Monthly Archives: May 2009

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[Cross-posted at Cliopatria.]

Guernica

A couple of years ago I outed myself as something of a philistine by admitting that I didn't 'get' Guernica, and thought that direct representations -- photographs -- of the ruined city were more powerful, more affecting than Picasso's masterpiece. My incomprehension generated a fair degree of discussion, which was useful, but it was having to teach Guernica this week in tutorials which finally helped me make my peace with it. More specifically, learning something of Picasso's process of design and composition, and the politics of his commission from the Republican government, led me to a better appreciation of its symbolism. Although it depicts -- or rather is inspired by -- the bombing of a city, it seems to be set inside as much as outside, somehow. The woman holding a lantern could be leaning out of a window, one who survived the destruction but suffers from what she has seen. Or she could be leaning in, perhaps symbolising the inaction of the international community after seeing what had happened to Guernica. Creative ambiguity, indeed.

But the other source the students looked at this week was the 1959 French-Japanese film Hiroshima mon amour. And while I've come to understand something of Guernica's power, figurative and non-literal though it may be, I now have a problem with Hiroshima mon amour. In the most simplistic terms, it is a love story between a French woman and a Japanese man, who have a doomed affair in Hiroshima, ca. 1957. But the romance is not the point. Marguerite Duras, author of the screenplay, later wrote that:

Nothing is 'given' at Hiroshima. Every gesture, every word, takes on an aura of meaning that transcends its literal meaning. And this is one of the principal goals of the film: to have done with the description of horror by horror, for that has been done by the Japanese themselves, but make this horror rise again from its ashes by incorporating it in a love that will necessarily be special and 'wonderful', one that will be more credible than if it had occurred any where else in the world a place that death had not preserved.

But if she wanted 'to have done with the description of horror by horror', then why did she and director Alain Resnais include -- at times harrowing -- documentary footage of the ruined city and the victims of the atomic bomb? (Starting from 7.53, continued in the second clip.)
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Air War and How to Wage It

Noel Pemberton Billing has received a bit of criticism around here, and mostly for good reason. He couldn't design a decent aeroplane for toffee, he peddled lurid conspiracy theories, he was a relentless self-promoter. But I don't think he was a complete fool. He clearly had a fertile imagination (overly so, Maud Allen would have said) and sometimes he was on the money. Take his ideas for Britain's air defence, as expounded in his 1916 pamphlet Air War: How to Wage It.

There were two major problems at the time. The first was that Zeppelins were raiding British cities and weren't being intercepted, despite the existence of a substantial home defence establishment. It wasn't that they couldn't be intercepted, but that they couldn't be intercepted consistently. (Shooting them down was another a problem, of course.) The problem was one of command, control, communications and intelligence (C3I, though you can add letters to taste). Information about incoming Zeppelins and their locations usually wasn't timely or accurate, making it hard for fighters to find them in the dark. And most squadrons were based near the coast, meaning that the enemy was usually past the defences by the time the alarm was raised.

The second problem was that because the targets of the raiders were difficult to determine -- and for that matter, the Zeppelin crews themselves often didn't know where they were and dropped their bombs almost at random -- as a precaution alerts had to be sounded and lights blacked-out over large areas of the country. This disrupted sleep and production far more than was necessary.

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