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I watched Doug Liman’s Bourne Identity again last night, for some reason.
It’s an incredible film with some poetry in it.
and I think there’s an argument it serves as a film about how men lose themselves to the patriarchy and try to use love to discover themselves anew.
It’s an incredible film with some poetry in it.
and I think there’s an argument it serves as a film about how men lose themselves to the patriarchy and try to use love to discover themselves anew.
In the first one, there’s this idea that Bourne is the best thing that the patriarchy has created but he no longer wants to be part of it.
An anti-patriarchal possibility that is immediately attacked by the white blood cells of that oppressive body.
An anti-patriarchal possibility that is immediately attacked by the white blood cells of that oppressive body.
Going to see if I can find feminist critique, analysis of Bourne.
I feel like I see this sort of hybrid described often lately. This idealization.
A man who doesn’t want to be the best of patriarchy. But, can be if ever needed.
I feel like I see this sort of hybrid described often lately. This idealization.
A man who doesn’t want to be the best of patriarchy. But, can be if ever needed.
Very much yes.
https://twitter.com/zkleverton/status/1288484708402200577?s=21 https://twitter.com/zkleverton/status/1288484708402200577
https://twitter.com/zkleverton/status/1288484708402200577?s=21 https://twitter.com/zkleverton/status/1288484708402200577
I mean.
In hindsight.
It’s kind of fucking wild as hell that the film implies that the white supremacist patriarchy decided to cannibalize it’s own.
Why?
Because he flinched and decided to not kill a Black man when he saw Black fatherhood.
In hindsight.
It’s kind of fucking wild as hell that the film implies that the white supremacist patriarchy decided to cannibalize it’s own.
Why?
Because he flinched and decided to not kill a Black man when he saw Black fatherhood.
Nykwana Wombosi is no longer some African Warlord
that Bourne has been programmed to carefully stalk and summarily execute
because a flash of Black fatherhood has now caused Bourne to malfunction.
That’s both a powerful and depressing ass critique.
that Bourne has been programmed to carefully stalk and summarily execute because a flash of Black fatherhood has now caused Bourne to malfunction.
That’s both a powerful and depressing ass critique.
Hard agree.
A far more radical (and, honestly, needed) film if Marie’s character had been Martin, a platonic or romantic male companion.
https://twitter.com/ruggledome/status/1288487920156807168?s=21 https://twitter.com/ruggledome/status/1288487920156807168
A far more radical (and, honestly, needed) film if Marie’s character had been Martin, a platonic or romantic male companion.
https://twitter.com/ruggledome/status/1288487920156807168?s=21 https://twitter.com/ruggledome/status/1288487920156807168
Wombosi is a composite of Idi Amin and Mobutu Sese Seko, and the latter wore glasses.
But, importantly, Gilroy’s script (which is incredible) is very intentionally building on a type of Black man the white supremacist patriarchy especially hates.
https://twitter.com/ryanjkingston/status/1288492738346979329?s=21 https://twitter.com/ryanjkingston/status/1288492738346979329
But, importantly, Gilroy’s script (which is incredible) is very intentionally building on a type of Black man the white supremacist patriarchy especially hates.
https://twitter.com/ryanjkingston/status/1288492738346979329?s=21 https://twitter.com/ryanjkingston/status/1288492738346979329
The film references so, so many European countries.
But, chooses a deposed Nigerian dictator as the point of departure.
A reason for everything.
But, chooses a deposed Nigerian dictator as the point of departure.
A reason for everything.
Anyway, that’s it.
I can think of no better articulation for what the patriarchy is than men knowing violence better than they know themselves.
I can think of no better articulation for what the patriarchy is than men knowing violence better than they know themselves.
Exactly right.
There’s a very, “pound of flesh”, Faustian bargain, sense to it.
By phrasing it like that, Gilroy’s script avoids making the Treadstone assassins seem like true victims.
But, instead, acknowledges their complicit acquiescence.
https://twitter.com/phil_igan/status/1288504763240390657?s=21 https://twitter.com/phil_igan/status/1288504763240390657
There’s a very, “pound of flesh”, Faustian bargain, sense to it.
By phrasing it like that, Gilroy’s script avoids making the Treadstone assassins seem like true victims.
But, instead, acknowledges their complicit acquiescence.
https://twitter.com/phil_igan/status/1288504763240390657?s=21 https://twitter.com/phil_igan/status/1288504763240390657
