Summary
Highlights
Jerrold Tarog, a filmmaker, discusses storytelling, particularly in films that deviate from norms or are controversial. He mentions his films like 'Heneral Luna' which blend fiction and facts, leading to interpretations that he glorifies authoritarians. He poses the question of a storyteller's responsibility towards the audience regarding clarity, relatability, and offensiveness.
Tarog introduces the concept of 'the death of the author,' where the meaning of a narrative resides in the reader's interpretation. He uses examples like 'Black Panther' being interpreted as deeply evil or 'Titanic' as a lesbian love story, despite the author's intentions. He asks what happens to communication if the author's intent is disregarded.
Our brains are hard-wired to think in stories due to evolutionary psychology, specifically an over-detection of agency. This means we naturally attribute conscious intent to random events, as illustrated by perceiving an intruder from a noise or a sign from a billboard. He further demonstrates this with an animation where geometric shapes are instinctively interpreted as characters with a narrative.
Tarog argues that storytellers do not have a responsibility to be clear, relatable, or non-offensive. Freedom to experiment and explore is a prerequisite for creativity, leading to avant-garde works that may initially be unfamiliar but can inspire future works, such as abstract films influencing '2001: A Space Odyssey.' He advocates for the freedom to be offensive to uncover objective truths, as not all truths are convenient.
While storytellers should have the freedom to depict complex characters, they also have a moral responsibility to be fair, not mean-spirited. Using Martin Scorsese's films as an example, Tarog explains that depicting morally ambiguous protagonists doesn't mean glorifying them. He emphasizes that choosing a point of view, even of a psychopath, doesn't equate to endorsing their actions. Good stories often raise questions rather than provide easy answers.
Stories can be triggers, but blaming controversial art for immoral behavior is less moral than policing art itself. Tarog recounts the 'Taxi Driver' incident where real-life actions were inspired by the film, but argues that denying artists freedom limits the breadth of human experience. He states that art should only be censored for explicit calls to violence or direct harm, comparing it to not policing women's clothing in a free society.
Tarog encourages moviegoers to be adventurous, recognizing that films offer more than just entertainment. He urges storytellers to explore, experiment, criticize, and even be offensive, but always to be fair. Stories contribute significantly to our personal and collective identities, acting as collective memory, simulation, aspiration, and representation, helping us understand who we were, who we are, and where we should (or should not) go.