Film Review: The Day of the Locust

John Schlesinger’s (1975) vision of Nathaniel West’s seminal The Day of the Locust (1938) uses Hollywood to metaphorically depict America during the Great Depression. The story focusses on a small group of characters: the socially and sexually awkward Homer Simpson (Donald Sutherland), Yale graduate and storyboard illustrator Tod Hackett (William Atherton), ex-Vaudeville trouper turned door-to-door salesman Harry Greener (Burgess Meredith), and his daughter Faye (Karen Black), an ‘actress’ who is romantically involved with both Homer and Tod throughout.

All four characters have moved to Los Angeles to fulfil their fantasies. This includes gaining their share of the American dream and taking advantage of the country’s economic mobility. However as the film unravels it becomes evident that none of them will achieve this. Like the rest of the US that it represents, Los Angeles is unable to deliver on its promises. This idea is frequently alluded to throughout by Tod’s sketch of a group of faceless and miserable people, the locusts, sitting on a city bench and waiting for a bus that never seems to come.

The 'locusts' waiting for a bus that never comes (Schlesinger 1975)

Following my last post about falseness in Los Angeles, I think the metaphorical use of the city to represent a land of empty dreams is particularly interesting. This dates back to the late 19th century when boosters created an image of the city as the answer to the nation’s problems. In doing so they rewrote the region’s narrative using the ‘Spanish fantasy past’ as a foundation. The San Bernardino Arms, a crumbling Spanish Mission Revival style housing complex where our characters live, is perhaps a nod to the city’s artificial history. Following the era of intense boosterism described in my previous post, Los Angeles’ facade has only been amplified by the film industry. This is a key theme in The Day of the Locust. It is this dream that has lured the superficial and shallow to the city. Homer, Tod, Harry and Faye are all victims of this.

While the film does an excellent job portraying an unsatisfactory America and the profoundly negative effect unfulfilled promises can have on its people, I felt that Schlesinger went a little overkill on his metaphorical allusions. An apocalyptic final scene depicting rioting outside a premier at Grauman's Chinese Theatre suggests the country is headed for an anarchistic revolution. During this crux, Schlesinger perhaps hits the message a little too far home by overlaying Tod’s sketches of locusts onto the rioting crowd. This leaves very little for audiences to interpret themselves.

References

Schlesinger, J. (1975) The Day of the Locust, Hollywood: Long Road Productions

West, N. (1938) The Day of the Locust, New York: Random House.

Geography meets Film History: Urban economics in the early Hollywood era

I recently wrote about how the multidisciplinary nature of Geography encourages an exploration of other fields of study and the building of synoptic links between them. One such example is Film History. While film can itself be a method of geographical investigation, the film industry is also a particularly fascinating topic of study within the field of urban economics. This is something I have looked at in a recent piece of coursework.

In this paper I argued that vertical integration and localisation economies of scale, which characterised the Hollywood studio system, enabled much faster and more widely adopted innovations in the film industry than when it was centred in New York. This was done through a comparison of the swift and widespread incorporation of sound into cinema during the Hollywood era - in the space of a year, films went from being almost all silent to entirely spoken - with the more disparate and localised advancements that occurred on the East Coast.

Hanssen’s (2010) defines vertical integration as the process by which a business manages its entire supply chain. The Hollywood studio system clearly demonstrated vertical integration from its earliest days. This dates back to 1915 when Adolph Zukor merged the distribution company Famous Players with the Laksy Company and Paramount Theatres and moved to Los Angeles. The business born out of this would manage all three key stages of the film industry: production, distribution and exhibition*.

Localisation economies of scale, as defined by Storper (2013), occur when clustered companies of the same industry experience greater productivity and innovation. Scott and Soja (1996) explain why Hollywood is seen as the archetypal localisation economy of scale. Here companies are able to hire talented and short-term employees from a large labour pool, something of particular benefit in the project orientated film industry. Additionally, companies are able to learn from one another through ‘knowledge spillovers’ which is of particular significance when considering why innovations spread so quickly in Hollywood (Glaeser et al. 1992).

The rapid adoption of sound by the film industry is a perfect example of vertical integration and localisation economies of scale at work. While the technology for sound had been around since the 19th century, a previous inhibitor of this incorporation was the potential magnitude and cost of wiring studios and theatres for sound synchronisation and amplification. Without a guarantee of theatres that could play your films or a steady supply of talking pictures for your theatre, nobody wanted to take the first step (Sklar 1975). However once they owned both the theatres and studios, film companies were finally able to facilitate the transition at both the production and exhibition end. In addition to this, an ability to learn from surrounding companies through localisation economies of scale played a key role in the transition. A salient example of this is the boom microphone, first used to capture Clara Bow’s voice in The Wild Party (1929). This was swiftly adopted by other companies who quickly learned about the technology either through observation, spying or labour transfers (Mayne 1995). Thus, without these processes it is unlikely that the adoption of sound into cinema would have occurred in such a rapid and widespread manner.

To demonstrate this further, I examined the film industry when it was spread around the state of New York. During this time there were advancements in film, prominent examples being increased film lengths, large format film and panning camera shots (Sklar 1975). These innovations do however differ in their nature. Without vertical integration or economies of scale, such advancements were disparate and more locally fixed within the confines of the company that had pioneered them instead of being spread across the entire film industry.

Thus the film industry creates an interesting backdrop to examine the role of urban economics in the creation and growth of businesses in a certain time and space. This further demonstrates the interconnectivity of Geography as a field of study that expands into many others, in this case Film History.

*This ended in 1948 when the US Supreme Court’s anti-trust rule broke down the Hollywood oligopoly.

References

Hanssen, F. (2010) ‘Vertical Integration during the Hollywood Studio Era’, Journal of Law and Economics, 53, 3, 519-543.

Glaeser, E., H. Kallal, J. Scheinkman and A. Shleifer (1992) ‘Growth in Cities’, Journal of Political Economy, 100, 6, 1126-1152.

Mayne, J. (1994) Directed by Dorothy Arzner, Bloomington: Indiana University.

Scott, A.J and E.W. Soja (1996) The City: Los Angeles and Urban Theory at the End of the Twentieth Century, Berkeley: University of California Press.

Sklar, R. (1975) Movie-made America, New York: Random House.

Storper, M. (2013) Keys to the City: How Economics, Institutions, Social Interaction, and Politics Shape Development, New Jersey: University of Princeton.

Fall Quarter Classes

In his book What is Geography?, Alastair Bonnett (2008) attempts to address a question which has since my first day at UCL constantly reappeared as a inherent query in this overly-introspective field of study. His answer, while typically ambiguous like those that have come before, is in my opinion one of the best. Bonnett believes Geography to be the fundamental fascination with exploration. This is not just meant in a traditional sense, but also in a more conceptual way that sees us looking to study all aspects of the world both near and far. Indeed, the scope of what can be studied in Geography is enormous with the four classical groupings of environmental, economic, political and social only drawing further attention to the infinite breadth of the subject.

Out of this breadth and ambiguity is born a fantastic opportunity for a geography student abroad to explore new and unfamiliar territories. Enabled by the US’s university structure, which encourages a far more diverse educational experience than that of the UK, this exploratory drive has been my rationale while selecting the following classes for the Fall Quarter at UCLA:

Film And Television 106A - History of American Motion Picture

The purpose of this class is to explore the history of the American film industry from its origins to its current form. While it may not be initially apparent, the class is linked to Geography in multiple ways. Indeed, as frequently as film comes up in Geography, through studies of cultural and historical representation (Rose 2012), the ‘reel vs. the real’ (Aitken and Zonn 1994) and its role in the US’s global cultural hegemony (Wasser 2009), so too does Geography make itself known in film studies. Such examples include:

- the urban economics of vertical integration and economies of scale that hastened the creation of the Hollywood studio system,
- the importance of changes in social classes across the 20th century in the US that enabled film’s rise to become the most powerful and accessible means of entertainment to the masses,
- and the place of film as a geopolitical ploy, both during the era of wartime propaganda but also today as a means of reasserting US dominance around the world (Sklar 1975).

Assessment: 20% attendance and participation, 20% research paper, 20% mid-term exam, 20% reflective paper, 20% final exam.

International Development Studies 191 - China’s Trade with Africa: Neocolonial or Win-Win?

Perhaps demonstrating the most obvious links to Geography, this class examines the new and asymmetrical relationship between China and Sub-Saharan Africa. Based on concepts also covered in UCL’s Development Geography (GEOG2014) module, such as neo- and post-colonialism and the development of the African middle classes (Birdsall 2010; Kothari 2005), IDS 191 raises the question of whether China’s trade with Africa will be mutually beneficial or solely neocolonial and exploitative. While the class is an excellent opportunity to study what looks to become one of the world’s most lucrative trade ‘partnerships’, it is also a valuable chance to gauge an American perspective over its greatest global opponent. Indeed, the class taught by an ex-consultant for U.S.A.I.D and the World Bank meaning the overall impression of China given to students is overwhelmingly negative. It therefore seems unlikely that ‘win-win’ will be the answer to the class’ title question. Whether or not this is true will be seen through the group research projects undertaken by students. In these each group will investigate a specific African country’s trade relationship with China. My group assignment will be Tanzania.

Assessment: 100% group research project.

Religious Studies 120 - Judaism, Christianity, and Islam: Comparative Approach

One of the most appalling and tragic conflicts that has gripped the world for decades is the spread of violence through much of the Middle East. While clearly political, these conflicts are also deeply religious. Having studied such issues from a geopolitical standpoint, both at UCL and through the informative documentaries of Adam Curtis, I am now keen to gauge why such conflicts exist from a religious sense. As a student of a secular senior school my religious education was limited to the confines of a grudgingly attended Jewish Sunday-schooling. Thus RS 120 will provide an excellent opportunity to learn about the interconnectedness of the three Abrahamic religions and the conflicts arising both between them and internally among their many denominations. Composed by students from a range of religious backgrounds (an aspect which itself lends the opportunity to learn about others’ religious experiences and perspectives), the class is taught through a mixture of readings, discussions and guest speakers. It aims to cover topics from religious ancestors to the Israel-Palestine conflict.

Assessment: 20% weekly reflective question/comment, 30% mid-term exam, 50% research paper. 

I hope that through their synoptic ties, these classes will expand my geographical studies both inside and outside the classroom.

References

Aitken, S.C. and L.E. Zonn (1994) Place, Power, Situation, and Spectacle: A Geography of Film, Lanham: Rowman & Littlefield. 

Birdsall, N. (2010) ‘The (indispensable) middle class in developing countries; or, the rich and the rest, not the poor and rest’, Centre for Global Development Working Paper 207, Washington DC.

Bonnett, A. (2008) What is Geography?, Los Angeles: Sage.

Kothari, U. ( 2005) ‘From colonial administration to development studies: a post-colonial critique of the history of development studies’ in Kothari, A Radical History of Development Studies, London: Zed Books, 47-66.

Rose, G. (2012) Visual Methodologies, London: Sage.

Sklar, R. (1975) Movie-made America, New York: Random House.

Wasser, F. (1995) ‘Is Hollywood America? The trans-nationalization of the American film industry’, Critical Studies in Mass Communication, 12, 4, 423-437.