Presented by John Valadez
Michigan native Michael Moore’s début film Roger and Me not only broke new ground in its presentation of the documentary essay, but was also a commercial and critical success. Released in 1989 the film is filled with caustic humor, and nearly 30 years later – in a post industrial age – remains relevant today. And with Michigan ingenuity – like so many of our students today – the film was made with little more than a camera, thoughtfulness, and audacity.
Oedipal Effigies & Modern Myths
7pm • Friday, January 26, 2018
Broad Art Museum, Educational Wing
—Programmed by Yelena Kalinsky & Ellen McCallum
Taking a cue from the Broad’s exhibition Michigan Stories: Mike Kelley and Jim Shaw, this program presents three films—two of which are Kelley collaborations—that are dark allegories of modern life: Peggy and Fred and Pete (1988), Kappa (1986), and Blind Country (1989). Children raised by television wander a post-apocalyptic landscape. A hedonistic folk demon satirizes the Oedipus myth. And a castrated buffoon is led through a feminine “realm of the senses.” Traditional sources of authority are unmasked, and we are cast into a dystopian present. As the narrator of Blind Country recites: “Our experience is surely, but gently, becoming pure absence. That is our evolutionary imperative. All prying objects, all things striving to trespass are diminishing. Now there is only acceptance. Accept, accept your loss.”
Broad Underground is an ongoing collaboration between the MSU Broad, Film Studies program, and Department of English at MSU. This year’s partnering venue is The Robin Theatre in REO Town, Lansing, with special thanks to the Lansing Public Media Center.
Professor Lauren Bialystok, Department of Social Justice Education, Ontario Institute for Studies in Education, University of Toronto
‘My Child, My Choice’? Parents’ Identity Claims and the Challenge of Sexuality Education
Many claims for recognition and special treatment take the form of asserting an identity and insisting that it imposes ethical obligations on others (“I am x, therefore you must y”). Claims of sexual identity are paradigmatically of this form: being gay or being gender non-binary, for example, entail certain treatment or non-interference by others because of their inviolability as identities. Parents who oppose progressive sexuality education are increasingly articulating their objections in an analogous form, i.e. in virtue of their identity as parents. But what kind of an identity is “parent”? By considering authority over sexuality education in terms of these identity dynamics (as opposed to, say, parental rights), I show that educational ethics demand a deeper account of what identity is and whose identities matter.
2/8 Without You I’m Nothing (John Boskovich, 1990)
Presented by Ellen McCallum
Sandra Bernhard stars in a studio version of her off-Broadway show, blending re-enactments of the original show’s pieces with concept vignettes and ‘testimonials’ to underscore the relationship between a performer and an audience.