[Marxism] Fwd: I Love You, Daddy | Louis Proyect: The Unrepentant Marxist

Dennis Brasky dmozart1756 at gmail.com
Sun Nov 12 22:41:11 MST 2017

When disturbing stories about respected artists come from the distant past,
we treat them dispassionately, as just one detail among many. Present-tense
or near-present-tense revelations hit us differently because we share the
same world as the artist, breathe the same air, feed the same economy. We
think of them as contemporaries, even as people we know. This kind of
revelation changes the relationship between the artist and the art, in a
way that places an unasked-for, unfair burden on the audience. This is
what’s happening culturewide. And it’s not the fault of people who didn’t
report it, or audiences who aren’t sophisticated enough to separate the art
from the artist. It’s the fault of the artists for being secret creeps or
criminals, and the fault of the system for making it possible for them to
act this way for years without being punished.

The allegations against C.K. also constitute a form of betrayal, against an
audience that trusts artists to make edgy, even unlikable work, and gives
them the benefit of the doubt when they wade into the deepest, darkest
parts of their imagination.

A well-crafted, intelligent story about the impact of rape, domestic
violence, pederasty, and so forth is already tough to watch. It becomes a
horrendous experience once you add the possibility that the writer or
director actually did what they’re depicting, and might be getting off on
making the audience squirm by representing it while not fessing up to their
relationship with it. It’s a power move, rooted in the thrill of subterfuge
and shock: an artist’s version of indecent exposure.


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