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Arts + Entertainment
The Veneer of Arts + Entertainment
The world of "indie" film and music
by
Brett McCracken
Editor's Note: This seven part series explores the "veneer" of each channel of culture. It is inspired by the latest Q book by Jason Locy and TIm Willard:
Veneer: Living Deeply in a Surface Society
. If these ideas resonate with you, consider
picking up a copy
and diving deeper into this conversation.
There’s a reason why, in the worlds of movies and music, “indie” is the new mainstream. There‘s a reason why many of the major film studios now have “arthouse” subdivisions (e.g. Focus Features for Universal, Fox Searchlight for Fox, Sony Pictures Classics for Sony), just as most major record companies own or distribute distinctly “indie” imprints under their corporate umbrellas.
It’s because “indie” sells. Or, rather, it’s because the marketing of something as indie tends to work. There’s a market hunger for products that are viewed as slightly off-kilter, non-mainstream, more authentic and/or more culturally conscientious. It’s why alt-grocers Whole Foods and Trader Joe's are doing booming business; it’s why hipster/bohemian clothing chains like Anthropologie or Urban Outfitters are as prevalent in Boise now as they are in Boston.
All of this is well and good, and—don’t get me wrong— many of these “mainstream indie” brands are legitimately good. The ironic fact that indie/artsy/subversive has become big corporate business is not in itself a bad thing. Plenty of things that are marketed as indie or artsy are actually deserving of those descriptors. But plenty of it is not. And this is where our flimsy, fickle, “what can a product do for my image?” consumer sensibilities are often easily duped.
We live in a culture that has placed high value on the ability to demonstrate against-the-grain, unique consumptive habits. As “cool” has fueled capitalism for the better part of five decades, we’ve gradually been conditioned to believe that 1) Our identities reside in the brands/products we consume, and 2) We should be totally unique individuals (i.e. totally unique consumers). This is why our identities on Facebook, for example, are expressed in terms of the bands/movies/books we “like.” It’s why we are constantly looking for that individual personal aesthetic, unexpected taste in cinema or esoteric knowledge of Norwegian bands no one has ever heard of. We must be original in what we consume, and we must publicly share it with others (via tweets, status updates, or casual “did you read…?” name dropping) as an exercise in identity validation.
The problem with this is that it doesn’t really lend itself to thoughtful, nuanced appreciation for the merits of a given piece of art or entertainment. It defines quality as: quirky, edgy, different, rebellious, snarky, experimental, foreign. But when this is how we understand quality (as simply the opposite of what we’re used to, or something out-of-the-box), we begin to lose our ability to truly discern value and achievement in culture. The marketing machines behind “indie” seize upon the formulas of our superficial assessments of cool, and churn out products that have that artsy/hipster look: Movies starring Michael Cera or featuring a Wes Anderson aesthetic, bands who’ve perfected that neo-shoegaze/glo-fi sound, TV shows with single-camera sheen and Arrested Development wittiness, one-word restaurants specializing in “fusion” food, and so on.
But unique does not always mean good. Experimental does not always mean successful. And likewise, traditional/conventional/mass-appeal does not always mean bad. Though a blockbuster Steven Spielberg film would never be marketed as “arthouse,” many of his films wind up being more artistically significant than your average foreign-language costume drama billed as something akin to a fine art museum piece.
Fox Searchlight’s indie awards-darling last year,
Black Swan
, for example, was marketed as the hip indie epic of the year. It had all the indie goods: A slightly twisted marquee director (Darren Aronofsky), an ingénue-in-a-dark-role (Natalie Portman), feverish lesbian dream sequences and David Lynch-esque surrealist psychedelia. It was released in a staggered, “select cities only” rollout, which lends itself to the “have you seen?” name-dropping word of mouth effect. And certainly Black Swan was unique, artful, even beautiful in parts. But was it really the piece of “important” art it was sold to us as? How many of us spent any significant time wrestling with the themes of that film after the credits rolled? In reality, Black Swan is arguably just an example of B-movie horror kitsch.
So it goes with the veneering of “artful” cinema, as with indie music and “prestige” TV and other forms of arts and entertainment. It’s easy to become convinced of the artfulness of something when every aspect of the way it is marketed to us screams “Unique! Cutting-edge! Valuable!”
But so often, the truly valuable, truly subversive, truly revolutionary bits of culture are not heralded as such.
Be wary of too much “indie” hype. Learn to look deeper and evaluate a thing’s merit apart from how hip its posters look or how quirky its wannabe-Amelie style is. Resist the temptation to curate cultural goods based on how rare or unique they appear to be, or how strategically they will compliment the genre diversity in your iTunes library.
Like something because it moves you, it resonates with you, it tells you the truth. Like something because it’s good; because you can articulate why it’s good apart from the fact that it’s different.
Learn to think about “indie” with a truly independent mind, freed from its own naïve susceptibility to superficial status-seeking and the deceptions of marketing and gimmicky style.
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Do you find a propensity toward the "quirky, edgy, different, rebellious, snarky, experimental, foreign?" Do you agree/disagree with McCracken's assertion that this is something we should be wary of?
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Comments
Justin Salters
I totally see the "propensity toward the 'quirky, edgy, different...?" in our culture. As what was once indie and "hispter" has gravitated towards being more socially acceptable, people are now clamoring to be ahead of the trend for its own sake. However, there is no intrinsic value in something just because its not popular or moved mainstream. We as cultural influencers need to build a culture of authenticity to self. Rather than designing a carefully fabricated and curated self-image that is drawn to whatever is marketed as arthouse or indie, we should reveal the self-image that is authentic to who we are internally. But this requires honest self-evaluation and appraisal of what we value and what drives us.
Are we as an American society ready to examine our cultural and individual priorities from a critical perspective? I'm not sure that we are, and I fear that until we do we will remain tasteless consumers of whatever is marketed as contributing to a "unique" image.
In the end, the best advice is "to thine own self be true." If that means you're wearing skinny jeans, riding a fixie, and listening to Mumford and Sons while drinking batch microbrews, then so be it. But if it means wearing dad jeans, driving an SUV, and listening to the Dave Matthews Band, that's fine too. Just be honest.
gabe
I like the article, but creative expression is good and necessary. It would be unhuman of us not to let our favorite songs, styles and expressions get us excited. Clothes, creative expression, styles, all good things. Drugs, lust, rebellion, all bad things. We can have one without the other.
Sean
Gabe,
I think the question here is not whether it is human to like art. I think the question Brett is asking is epistemological: why do we like the art we like? And, furthermore, should we distrust the way we're drawn to the faddish, cool, or "indy."
Preston
Very interesting opinion...
Anne
Quirky can be instructive, or it can become the trend. Some trends are healthy.
Creativity is most valuable when it addresses the weaknesses in our culture, especially when it is redemptive. Sometimes playfulness is the dominant need.
Identifying needs and addressing them with solutions brings life, whether quirky or not.
Matthew Thomason
All ostentasciousness, pride and artistic prowess aside- (I must reiterate, as per a previous personal response to another article) It is the ability to hold up the proverbial mirror to self...and then...to others that constitutes the most constructive art... "...without conflict, there is no drama..." Effective Artists, Musicians, Actors, Authors etc. must be able to reflect the pain of life as well as the paridisial and more euphoric qualities of society.
Creativity, inventiveness, experimentation etc...are ALL VITAL TOOLS with which to birth our perspectives from the ethers of the great nothing. While education is vital toward the interpretations of the intrinsic or seemingly intangible value of the arts (in every possible conceived medium and/or conceptualization); it's highly subjective nature, combined with the fickle and often oblivious minds of mankind, lend opportunity to the shadows of complete ignorance. Abuse is inevitable- yet, in it's tragedy; can be painted quite an authentic depiction of the distraught passions and glorious victories of the human race.
As the "isms" aggravate and multiply and the gifted "have-nots" suffer the pain of ambiguity and anonymity; it us ultimately "good art" that will prevail until such a time as the wonders of heaven put us ALL to shame... and then...start the real lessons of internal authenticity, truth and eternal beauty...
Anna
Like! Completely agreed with this. Also agreed with Gabe's comment. I believe these two posts can go hand-in-hand and aren't necessarily contradicting each other. Our own individual pendulum doesn't have to swing from one extreme to the other. We don't have to label ourselves with a definitive "style". We can simply be ourselves and be confident in who we are in Christ and that lends itself to much confidence.
"You're blessed when you're content with just who you are—no more, no less. That's the moment you find yourselves proud owners of everything that can't be bought." Matthew 5:5, MSG
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