the notion of "selling out"—and the idea that Fink's political art is any good at all—with irony, though?
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Sure, they're treating everything with irony because they're the Coen Bros. They tell their selling-out story ironically to avoid any risk they could in turn sell out by having something sincere to lose. Simple 90s-culture math.
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I think that's one layer of it but I feel like it's impossible not to read Barton (and by extension Clifford Odets) as a deluded buffoon, and his fear of selling out as a red herring. I think they were ahead of the "selling out is actually ok" cultural curve!
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Well the movie was written to get around a writers block faced while writing Miller's Crossing. So like Llewyn Davis, it's a case study of how an artist can defeat their own talent: via propaganda (NY Fink), neurosis about selling out (Hollywood Fink), or alcohol (Faulkner).
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Yeah that seems closer to the mark to me: it's a movie about the neurosis about selling out, not a movie about selling out (a key distinction)
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A little bit of both, to be frank. I mean there's definitely an awareness of why Hollywood's lowbrowism would hamper an artist. It's a neurosis but one with real world causes.
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Replying to @HeerJeet @evankindley and
"Look upon me! I'll show you the life of the mind!" is pretty much a counter-neurotic imperative. Pairs nicely with Anti-Oedipus.
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