Powerlessness as a Deep Variable in World History

The famous German filmmaker Rainer Werner Fassbinder, wrote and directed Ali: Fear Eats the Soul. In the original German, the word is not fear, but rather anxiety (angst). We want to argue that the corrosiveness of powerlessness in world society destroys minds, hearts and souls that has never been explored in the depth it deserves.

History books usually talk about the rise of empires, Assyrian, Spanish, British, etc. and the conquests of famous military leaders. It’s also true that fiascos and defeats are mentioned (e.g., Napolean at Waterloo).

The brilliant American writer James Baldwin, said when a people is either marginalized for a long time (including self-marginalization), slowly goes insane and begins to step off the edge of the world (most famously in the documentary, I Am Not Your Negro). Baldwin’s insight illuminates a nation having a nervous breakdown.

Three examples of powerlessness eating the soul come to mind:

All of these behaviors are social, psychological pathologies with roots in a long exposure to powerlessness. By contrast, Napolean’s defeat at Waterloo is a single instance in time, not an extended period of crushing mental defeatism. This becomes a haunting ghost that never really goes away.

There are nuances to be explored here, for example the Civil War defeat of the South as expressed in A Stillness at Appomattox. Resentments festered in the South’s psyche, and could be argued to linger to this day.

Thinking of this as the field of powerlessness studies, a central classic is Power and Powerlessness in Jewish History by David Biale.

The Jews have chosen the modern nation-state in the form of the state of Israel or American democracy, as the best guarantee for their survival. That they have identified with the nation-state is no surprise, for they have always demonstrated a shrewd understanding of the political forms of each age, from partial sovereignty in imperial antiquity to corporate power in the Middle Ages. Identification with the state is the modern version of Jewish politics; different strategies pertained in the past. To suggest that modern Jews should adopt some other strategy for survival-to argue that nationalism or democratic pluralism are foreign to Judaism—is to ignore the political legacy of Jewish history, a persistent tradition of political imitation and accommodation, but never of passivity or retreat from politics. Zionism and Diaspora nationalism in their modern forms may be new in Jewish history, but they represent no more and no less than the latest incarnation of this political tradition.

These contemporary strategies for survival, for all their limitations and failures to fulfill messianic expectations, have still proven to be largely successful. The Jews of Israel and the Western Diaspora face less of a threat to their physical survival than at any other time since the end of the Holocaust and certainly less in comparison to the Jews of Europe before the Holocaust. To say that these Jews are secure would be foolhardy in light of Jewish history, but they are certainly more secure than many allow themselves to believe.

The discrepancy between contemporary Jewish power and the insecurity many Jews feel owes much to the inverted image that modern anti-Semites have of Jewish power. If Jews typically see themselves as less powerful than they really are, anti-Semites, since the nineteenth century, portray them as much more powerful: a secret cabal in control of the world. The state of Israel has not diminished this paranoia; on the contrary, anti-Semites now see Zionism as a force equal to twentieth-century imperialism. Afraid of feeding these bizarre delusions, many Jews shrink from acknowledging the actual power they possess. The reality, as I have argued throughout this book, lies somewhere between Jewish fear and anti-Semitic fantasy.

Traumatic historical memories play as great a role in the Jews’ misperception of their contemporary power. Every nation labors under the burden of its own history, caught in the tensions between its understanding of history and current political realities; these tensions are often the cause of misguided political decisions. The United States, torn between conflicting legacies of isolationism and interventionism, and fearful of being perceived as a “paper tiger,” became entangled in Vietnam. The Soviet Union, invaded repeatedly by the West, holds tenaciously to the countries of Eastern Europe as a buffer against imagined Western threats. The Germans, fearful of their neighbors and obsessed with national unification, repeatedly launched wars against the rest of Europe, only to hind themselves after World War II permanently divided and the most likely battlefield for a war between East and West; by succumbing to paranoid tears and messianic appetites, the Germans brought down on themselves exactly the situation they most dreaded.

None of these examples sheds direct light on the dilemma of the Jews, for no other nation has a history analogous to theirs. But each of these cases suggests that the burden of history is a problem common to all nation-states, even as the shape and content of the burden differs. For Jews, contemporary political problems return inevitably and fatefully to the Holocaust, the final denouement of European Jewish history.

The Jews have classically defined their history as unique, and in many ways it is. Their victimization by the Nazis revived anew this sense of uniqueness, at a time when ideologies of “normalization” had begun to undermine the concept of a Chosen People. For many, the return of the Jews to sovereignty could be understood only against the backdrop of the Holocaust, the epitome of the powerlessness of a powerless people: the Holocaust became a metaphor for the special character of all of Jewish history, and only Jewish sovereignty could be a response to this condition of impotence. I have argued that the extremes represented by the boundless terror of the Holocaust and by the victories of the state of Israel should not distort our perception of the Jews’ relationship to power throughout Jewish history; neither should they blur our vision of politics today. To see both past and present realistically without forgetting or suppressing the memory of the Holocaust remains the Jews’ particular burden from history.

When they consider their past, the Jews have no choice but to grapple with the Holocaust. But the Holocaust may also convey a different message with respect to the future: it may signify that the fate of the Jews is no longer unique, becoming instead a symbol for the fate of all mankind. In the twentieth century, the promise of the nation-state, which the European Enlightenment believed would free mankind, has been irrevocably compromised. With the murder of the Jews, the nation-state went mad, reducing some of its subjects to powerless pawns and, finally, corpses. The Nazis were by no means the only twentieth-century rulers to terrorize and murder those they ruled, but they did so with a systematic efficiency and industrial rationality never imagined before.

The total deprivation of human rights and utter degradation suffered by the Jews are not a closed chapter buried in history. Throughout the world today, dictatorships of widely different ideological persuasions have remembered the lessons of the totalitarian regimes of the 1930s and 1940s. In the atrocities committed by governments against their own citizens, the terrifying legacy of the Holocaust lives on. The very powerlessness of the Jews under the Nazis is a warning of the possible fate of human beings anywhere in the world.

The powerlessness of the Jews during the Holocaust also points to the fate of all humanity in the face of nuclear war. It is now possible for governments to deliver the ovens of Auschwitz to all corners of the earth, to make a holocaust of all mankind. Like the Jews of Nazi Europe, the people of the world will be utterly impotent in such a war, neither soldiers nor even innocent bystanders, but, again like the Jews, intentional victims.

As a metaphor for a new politics of irrationality, the Holocaust contains a message of inescapable relevance for a nuclear world. For the first time in human history, a government sought to eradicate a whole people from the earth for reasons that had nothing to do with political realities. In a similar way, the idea of nuclear war lacks the most elementary political rationality, for it would necessarily destroy everything it meant to save: it would take genocide, invented in its most systematic form by the Nazis, to its global and ultimately suicidal conclusion.

Post-Holocaust Jewish nationalism—the accepted ideology of many of the world’s Jews—derives its logic and its legitimacy from both the modern history of the Jews and the modern history of the world. From this point of view, Jewish nationalism is the irrefutable answer to the powerlessness of the holocaust. At the same time, as a prefiguration of the terrors of contemporary politics, the Holocaust has thrown a dark shadow over the future of the nation-state as such, diminishing the promise of modern nationalism for the Jews as for all other peoples.

The urge toward a normal existence in a Jewish state grew out of a profound desire to escape the “unique destiny of a unique people.” Yet, if a “normal existence” today means confronting the terror of global nuclear genocide, then instead of the Jews escaping their historical destiny, it is the world that has become Jewish; the Jews have entered the world of nations only to discover that all mankind faces the holocaust they themselves already suffered. In this world, power is no longer a complete antidote to powerlessness. Possessed of the power to destroy this world, the nations of the earth have become the prisoners of their own might, limited in their sovereignty by forces of their own making: power has created its own vulnerability.

In this dialectic between power and vulnerability, the long history of the Jews may unexpectedly serve as a beacon to the nations. From biblical times to the present day, the Jews have wandered the uncertain terrain between power and powerlessness, never quite achieving the power necessary to guarantee long-term security, but equally avoiding, with a number of disastrous exceptions, the abyss of absolute impotence. They developed the consummate political art of living with uncertainty and insecurity; their long survival owes much to this extraordinary achievement. Jews today must struggle to come to terms with this history in light of their present power, to see both past and present through a realistic lens, neither inflating their power nor exaggerating their powerlessness. The lessons this history can teach are necessary for their own continued existence and are equally relevant to the continued existence of mankind.

David Biale, “Epilogue: The Political Legacy of Jewish History”, Power and Powerlessness in Jewish History, Knopf Doubleday, pages 206-210.


If you combine Fassbinder’s notion of fear eating the soul with Baldwin’s warning against chronic marginalization, we begin to see the phenomenon of powerlessness as an under analyzed variable in world history.

What Do We Mean by “Spheres of Existence”?

The classic Hollywood film, How Green Was My Valley, is set in a Welsh coal-mining community over a hundred years ago. The spiritual head of the community, played by Walter Pidgeon, is walking along a hillside with a young boy who was traumatized after being injured in an accident. After some small talk, Pidgeon’s character tells the boy that prayer will help him heal. He explains that this isn’t mumbling in a church; what he means by prayer is the deepest possible communication with oneself, thus existentializing it.

This whole dimension derives from the existence-watchers Pascal and Kierkegaard. For example, Kierkegaard writes, “My principal thought was that in our age, because of the great increase of knowledge, we had forgotten what it means to exist, and what inwardness signifies.” (Quoted from “Truth Is Subjectivity”, a section in Concluding Unscientific Postscript to Philosophical Fragments.) Note that when you watch a very gifted scientific analyst, like Robert Lawrence Kuhn, whose PBS series Closer to Truth, represents the opposite of Kierkegaard’s inwardness.

In “Realms and Domains: Levels and Confusion”, we presented realms and domains as ways of shaping knowledge. Kierkegaard utilizes the word “sphere” to communicate a similar concept. Think of the term in geometry or as a “sphere of influence” in geopolitics.

Kierkegaard tells us, “There are thus three spheres of existence: the aesthetic, the ethical, the religious.” Let’s explain these three spheres. By “aesthetic,” he means the pursuit of wine, women and song as a life. The European academic song, “Gaudeamus igitur” embodies this philosophy. In the Eugene O’Neill play, Long Day’s Journey into Night, one of the characters exclaims, “In vino veritas!” (Latin: in wine, there is truth.)

By ethical, Kierkegaard is not describing a great concern for morality. He means, rather, the sense of camaraderie felt by someone for their fellows. A strong example of this occurs in the film, The Third Man. Trevor Howard plays a conscientious Royal Military Police officer, whose mission is to catch the elusive criminal played by Orson Welles. Howard’s officer’s entire existence is characterized by his desire to protect the public and his men. One could says this protectiveness is his bottom line.

To understand what Kierkegaard means by the religious, we quote, “Existence constitutes the highest interest of the existing individual, and his interest in his existence constitutes his reality. What reality is, cannot be expressed in the language of abstraction.” In The Third Man, the criminal’s girlfriend embodies the religious sphere. Her every task in daily life can be described by the previous quote.

Kierkegaard also has a very penetrating analysis of humor and irony, given his spheres of existence. Think of a comedian like Woody Allen, who has the intelligence to glimpse the profundity of existence but this wavelength makes him intensely anxious, provoking humor. These jokes are escapist, attempting to flee the tension of existence.

Finally, there are existence-watchers like the great American author Walker Percy. In his masterpiece, The Moviegoer, he depicts a current world so fragmented, adrift and soul-crushing that the protagonist tries to find his salvation in going to movies. He sees the experience of viewing the movie as being part of a congregation. Kierkegaard writes, “In our age it is believed that knowledge settles everything, and that if a man only acquires a knowledge of the truth, the more briefly and the more quickly the better, he is helped. But to exist and to know are two very different things.”

Movies as a Part of Remedial Education

It’s almost “un-American” to be honest about the nightmare side of life when you cannot “walk on the sunny side of the street” and operate under all those facile Americanisms about “I’ve got the world on a string…” in all the songs and movie lines.

Film noir is supposed to be an antidote to this “false sunniness” and there’s one classic example that exemplifies this undiscussable nightmare side of life, namely, Detour (1945), directed by Edgar Ulmer.

Edgar Georg Ulmer was a JewishMoravian, AustrianAmerican film director who mainly worked on Hollywood B movies and other low-budget productions, eventually earning the epithet “The King of PRC,” due to his extremely prolific output on the said Poverty Row studio.

Wikipedia

As a refugee/expat, he understood that life isn’t always “a bowl of cherries” and set out to show this in his films.

In this underrated Ulmer masterpiece, Tom Neal plays a musician, Al Roberts, who gets into a labyrinthian mess via bad luck and some mindless impulsiveness combined. Detour is a kind of “road movie” in hell. With life and the world a kind of hellish school, the protagonist Al Roberts captures the enforced money-madness in everything:

Money. You know what that is, the stuff you never have enough of. Little green things with George Washington’s picture that men slave for, commit crimes for, die for. It’s the stuff that has caused more trouble in the world than anything else we ever invented, simply because there’s too little of it.”

To this nightmarishness, there’s to be added the irrationality of fate or destiny or karma or luck:

“That’s life. Whichever way you turn, Fate sticks out a foot to trip you.”

— Al Roberts, Detour

He adds:

“But one thing I don’t have to wonder about, I know. Someday a car will stop to pick me up that I never thumbed. Yes. Fate, or some mysterious force, can put the finger on you or me for no good reason at all.”

[as narrator] “Until then I had done things my way, but from then on something stepped in and shunted me off to a different destination than the one I’d picked for myself.”

Vera comments:

“Life’s like a ball game. You gotta take a swing at whatever comes along before you find it’s the ninth inning.”

Hitchhiking, say, is often hellish and not romantic and usually not a Jack Kerouac On the Road poetic or rhapsodic adventure at all, as Al Roberts explains:

“Ever done any hitchhiking? It’s not much fun, believe me. Oh yeah, I know all about how it’s an education, and how you get to meet a lot of people, and all that. But me, from now on I’ll take my education in college, or in PS-62, or I’ll send $1.98 in stamps for ten easy lessons.”

Nightclubs too are not always heavenly escapes:

[voiceover] “It wasn’t much of a club, really. You know the kind. A joint where you could have a sandwich and a few drinks and run interference for your girl on the dance floor.”

— Al Roberts, Detour

Women might not be the salvation you were told to expect in songs like “Some Enchanted Evening” from South Pacific.

“Vera was just as rotten in the morning as she’d been the night before.”

— Al Roberts, Detour

There’s a genre of American films called “lowlife stories” such as The Hustler with Paul Newman.

Ulmer’s Detour is not exactly a “lowlife movie” but rather an undiscussed dark side to life movie, nor is it “stylishly pessimistic” (like the French “poetical pessimism” movies) but rather a truth-telling exercise that shows stability and permanence and happiness as “living” on thin ice. American “cock-eyed optimism” isn’t always appropriate.

In that sense, Detour is a part of remedial education.

Navigating through Sources

Consciousness and the Novel: Connected Essays by the famous British novelist David Lodge is a classic work published by Harvard in 2004.

In this Lodge book, the author mentions a famous British society-watcher, Charles Masterman. In 1909, Masterman published his best-known study, The Condition of England, which tells us that England at that time experienced a greater inflow of migrants into London than in previous centuries taken together.

[Charles Frederick Gurney Masterman PC MP (24 October 1873 – 17 November 1927) was a British radical Liberal Party politician, intellectual and man of letters. He worked closely with such Liberal leaders as David Lloyd George and Winston Churchill in designing social welfare projects, including the National Insurance Act 1911. During the First World War, he played a central role in the main government propaganda agency.]

We then notice that one recurrent topic in various movie versions of the E. M. Forster novel Howards End (1910, set in those years) is the “horrifying” trend where great mansions and stately estates (Howards End and Wickham Place, say, in the novel) are all being demolished and replaced by ugly “flats.”

There must be, one thinks, a direct link between all the massive migrations into London at the time and all the proliferating flats at the “expense” of beautiful and historical villas. (This “demolish” trend is also part of the story of the classic novel A Handful of Dust by Evelyn Waugh, 1934)

In the predecessor to Downton Abbey called Upstairs, Downstairs, the story ends in 1930 with a sign outside the great “house” at Eaton Place offering flats coming soon, as the demand for housing (think of San Francisco today) is so massive that sellers can make a fortune selling out to developers, move into one of the flats being created, and live off the sale for the rest of their lives and “duck” the higher “Lloyd George taxes.” (In Downton Abbey, the dowager played by Maggie Smith repeatedly lashes out at Prime Minister Lloyd George as a kind of financial traitor.)

We see from this simple example how students should learn to “jump” between books and movies and TV miniseries to get a stronger focus on what’s being depicted on screens and pages and not just “swim along” at the surface level without any “drilling down.”

Education is largely the struggle or habit where students learn to bring pattern and structure out of “chaos,” thus giving narratives some overall shape.

This reminds one of the opening lines of Beryl Markham’s 1942 Africa memoir:

“How is it possible to bring order out of memory? I should like to begin at the beginning, patiently, like a weaver at his loom. I should like to say, ‘This is the place to start; there can be no other.’ ”

from West with the Night by Beryl Markham

This is a similar impetus: to bring order out of memory or others’ memories in books and movies from various times and places.

Looking Around Is Educational

Julian Fellowes (the writer who gave us Downton Abbey) followed up with a 2018 movie called The Chaperone about a girl named Louise Brooks who became a global superstar, especially in Weimar (pre-Hitler) Germany:

Louise Brooks is a rebellious 15-year-old schoolgirl who dreams of fame and fortune in the early 1920s. She soon gets her chance when she travels to New York to study with a leading dance troupe for the summer—accompanied by a watchful chaperone.

Louise Brooks starts as a would-be dancer, “inducted” into an avant-garde dance school. This is the Denishawn School of Dancing and Related Arts (founded in 1915 by Ruth St. Denis and Ted Shawn in Los Angeles, California), which helped many perfect their dancing talents and became the first dance academy in the United States to produce a professional dance company.

Upon Louise’s “induction” into the school, one of the founders says to the girls, “Remember you are not in your body, your body is in you.”

The listener wonders: What could this possibly mean?

The answer is this: In one sense you have a body, but in another, you are your body. The first body is the “thing” you weigh on the bathroom scale. This is your interaction with gravity, as measured in conventions like pounds. On the other hand, you are also “somebody” (i.e., some body). To have and to be are entwined here. In philosophy, say in the writings of Gabriel Marcel during the fifties, the body you weigh is “corporeal” and the body you are is “existential.”

Very roughly, the first body is objectively weighed, the second subjectively sensed as your experience of yourself.

Physics and Dance (by Emily Coates and Sarah Demers), a recent book from Yale University Press, gives you the dancing body as a biomechanical problem. Dancing itself is the expression through biomechanics and movement based on physics, but apart from this, it’s also an art form.

The student will see that a moment in a movie—in this case The Chaperone—can open a door to a whole set of domains, realms and phenomena. Education at its best comes from learning how to go from such instantaneous accidents on the street or screen to a larger canvas.

Thus the declaration, “Remember you are not in your body, your body is in you” explains that biomechanics is an infrastructure, while the artistry of the dance is an art form (i.e., a kind of “communicative action,” to use a Habermas phrase).

Education and the Movies: The Issue of Political Irrationality

The Prime of Miss Jean Brodie is a movie masterpiece that is enormously educational not for the particular details of the story but for the phenomenon of politics as an outlet for personal problems: The Prime of Miss Jean Brodie is a 1969 British drama film, based on the novel of the same name by Muriel Spark. Directed by Ronald Neame, it stars Maggie Smith in the title role as an unrestrained teacher at a girls’ school in 1930s Edinburgh.

Maggie Smith (whom you know from Downton Abbey as the aggressive matriarch) plays a romantically naive schoolteacher at a girl’s school in Scotland, 1930s. She has a “big time” crush on a handsome gym teacher whom she discovers in bed with one of the young girls—“Sandy” and has a kind of nervous breakdown or better, “image of the whole correctness of the world” breakdown.

The teacher sees newsreels of Mussolini in Italy and begins to think of him as a “romantic savior and ‘world-cleaner’ who will clean up the illegitimate situation at her girls’s school in Edinburgh and salvage her dignity and place and prestige and sense of how the world should be. On the one hand Miss Brodie talks about the girls of the school as ‘la crème de la crème’ but how does that comport with ‘Sandy’ and the male gym teacher sharing their beds with each other? The ‘cognitive dissonance’ (incompatibility) in Miss Brodie’s mind is causing her to break down and flee into fantasy land (i.e., Mussolini will restore the romantic world to the way it’s supposed to be). She goes deeper and deeper into this nutty vision of salvation and romantic re-balancing and at the end of the movie, ‘Sandy’ senses that she’s coming unglued and is borderline bonkers. Thus the title ‘the prime of’ can be thought of as ironical or sardonic since the teacher Miss Brodie is flipping out and ‘maps’ her romantic frustrations” onto Mussolini. This is what makes politics so dangerous (i.e., it serves as a “Rorschach test” for people’s inner irrationalities and yearnings and they “see” what they need to see).

Harold Lasswell (died in 1978) spent his life exploring politics and people’s private lives, order, sense of things, grievances, in such books as Psychopathology and Politics.  If you watch the movie The Prime of Miss Jean Brodie you will see how people use politics as a “screen” on which they project their emotions, grievances, hurts, humiliations, hysteria, anger.

Harold Dwight Lasswell (February 13, 1902 – December 18, 1978) was a leading American political scientist and communications theorist. He was a Ph.D. student at the University of Chicago, and he was a professor of law at Yale University. He served as president of the American Political Science Association (APSA), of the American Society of International Law and of the World Academy of Art and Science (WAAS).

He has been described as a “one-man university” whose “competence in, and contributions to, anthropology, communications, economics, law, philosophy, psychology, psychiatry and sociology are enough to make him a political scientist in the model of classical Greece.”

Table of Contents for Lasswell’s Psychopathology and Politics Book

Introduction
Preface
I. Life-Histories and Political Science
II. The Psychopathological Approach
III. A New Technique of Thinking
IV. The Criteria of Political Types
V. Theories of Personality Development
VI. Political Agitators
VII. Political Agitators—Continued
VIII. Political Administrators
IX. Political Convictions
X. The Politics of Prevention
XI. The Prolonged Interview and Its Objectification
XII. The Personality System and Its Substitutive Reactions
XIII. The State as a Manifold of Events
Afterthoughts—Thirty Years Later
Appendix A. Select Bibliography
Appendix B. Question List on Political Practices
Index

(2016 reprint of 1930 edition. Full facsimile of the original edition.)

First published in 1930, this classic study of personality types remains vital for the understanding of contemporary public figures. Lasswell’s pioneering application of the concepts of clinical psychology to the understanding of power brokers in politics, business, and even the church offers insights into the careers of leaders as diverse as Adolf Hitler and, arguably to more recent figures such as Richard Nixon, Donald Trump and the Clintons.

Movies should be your off-campus alternate university. You should ask yourself does this movie and Lasswell’s notions of psychopathology in politics help me understand authoritarian leaders today and such bizarre phenomena as half-dead prisoners in Stalin’s gulags bursting into tears in March 1953 when they learned of his death. Why sob over the death of the man who’s murdering you and tormenting you and your family?

Movies as a “Backdoor Into Financial History”

“Financial history” (the Professor Niall Ferguson PBS miniseries, The Ascent of Money, of recent years tries to “flag” this domain) can be exciting and eye-opening if the student fins the kind of “backdoor” into it that makes it all enchanting and not a tiresome slog through opaque textbooks.  Movies are a good way to “parachute” into fields, domains, areas of study:

The 1963 movie Mary Poppins is partly about bank runs and the “Tuppence” song in the movie communicates the centrality of London finance in the world of 1910, the setting of the movie:

“You see, Michael, you’ll be part of railways through Africa
Dams across the Nile, fleets of ocean Greyhounds
Majestic, self-amortizing canals
Plantations of ripening tea
All from tuppence, prudently fruitfully, frugally invested
In the, to be specific
In the Dawes, Tomes, Mousely, Grubbs
Fidelity fiduciary bank

Now Michael, when you deposit tuppence in a bank account
Soon you’ll see
That it blooms into credit of a generous amount
Semiannually
And you’ll achieve that sense of stature
As your influence expands
To the high financial strata
That established credit, now commands
You can purchase first and second trust deeds
Think of the foreclosures
Bonds! Chattels! Dividends! Shares
Bankruptcies! Debtor sales! Opportunities
All manner of private enterprise
Shipyards! The mercantile
Collieries! Tanneries
Incorporations! Amalgamations! Banks”

The current  U.S. Treasury Secretary Mnuchin was a foreclosure king of the Great Recession of 2008.  An American movie on “bank runs” is of course the classic It’s a Wonderful Life (with James Stewart as the local banker.)

The 1910 world of London finance show in the movie Mary Poppins can be now contextualized by realizing all of this crashed down in August 1914 which represents the beginning of post-WW 1deglobalization.”  Thus, finance and globalization issues haunt the present.

Walter Bagehot’s masterpiece of 1873, Lombard Street, is a kind of anticipation of this syndrome and Charles Kindleberger‘s (MIT) Manias, Panics and Crashes gives the sense of the underlying instability.

Kevin Phillips’s book Bad Money of 2008 outlines the dangers of “over financialization.”

The movie and the fun song can help a student find his or her way in to these areas and domains.

Movies as a “Parachute” or Backdoor Into the Field of Economics

Here’s a second example of using movies to “sneak up on” a field such as economics.

Think of the movie, The Treasure of the Sierra Madre, from 1948, a Humphrey Bogart classic:

In 1925, in the Mexican oil-town of Tampico, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), two unemployed American drifters, survive by bumming for spare change. They are recruited by an American labor contractor, Pat McCormick (Barton MacLane), as roughnecks to construct oil rigs for $8 a day.  When the project is completed, McCormick skips out without paying the men.

Returning to Tampico, the two vagrants encounter the grizzled prospector Howard (Walter Huston) in a flophouse. The loquacious and penniless ex-miner holds forth on the virtues of gold prospecting and the perils of striking it rich. The two younger men feel the lure of gold and contemplate its risks. Dobbs and Curtin run into McCormick at a cantina, and after a desperate bar fight, they collect their back wages in cash. When Dobbs wins a small jackpot in the lottery, he pools his funds with Curtin and Howard to finance a gold prospecting journey to the Mexican interior.

The flophouse mentioned above (“Oso negro”) has a quick scene which is a marvelous “parachute” into economics:  a group of men begin to reflect on why gold is so expensive while the basics of life like water or air are not.  Howard (their “cracker barrel philosopher-sage,” played by Walter Huston) explains that a thousand men set out to find gold.  999 of the men fail to find any, one finds some.  The price of gold has to reflect the costs of finding it (i.e., men, equipment, time, effort, opportunity costs, risks, danger, etc.) by all thousand and include the 999 failures and not just the one success.  This is an example, albeit primitive, of something like the labor-theory of value explored by Ricardo and then Marx:

Labor theory of value

The labor theory of value (LTV) is a heterodox theory of value that argues that the economic value of a good or service is determined by the total amount of “socially necessary labor” required to produce it. … Marx did not refer to his own theory of value as a “labor theory of value.

Again, using this movie as a charming or enchanting “jumping off place,” you would begin to “dive into” those pages of the textbook that are relevant, much as you’d use a dictionary to look up some words. You then read towards the front and the back of the textbook, coming at it your own way, mindful of these questions of yours which begin to give the field a “shape.” You could do the “standard slog” through the textbook, none of which you remember three days after the course because nothing was based on your own “enchanted” searching and exploring.

Lastly, the author of the original 1927 novel, on which the movie is based, B. Traven was a German anarchist and he may have analyzed the world and its prices and costs (i.e., economics) like Howard in the movie.  This too is itself another “pathway” into economics, a biographical one.

Movies as a Backdoor Into Economics

We argue that one can only “parachute” in and out of a knowledge field by means of an “enchanting backdoor” and not by grim wrestling with a gigantic textbook alone. A textbook should be seen as a “dictionary” or reference book for a field and you dip into when needed as opposed to being oppressed by it.

Here’s a simple illustration of this:

There’s a classic British movie, The Stars Look Down from the forties starring Michael Redgrave. The movie tells the story of a poor boy from a Northern depressed coal-mining town who survives the downward drag of his bleak circumstances and winds up at a university based on his intelligence.

One scene in the movie shows him at a university debate where resources are a point of contention. He mentions the classic book by Jevons called The Coal Question (how much coal is there geologically and economically, given costs and prices). Jevons was a great 19th century mathematical economist. A would-be “parachutist” in economics reads this and then wonders how it might be applied to oil today factoring all costs, including ecological costs, costs of oil spills (i.e., the Exxon Valdez, etc.) and then looks up relevant pages if any in the textbook. This gives economics a context, a time, a place, a question, a “shape.” The student studies up on Jevons, say, using all this as a “backdoor” into both field and textbook.

William Stanley Jevons FRS (1835-1882) was an English economist and logician. Irving Fisher described Jevons’s book, A General Mathematical Theory of Political Economy (1862), as the start of the mathematical method in economics.

The Jevons Paradox

The Coal Question: An Inquiry Concerning the Progress of the Nation, and the Probable Exhaustion of Our Coal Mines is a book that economist William Stanley Jevons wrote in 1865 to explore the implications of Britain’s reliance on coal.

There’s more to be uncovered:

In the classic book on urban economics, Triumph of the City, by Glaeser of Harvard, the author says:

“The nineteenth-century English economist William Stanley Jevons noted that more-fuel efficient steam engines didn’t lead to less coal consumption. Better engines made energy use effectively less expensive, and helped move the world to an industrial era powered by coal. The term, Jevons paradox, has come to refer to any situation in which efficiency improvements lead to more, not less, consumption—one reason why fuel-efficient cars can end up consuming more gas. Jevons paradox applied to information processing means that as we acquire more efficient means of transmitting information, like e-mail or Skype, we spend more, not less, time in transmitting information.”

(Edward Glaeser, Triumph of the City, Penguin Books, 2011, page 37)

Adding more roads to a road system can add to the congestion one expected to relive by attracting even more cars, a Jevons-type phenomenon.

It’s only by “going off” on a direction originating from outside the field (from movies to classic names and analyses to traffic other “congestion” phenomena, can one then “charge up the hill” of a field like economics, where you start with a kind of sense of enchantment and harbor such questions as raised by the movie, The Stars Look Down.

One “sneaks up on” a field one’s own way and sooner or later goes beyond the field asking how does this kind of thinking relate to other parts of a university…enchantment and more holism carry the student forward. Without these “twin engines,”” one is being processed by the grim “the knowledge factory” as opposed to becoming a processor and not just a processee.