genealogy

The Cinematic Life of the Gene

admin — Fri, 13 Aug 2010 01:00:00 +0000

The Cinematic Life of the Gene is a challenging and complex collection of essays that uses cinematic representations of genetics and cloning to consider the cultural impact of genetic breakthroughs. Jackie Stacey draws on some of the most well known theoretical works regarding cinema, art, and the body to consider the fascinating link between cinema and genomics. Her essays cite everything from feminist and psychoanalytic theory to theories of passing and reassemblage. It is the text's interdisciplinary nature that makes it both challenging and significant; cinema scholars, scientists, and feminists alike will find this work compelling. Still, The Cinematic Life of the Gene roots its examinations in the moving image, and serious scholars of the cinema (and particularly of science fiction cinema) will benefit from this “cultural study of film.”

Stacey’s work centers on an interesting premise: that cinema is uniquely tied to the science of cloning, since both are “technologies of imitation” which illustrate “a fascination with the boundary between life and death, and with the technical possibilities of animating the human body.” More than their fascinations with life and death, however, Stacey is interested in how scientific conceptions of cloning and genomics work concurrently with cinematic representations in creating “aestheticized forms of envisioning the human body.” In other words, scientists and filmmakers alike have visually codified genetic manipulation as a means of understanding and coping with its cultural and social ramifications. Stacey examines these attendant fears and desires surrounding genetic manipulation, referring to them as “the genetic imaginary,” a theoretical and cultural space in which “the fears and desires” around cloning and genomics are expressed and explored. She utilizes analyses of films from multiple genres (science fiction, the art-house thriller, feminist independent film, and body horror) to examine how fears surrounding genomics are expressed through both narrative and visual structure.

Stacey's explorations of the cultural impact of genomics on the psyche are fascinating but rather overwhelming, particularly because of her heavy dependence on prior theoretical works by the likes of Jean Baudrillard and Walter Benjamin. Unfortunately, Stacey focuses so heavily on explicating her predecessors’ works that she tends to obscure her own thoughts; her contributions to these theories get lost amongst the jargon of her theoretical ancestors. Stacey serves her reader well by anchoring her arguments in popular works like Gattaca and Alien: Resurrection, making her work more approachable and comprehensible. She succeeds when she pares down her writing and engages with fewer theoretical texts in an essay; for example, she provides an inspired and fascinating examination of feminine masquerade in the science fiction film, applying the theories of well-known feminists Luce Irigaray and Mary Ann Doane to constructions of men in narratives of cloning.

The Cinematic Life of the Gene is not for the novice cinema or science fiction scholar, but those seriously engaged in a cultural study of the moving image or genetics would serve themselves well to tackle it. Scholars aligned with feminist and queer theories will also find rich fodder for thought in Stacey’s attentions to feminism, gender, and sexuality on screen.

Written by: Joanna Chlebus, August 12th 2010

Who Do You Think You Are?

admin — Sat, 06 Mar 2010 03:11:00 +0000

By NBC Entertainment, Ancestry.com

Genealogy has never been so entertaining. Making its debut this evening, Who Do You Think You Are? explores the family history of a celebrity who travels about to find missing information and reconnect with their ancestors by seeing for themselves the location of their family’s historical events. Sponsored by Ancestry.com, the celebrities, of course, use the website as a primary source of their research. (Don’t worry, the tie-in is natural and not overly advertorial.) It’s an emotional experience to discover one’s roots and feel a family connection like never before.

Having received a screener of the entire season, which will unfold weekly for NBC viewers, the first episode staring Sarah Jessica Parker was the most gripping. She discovers that she has an ancestor who was involved in the Salem witch trials. As she waits for whether her ancestor was an accuser or a victim to be revealed, it’s most incredible to watch her conviction and sense of responsibility. She’s quite nervous about the results, and unsure which way it would go, but it was admirable that she felt the need to make things right in some way should her ancestor turn out to be an accuser.

However, the flip side is that she’s horrified by the idea of having an ancestor unjustly accused of being a witch. It’s fascinating to see her instant love for the relative and her immediate connection with the historical nature of the events. It's as if these were her own life events unfolding. It goes to show that there is a bond among families that surpasses time, distance, and even death.

The journey that most surprised me was that of Emmitt Smith. All I knew about him was that he used to be a football player. It was amazing to watch this bighearted man connect with his family despite the harshness of his genealogical roots in slavery. Most inspiring was his powerful respect when he learns that his grandmother successfully used her strength, intelligence, and strong protective instincts to make the best of a tough situation. He’s enormously impressed with her accomplishments and reveres her effect on his family's posterity. To watch a man view the power of a woman with such honor is truly beautiful.

Other celebrities featured in this first season of Who Do You Think You Are? are Lisa Kudrow, Matthew Broderick, Brooke Shields, Susan Sarandon, and Spike Lee. Lisa Kudrow's Jewish ancestry leads right into the Holocaust, and this is by far the toughest episode to watch. But if you can bear with Lisa through the heartbreaking journey, the ending turns out to be a small miracle in the midst of tragedy. Matthew Broderick's family history is full of war heroes, and Matthew’s research into his lineage helps to solve a 150 year old mystery. If you watch the show for its travel aspect, be sure to tune in for Brooke Shields' episode. She has an exciting family tree that leads to beautiful locations. Having a very unique family history, Susan Sarandon has always felt a connection with the grandmother she never met yet believes she inherited her best qualities from. The search for the truth of this women, who disappeared many years ago, is a challenging treasure hunt and the family connection through strong women is wondrously insightful. Spike Lee discovers a truth about his ancestors that he wishes weren’t true. It’s a look into genuine emotion, though with a tough exterior, as he tries to accept his family history, blemishes and all.

Who Do You Think You Are? gives you a mix of history lesson, travel show, and human interest documentary with a touch of reality TV. It’s a good mix that keeps the audience entertained while educating and enlightening them as well.

Written by: Sarah Eve Nichols-Fulghum, March 5th 2010

Gold Dust on His Shirt: The True Story of an Immigrant Mining Family

admin — Sat, 11 Jul 2009 17:32:00 +0000

By Irene Howard

Between The Lines

When you think about migrant memoirs of North America, stories of moving north from Latin America often come to mind more than those detailing moves east and west. Flipping around that common assumption, Gold Dust on His Shirt tells the story of Irene Howard’s Swedish-Norwegian immigrant family’s tumultuous life in Canada at the turn of the twentieth century.

After the death of her first husband in Norway, Howard’s mother Ingeborg immigrated to Canada. She left her young daughter Inga behind with the child’s grandparents, promising to send for Inga as soon as she was settled. Instead, once she arrived in Prince Rupert (in current day British Colombia), she met and married a Swede, Nils Alfred in 1913. Only seven years after Norway had gained its independence from Sweden, the couple felt—and was—thousands of miles from the political controversies of their homeland. Six months later, Ingeborg gave birth to their first son, Swedish-Norwegian-Canadian Arthur Ingemar. Over the years, Ingeborg and Alfred had several more children—Verner Erik, Nels Edwin, Irene—and were uprooted from their home several times. Alfred’s job working on the railroad demanded that the family relocate as work became available. As Alfred became involved with the Industrial Workers of the World (IWW) and began mobilizing other immigrant workers, his job prospects were often limited due to his radical organizing.

Reading about language barriers, death by tuberculosis or mine collapse, police raids, and workers’ struggles against mining companies is a sobering experience. Living a reverse tale of sorts—an American in Denmark, mostly unable to speak Danish—I have a lot of empathy for the characters in this story. I also suspect that my own Norwegian background and my adopted Danish family made this a more interesting tale for me. I didn’t mind reading about characters named Sigurd Ullstreng, Olav Trygvasson, and Elling Erikssen Aarvig. For me, it was a bit comforting and homey—or “hygge,” as we say in Danish.

Howard’s history is fascinating, though her presentation is a bit dry. At times, the book reads like a genealogy scrapbook instead of a memoir, listing people and events in a factual if uninspiring way. For history buffs, this is no doubt enjoyable. I will admit to struggling at times to wade through the details of a time and place with which I have no real familiarity. Yet Howard’s story is valuable and often untold, and her objective storytelling—in which she often removes herself entirely from the narrative, even though she lived through the same events—is a refreshing departure from the self-centered account most memoirs provide. I suspect I will revisit this book for years to come, perhaps as my roots deepen and spread among the Nordic states and North America.

Howard was born in 1922 amidst her father’s career change from mining to fishing. That she has survived the last eighty-seven years—three less than my own still-living Norwegian grandmother—with her story intact, now fully documented and published, is no small feat. In Norwegian, we say, “gratulerer”—congratulations.

Written by: Brittany Shoot, July 11th 2009