Let’s make crime a fashion (✘)
WHY IS NO ONE TALKING ABOUT THIS
I DON’T KNOW CAN WE TALK ABOUT IT PLEASE
They didn’t find him for a week.
reblogging because i headcanoned that they only found him because Tony happened to be flying that way and was like “that’s a freaking huge bird nesting in th- WHAT THE HECK CLINT? GUYS I FOUND CLINT!”
And then Clint was like, “CRAP, I HAD A GOOD THING GOING.”
As of this writing, John Green’s The Fault in Our Stars has sold over one million copies, and holds a place on several bestseller lists. The film adaptation of the book has made over two hundred million dollars in the domestic and foreign market. The book and the movie tell the story of two terminally ill American teenagers, and both contain a scene where the protagonists, Hazel and Augustus, share a kiss in the Anne Frank House. John Green made the following statement regarding the scene:
“Anne Frank was a pretty good example of a young person who ended up having the kind of heroic arc that Augustus wants—she was remembered and she left this mark that he thinks is valuable—but when he has to confront her death, he has to confront the reality that really she was robbed of the opportunity to live or die for something. She just died of illness like most people. And so I wanted him to go with a sort of expectation of her heroism and be sort of dashed.”
Here, Green makes it clear that he reads Anne Frank’s death as being from an illness like “most people,” like his protagonist. In doing so, he erases the circumstances under which she contracted typhus. “Most people” are not Ashkenazic Jewish teenage girls who contracted typhus in a concentration camp during the Holocaust. This fundamental erasure of the context of her death allowed him, those involved in the cinematic adaptation, and yes, a large portion of his readership, to accept the use of Anne Frank and her death as a prop in this American YA love story. Indeed, when further called on the issue, Green stated:
“I’ve been getting this question a lot. I can’t speak for the movie, obviously, as I didn’t make it, but as for the book: The Fault in Our Stars was the first non-documentary feature film to be granted access to the Anne Frank House precisely because the House’s board of directors and curators liked that scene in the novel a great deal. (A spokesperson recently said, ‘In the book it is a moving and sensitively handled scene.’) Abraham H. Foxman, national director of the Anti-Defamation League and a Holocaust survivor, had this to say: ‘The kissing scene in ‘The Fault in Our Stars’ in the annex of the Anne Frank House is not offensive or against who Anne Frank was. What Anne communicated in her diary was hope. She celebrated life and she celebrated hope.’ Obviously, the Anne Frank House and the ADL do not have a monopoly on Anne’s life or her legacy, but their opinions are important to me.”
I take issue with this response. Here, Green is divesting himself of responsibility for the scene, and communicating to his critics that he is not to blame, because the Anne Frank House board of directors, curators, and a Holocaust survivor approved of it. In other words, he is drawing these peoples’ assumed authority to silence criticism, and to avoid taking responsibility for the filmed version of a scene he created.
The Anne Frank House, for all the wonderful work it does, is a museum. Like all museums, it must work to attract and reach out to potential patrons. In other words, museums have to advertise because they require patrons and revenues to exist. Therefore, I read the official approval of the Anne Frank House simply as a targeted attempt to reach out to and attract a pool of untapped, younger patrons. They chose to support the filming of a sympathetic romantic scene about terminally ill teenagers in their institution to reach out to young people. While that is a sound business decision, I would argue that it’s hardly an ethical one for the Anne Frank House, an institution devoted, as per their website, to:
“the preservation of the place where Anne Frank went into hiding during the Second World War, and to bringing the life story of Anne Frank to the attention of as many people as possible worldwide with the aim of raising awareness of the dangers of anti-Semitism, racism and discrimination and the importance of freedom, equal rights and democracy,”
to support the filming of this scene. For, in Green’s own words, that scene had nothing to do with the context of Anne Frank’s death, and therefore, it did nothing to bring Anne Frank’s story to life. And it hardly raises awareness of contemporary European anti-Semitism.
As for the ADL, I very much agree with Mr. Foxman’s assessment of Anne Frank. However, what she celebrated in her life and her writings have little to do with what she has come to mean in within public memory of the Holocaust of European Jewry. Her narrative has been used by nations and educational systems to the extent that for many, she is the Holocaust; she is the face of the Holocaust. But what we inherit from her isn’t the experience of the Holocaust. That experience, and her death at Bergen Belsen take place outside the pages of her diary. Readers are never forced to experience the Holocaust through her eyes; they are able to embrace the tragedy of the Holocaust through her story while remaining removed from its experiential realities. Thus, Anne Frank becomes the Holocaust without forcing anyone to experience it. Her name can be invoked to summon tragedy, without forcing anyone to feel it.
While Anne Frank may be the face of the Holocaust of European Jewry, the memory of the experiential reality of the Holocaust is male. The way we conceptualize and remember the concentration camp experience is constructed by male narratives. More Jewish men survived the Holocaust than Jewish women. Due to attitudes towards education in the interwar period, more male Jewish survivors had the education and literary capital needed to craft enduring narratives of their experiences than did female Jewish survivors. There are three foundational male Holocaust survival narratives: Night by Elie Wiesel, Survival in Auschwitz by Primo Levi, and Maus by Art Spiegelman about his father’s Holocaust experience. Never have I seen those three men and their narratives used as a joke, or a meme, or a cheap narrative device, or as self-promotion by an American pop star.
These men are revered, and their narratives taken extremely seriously. And none of them, none of them have been used in a prop in a story about terminally ill gentile American teenagers. They survived, in perhaps the type of heroic arc a John Green protagonist would yearn for. Yet Augustus doesn’t look to them. He doesn’t share a kiss with his girlfriend at Auschwitz. He shared a kiss with her in the Anne Frank House.
Anne Frank is not a prop. She is not a symbol, she is not a teenager who happened to die of an illness, and she is not one of the canonical Jewish male survivors. She is one of many millions of Jewish women and girls who were industrially murdered like livestock, incinerated, and left in an unmarked grave. That is the story of the Holocaust of European Jewry, and that is the story of the persecution and murder of all Europeans (the disabled, Romani, Irish Travelers, homosexuals, Jehovah’s Witnesses, Communists) who failed to fit into Nazi racial and ideological constructs.
And we would all do well to remember that.
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A good point. I haven’t read TFIOS so I can’t speak as to how the scene feels, but a very interesting point in the analysis nonetheless.
Changes on our hands and on our faces, oh, oh
Memories are mapped out by the lines we’ll trace.
This makes me feel sort of weird. I can definitely see how it could be more powerful to be told that cheating makes you a cheater. Like, that’s part of your identity now. Which makes me wonder whether that’s actually a good thing to do. Because lots of us grew up thinking of ourselves as “a smart kid” or whatever, and that kind of label was actually counterproductive and lead to us overidentifying with our grades and school performances and having difficulty with perfectionism. So I could see how being told (over time, and often) that “you’re a helper” or “you’re a cheater” or whatever, can also serve as a label that makes you feel boxed in. So when you don’t help, you have a little mini identity crisis. Maybe? I feel like this kind of noun usage could be super powerful in that way, and should be used very carefully. I actually really wish that I’d grown up thinking of myself as a collection of actions I was choosing as opposed to an immutable set of characteristics, because I’d have ended up more flexible as an adult. I just feel weird about this.
yes, this reminds me of the studies on how damaging it can be to a person’s long-term success / coping for them to be labelled “gifted” as a child (vs hard-working). there’s a big distinction between what’s more effective for behavior modification and what’s healthier in the long run.
Yeah, I’m definitely leery of this idea. There were studies showing that attaching the importance to the action—“Oh, you worked so hard for that grade/you got a good grade because you studied hard for it” was better and more effective than putting importance on the kid’s character—“You did well because you’re a good test taker/you got a good grade because you’re smart”.
I definitely was one of the kids that developed a mini-complex from being called ‘the smart one’ when I was young, so I think this kind of wordplay and deliberate behavioral molding is extremely delicate. Calling someone generous is good, but is that kid going to develop a guilt complex when she doesn’t give away things, or is she going to cultivate a sense of moral superiority?
We don’t know these things. Humans are all so different and variable—these studies are interesting, but nobody on earth can say that one way is better or not, long term.
RUTH. BADER. GINSBERG.
YES YES YES
I want a fanclub for this lady, please.
in the distance you hear it
the blaring fog horn noise of the pacific rim fandom
I WANT TO WATCH THIS SO BAD AND NEVER HAVE TIME UGH
I feel this is very important.
It’s been apparent to me for a while that most men can’t really imagine “equality.” All they can imagine is having the existing power structure inverted.
I cannot decide whether this shows how unimaginative they are, or shows how aware they must be of what they do in order to so deeply fear having it turned on them.
"Most men can’t really imagine “equality.” All they can imagine is having the existing power structure inverted."
why do you never see baby pigeons
This is too funny NOT to draw
James Madison University joined the ever-growing list of U.S. colleges that have grossly mishandled sexual assault and rape cases last week when a young woman claimed that the school punished the three men who assaulted her by expelling them — after graduation.
Jon Stewart echoed the perplexed outrage of many on The Daily Show last night when he asked, “Wait a minute, ‘expelled upon graduation?’ Isn’t that… graduation? … What the fuck? … Clearly, universities are not making their campuses safe for women.”
ughhh FUCK THIS universities are so concerned with protecting their graduation rate and reputations that they’ll put half (or usually more than half, in US universities) of their students at risk in order to cover their own asses. we need our own gulabi gangs on campus.
secret society of muggleborn students dedicated to figuring out how to make wifi work at hogwarts
WANT WANT WANT. (if there is fic about this somewhere on the internet…I want it O_O)
ok guys so i just had a breakthrough
so in the beginning of the song pompeii by bastille it sounds like theyre saying eheu a bunch of times well eheu is latin for ‘alas’ or ‘oh no’
and iM STILL LAUGHING SO HARD BECAUSE ITS CALLED POMPEII AND MOUNT VESUVIUS DESTROYED THE FUCKIN CITY OF COURSE THEY WOULD BE SAYING OH NO
wait I literally just thought they were making weird ey-oh noises, like reverse hey-ho but more angsty. this changes so much.