Introduction

                                       Welcome to Stuart Fernie’s Blog

Please scroll down or find on the right links to articles, pages of reflections on films and books, and occasional pieces of short fiction.

Articles include discussion of "The Yakuza", using film and song in the modern languages classroom, "The Dirty Dozen", "Megalopolis", Critical Thinking, "the relationship between an artist, a work of art and the consumer of a work of art", "respect, self-perception and self-healing", "Sicario" (2015), Steve McQueen, "Dracula entre l'amour et la mort" (the French-Canadian musical), science-fiction films, films about teaching, "A Tale of Two Cities" (1958), "The Invention of Lying", the Arts, the James Bond films, "Sweet Smell of Success", "Rollerball" (1975 and 2002), "The Professionals" (1966), "One Flew Over the Cuckoo's Nest", "The Name of the Rose", "The Man who would be King", "Mr. Holmes" (2015), "The Last Samurai", "Judgment at Nuremberg" (1961), "The Sand Pebbles", "Forrest Gump", "Gran Torino", "Gangs of New York", "Emperor of the North", "Five Easy Pieces", "Chinatown", "Casablanca", Blade Runner", "The Big Red One", early Luc Besson films, "Being There", "An Inspector Calls", "La Belle et la Bête", "The Searchers", "The Mission", "High Plains Drifter", "Nuremberg" (2025), "Prime Cut", the influence of existentialism in society today, anxiety, professional criteria and essential attributes in teaching, professionalism versus careerism, thoughts on the meaning of "success" and "worth", "Hobson's Choice", "Quai des Orfèvres", "Le Corbeau", "The Wages of Fear", advice and questions to assist in the writing of essays about films, thoughts on Proportion and Self-respect, "The Offence", "Trainspotting", "Three Days of the Condor", "Spotlight", "Good Night and Good Luck", "The Count of Monte Cristo" (French version, 2024), "Midnight Express", Jason Bourne, Advocating Arts and Humanities, "Heaven's Gate", "Civil War", "The Ghost and Mrs Muir", "Ad Astra", Duality in 19th century literature, "Living", "Hell in the Pacific", "Point Blank", "Vera Cruz", "Dr Strange in the Multiverse", my interpretation of "Il faut cultiver notre jardin", "Jean de Florette" and "Manon des Sources", "Drive my car", "The Batman", the place of acting in society, thoughts about religion and fate, "The Banshees of Inisherin", "Full Metal Jacket", "The Bishop's Wife", "Moliere", "Les Fleurs du Mal", "Soylent Green", "Bad Day at Black Rock", "The First Great Train Robbery", The Dreyfus Affair, "Persona", "The Seventh Seal", "A Clockwork Orange", "Night Moves", "Lonely are the Brave", "In the heat of the night", "The League of Gentlemen" (1960), thoughts on the nature of film noir, "Star Trek", "Seven Days in May", "Dead Poets Society", "Good Will Hunting", "Callan", "The Hill", "Cool Hand Luke", "The Hustler", "Road to Perdition", "The Verdict", "Three Colour Trilogy", "Jojo Rabbit", "Jeremiah Johnson", "Collateral", "Joker", "Barry Lyndon", "The Bridge at Remagen", "Le Mans '66 (Ford v Ferrari)", Charles Foster Kane ("Citizen Kane"), "The Deer Hunter", "Highlander", "No Country for Old Men", "Gattaca", "The Adventures of Robin Hood"(1938), "Apocalypse Now", "Spartacus", "The Bridge on the River Kwai", "The Long Good Friday", "Once Upon a Time in Hollywood", "The Third Man", "Finding Forrester", "The Outlaw Josey Wales", "Untouchable" (2011),"Unforgiven", "The Manchurian Candidate", "The Wild Bunch", "The Treasure of the Sierra Madre", "Papillon" (1973), "Public Eye", "Existentialism in society today", "Seven Samurai", "It's a Wonderful Life", "Don Quixote", "We're No Angels", "The African Queen", "Babette's Feast", "War for the Planet of the Apes", "Dunkirk", “Dances With Wolves”, “Inherit The Wind” and “The Prisoner”. 

A link to my YouTube channel with video presentations of a number of my pages.

After I retired from teaching, I thought I’d write my memoirs, “What have I done?”, and present them online. Please find links to these memoirs, some French support pages and reflections on "Les Misérables" below.

I can be contacted through the comments sections or at stuartfernie@yahoo.co.uk

Other blogs available:

French Support Pages

Discussion of “Les Misérables”

Tales of teaching – memoirs of a former French teacher

Versions françaises d’articles initialement publiés en anglais sur mon blog

All intellectual property rights reserved

Reflections on “The Yakuza”

 

Reflections on “The Yakuza”

Directed by Sydney Pollack

Screenplay by Paul Schrader and Robert Towne

Starring Robert Mitchum. Ken Takakura, Keiko Kishi and Brian Keith

 

I have to say that I consider “The Yakuza” something of a guilty pleasure. While I enjoy the exploration of duty, friendship, trust and responsibility, I am more than willing to recognise the film has numerous flaws. It is undeniable that the film is repetitive, contains verbose and unnecessarily lengthy exchanges of dialogue, and suffers from a convoluted, contrived and unclear plot that unfolds at a leisurely pace in places.

However, I do enjoy the depth of characterisation in the principal characters, the Japanese environment, the pervading sense of cultural displacement and mystery, the nagging sense of heartache leading to remorse, and the exploration of neo-noir or existential themes such as self-respect, “giri”, and the nature of morality, duty and loyalty, elements of Bushido, the code of ethics of the Samurai who were the forebears of the modern Yakuza.

Underpinning everything, and fundamental to the concept of “giri” (the Japanese cultural notion of duty, debt or obligation which is a driving force in nearly all the characters in the film) is existentialism and the idea that our lives, choices and actions impact the lives of others and we should recognise responsibility for that impact.

Of course, also fundamental to existentialism is the principle that morality does not exist. No external moral authority holds us to a sense of responsibility. It is entirely “self-contained” and, as one character in the film says to our hero Harry Kilmer, “If you don’t feel it, it doesn’t exist”. It is a matter of personal honour and integrity.

In keeping with the principles of film noir and existentialism, in our film legality is for others and is casually set aside. Harry has learned that law and law enforcement go only so far and then personal judgement must come in to play and personal debts may take priority over legal restrictions. Here, we are dealing with how men conduct themselves in life and in business, and the code by which they live. Friends turn to one another for help and we focus on the themes of loyalty and trust, but especially a sense of debt or obligation the one might feel toward the other and the lengths to which one will go to satisfy that debt.

Former military policeman and sometime jobbing private detective Harry Kilmer is asked by friend George Tanner to rescue his daughter who has been kidnapped by members of a Japanese crime syndicate or Yakuza. Harry is indebted to George for saving his life so he accepts the task. George is aware that a former member of the Yakuza in Japan owes Harry a similar debt and he expects Harry to play on that debt to help resolve the situation with his daughter. Harry travels to Japan where he meets an old flame, Eiko, and her brother Tanaka Ken, the former member of the Yakuza who is indebted to Harry for rescuing his sister in his absence during WW2, and Harry enlists his help to discharge his debt to George.

Naturally, being a film noir, all is not as it seems and complications ensue…

Although separated by thousands of miles and markedly different cultures and traditions, the rival camps are effectively motivated by similar catalysts. The fundamental code of reciprocity, honour, reliability and loyalty underpins relationships on both sides, formal in the Japanese camp where these qualities are essential to the conduct of business and relationships, and much more informal in the American camp where they are underlying, even dormant, but may be called upon at any time.

At the film’s core, however, is an exploration of the importance of trust and its place in relationships and loyalty to friends, and the consequences of betraying it or withholding essential information that affects it.

Trust is based on experience and confidence gained in a person, and the result of trust is believing that person and accepting their word without doubting motive or circumstance. The effect of discovering trust is misplaced, due to manipulation or omission, can cause great emotional distress.

Trust plays a major role in the dynamics of the film – Harry trusts George Tanner, just as Tono, the Japanese gangster with whom Tanner has dealings, also trusts him. Harry also trusts Eiko, Tanaka Ken and Dusty, but it transpires trust is misplaced in nearly all cases and this brings about consequences…

Harry is angry, bitter and resentful toward George Tanner when he learns George has lied to him and used him for selfish and manipulative ends, and Harry is devastated when he learns that Ken and Eiko have omitted to tell him the truth about their situation out of gratitude and in order to spare his feelings of guilt and responsibility. In reality, they are man and wife, not brother and sister, and Ken found the debt he owed his enemy so unbearable that he left his wife and child, and worked with the Yakuza.

Clearly, this theme of misplaced trust is linked to “giri” or obligation, the motivating factor for the main characters. However, George has acted dishonourably and disrespectfully, so the debt or obligation owed by Harry is undone and Harry will take his revenge on George.

Feelings of existential responsibility, debt and guilt are further explored when Harry recognises the life-changing offence and pain he has caused Ken through involvement in his life, even if inadvertently. As a man of honour, and following Japanese custom, Harry commits yubitsume, the ritual cutting off of a little finger in physical retribution and as a sign of guilt, repentance and respect.

In a way, we share Harry’s pain as, just like Harry, we were not in full possession of the facts and we drew our own conclusions, conclusions that are altered dramatically by the film’s revelations.

 

“The Yakuza” had a troubled development and production history with several writers, directors and stars attached at various times, and suffered from numerous attempts to adapt and firm up the script. It did not fare well at the box office and there are signs of a lack of a clear vision for the material, but it remains an engaging if uneven foray into neo-noir and existential territory. While largely European in style, with emphasis on character rather than plot, the action scenes are very well done and are quite thrilling in places.

I believe this was Robert Mitchum’s last big screen credit as a leading man and I would say that in the closing scenes he gives a magisterial and utterly convincing performance. I should add that the haunting music by Dave Grusin beautifully captures the intrigue, romance and emotional turmoil of the film.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

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Using film and song in the modern languages classroom

 

Using film and song in the modern languages classroom

 

I am not arrogant enough to recommend or even suggest teachers should pursue the course of action outlined here – every teacher must find methods and strategies that suit him/her and their students – but these methods worked for me and my pupils, and I do think they are worth considering.

Before dealing with the broader educational reasons for using film and song in the modern languages classroom, I would point out a few practical or more directly linguistic reasons for their use:

Pupils or students see and hear language in action, and this is not confined to the more traditional practices of using artificial and contrived examples of use of vocabulary and structures pupils have been studying. While such exercises are essential when first presenting new structures and vocabulary, film and song offer a sense of freedom beyond the classroom walls and an application to reality, while also inviting learning in an engaging form of entertainment.

Study of a language need not be restricted to words and structures and should be expanded to incorporate contexts, situations and places that lead to a broad discussion of culture, society, mores and thinking, and films, film clips or songs are the perfect vehicle for such developments.

Background knowledge by way of reading remains unreliable and may be unpopular (when suggesting to a class of 13-years-olds that they could read a chapter or two of a book in bed before going to sleep, I was once greeted with “What saddo would do that?”, a sentiment shared by most of the class). Films, clips and songs offer a degree of teacher control but also allow room for pupil input leading to collaboration and engagement.

It might be an idea to start by showing a clip from a foreign film or playing a song toward the end of a lesson to prove that language is used and culture exists beyond the confines of the classroom.

Carefully chosen clips of just a few minutes duration or a short song may be used to introduce or illustrate points regarding culture and society, but may equally be used to illustrate language points the class has been studying. Broad observation-style questions could be prepared, or comprehension questions if focusing on language. Pupils or students in more advanced classes could be invited to describe a character or discuss their reaction to him/her, or give their thoughts on a song and why it was written.

Discussion of the film or song could or even should take place in the native language to begin with (to encourage participation and build the confidence necessary to share ideas), followed by preparation of the structures and vocabulary in the foreign language to enable students to express their ideas in the foreign language being studied. Notes prepared by the teacher should reflect the input of the students. Vocabulary and structures shared with the class should be largely the result of discussion and brainstorming.

Although teacher-led (teachers should prepare thoughts on themes and notes on character and character development, offering students basic phrases and choices of vocabulary to reflect possible responses as well as students’ own reactions and feelings), there is substantial (and essential) input from the students who are motivated as they are expressing their own thoughts and engaging in something far greater than an academic exercise in language-learning. The language becomes a means to the end of self-expression rather than an end in itself, offering satisfaction and ownership.

It is essential NOT to simply supply pre-prepared vocabulary and structures or sentences. While judicious questioning can direct students toward certain aspects or concepts, students should feel that the language produced is largely the result of their efforts to reflect and to express their views. Vocabulary and structures should be shared with the entire class and not just individual students – good ideas and useful vocabulary and expressions will benefit all.

With more advanced classes (such as Higher and Advanced Higher in Scotland, A-level in England), an entire film may be used and students may be invited to give a brief synopsis and discuss characters and themes in brief, expressing (after discussion in the native tongue and preparation of structures and vocabulary in the foreign language in the way previously outlined) their own thoughts and reactions to the film viewed.

Music and song appear to be even more effective than film alone. I have used French musicals or French films that use music as an essential element in the storytelling (“Les Choristes”, “Notre Dame de Paris” and Les Misérables”) and I found that students responded more immediately and with greater emotional engagement and understanding if songs were used to advance the storyline or build character development.

Certain songs were studied individually to exploit vocabulary but also to discuss what is conveyed about characters, their outlooks and the broader themes of the piece.

The result is that the task transcended a “normal” linguistic exercise and it was no longer regarded as a dull, scholarly lesson. Students found the exercise fulfilling as they felt they were being consulted, had ownership of their work and were not obliged to comply with fixed or rigid outcomes. Moreover, analytical skills and background knowledge gained in this process may be transferred to other subjects and topic areas such as English, History, Philosophy and Health and Wellbeing.

Shared resources and worksheets have a necessary place in language learning but the process outlined here leaves room for impromptu and spontaneous personal contributions, and while it may appear somewhat disorderly, the end result was motivated and enthusiastic participants who produced lucid and committed work.

Of course, it is not intended that films and songs should be used in every lesson, but they may provide a channel for exploitation of knowledge and linguistic skills developed elsewhere in the syllabus.

Looking beyond the linguistic and analytical components of using film and song in the classroom, students willingly participated in self-organised concerts, sang songs studied in class, and were keen to attend cinematic or theatrical presentations of films or shows studied in class. There was even correspondence with a French film director and a French-Canadian singing star, and encounters with numerous performers in shows.

In 2015, I was very touched to receive the following missive from a former senior pupil. I share it (with her permission) in the hope of encouraging teachers of modern languages to at least contemplate making use of film and songs in the classroom, and inviting students to reflect on them and share their responses to them.

I would just like to thank you for all the French you have taught me over the years. From speaking to many folk who were taught French from crap French teachers, I feel sorry for them. They have never heard of Notre Dame de Paris or Les Misérables. What the feck?! Thank you for the amazing academic years you gave us. Best teacher ever! Feeling blessed to know the things you taught us. xx

 

Please find below the titles of a few French films, among many others, that were particularly successful or popular with pupils, and for which notes on character and theme may be found on my blog or my YouTube channel:

Taxi

Les Choristes

La Rafle

Untouchable

Oui, mais...

Jean de Florette

Manon des Sources

Molière

Subway

Nikita

Léon

Angel-A

Les Enfants du Paradis

Notre Dame de Paris

Les Misérables

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

Reflections on “The Dirty Dozen”

 

Reflections on “The Dirty Dozen”

Directed by Robert Aldrich

Written by Nunnally Johnson and Lukas Heller

Starring Lee Marvin, Ernest Borgnine, Charles Bronson,

John Cassavetes et al.

 

Often much admired for its depiction of male bonding, The Dirty Dozen is equally often dismissed for its so-called macho posturing and as a rather nasty glorification of violence.

In my humble opinion, in places this is a challenging existential anti-war film that dips into film noir territory as it presents an uncomfortable case for the use of amorality as a defence against amorality. It also invites viewers to reflect on the nature and importance of society, social structure, humanity, justice and the very existence of morality.

Our film may usefully be divided into three sections, exposition, training and the execution of the mission.

The Dozen are not misunderstood or hard-done-by heroes. They have all committed crimes and are about to pay the price for them, by hanging or long-term imprisonment. The legal system that found them guilty may be imperfect and may not have taken compassionate account of all the circumstances leading to their crimes – the men may show regret, the circumstances of their wrongdoing may not be as clearcut as we might expect, with undoubted extenuating circumstances in some cases, and their backgrounds may have made their choices virtually inevitable, but these are not innocent men who have been wrongly convicted. They are flawed human beings, some of whom may elicit a degree of audience sympathy while others may provoke disgust, but they are being used (or abused) in a scheme in which they are being invited to risk their lives for the greater good, though their alternative is certain death or a life of permanent hardship and imprisonment.

So, we have an imperfect system of justice casting judgement on imperfect human beings who are to be exploited at the behest of and for the benefit of others. It is clear that mankind is responsible for its own existential system of rules and conduct, not a higher morality. This is made plain when Major Reisman rolls his eyes and treats a man of God dismissively at a hanging he is invited to witness.

The Nazis set aside niceties of order and principle to assert themselves and establish a somewhat prejudiced and skewed order in their favour. So, to ensure victory, the Allies are equally willing to set aside such niceties. All is fair in love and war, so they say, and it is decided to adopt what would normally be regarded as unscrupulous and unprincipled tactics to ensure an early end to the war. Amorality will be used to defeat amorality.

The Dozen are to be sent on a suicide mission to attack a château near Rennes in Brittany in which numerous senior members of the Nazi command spend time for rest and recuperation, and quite simply, they are to eliminate as many as possible. In return, at Major Reisman’s insistence, those who survive may receive remission or commutation of their sentences. So, they have nothing to lose and something to gain.

Fundamentally, the military is more than willing to take advantage of the precarious situation of our “heroes” to do dirty deeds but this time for the greater good, though “innocent” lives will be lost, but this is considered collateral damage, again for the benefit of the greater good.

It is clear we are in existential territory in which so-called normal standards of morality do not apply, especially since these standards have been rejected by the enemy and it seems that the best way to eliminate the enemy is to apply their own standards to them. Morality, standards and rules are social niceties that apply only if or when everyone accepts them and submits to them.

After the somewhat sombre exposition, there is a positive, even uplifting, period of training which forms the entertaining and heartening bulk of the film.

Our “heroes” undergo and respond well to a form of what might be termed socialisation during which they are reminded they have a common purpose and are responsible not just for themselves but for one another. They learn that co-operation and discipline with purpose are better than individual attempts at chaotic survival. They make a practical choice to collaborate since it is to the advantage of all concerned – this is a form of social contract, and not for high-minded or moral reasons.

Gradually, through common purpose, trust in one another and hope, they start to bond and become a team. They are dependent on one another and are united against a common enemy and perceived unfair treatment. This is achieved, largely, not by way of heartless discipline and authority, but by mutual dependence, esteem, a degree of sympathy and understanding, and of course a heartwarming camaraderie that has evolved in the course of their training. This may fairly be judged to reflect the situation in society at large in which people showing respect and consideration, not religious codes of belief or strict discipline, ultimately impact, inspire and shape the lives of others.

Having established that man can be influenced positively by circumstances and direction, reality encroaches and our “heroes” must undertake their mission. They have been training for a purpose and their pasts catch up with them – there is a price to be paid for this fresh opportunity to rebuild themselves.

During the last part of the film and the execution of their mission, the true underlying purpose and themes of the film are explored.

This is not an action film set in WW2. It is an anti-war film in which violence is used to depict the horrors of war, and these horrors are not limited to one side. Brutality is used to combat brutality, and the images are all the more striking because we have built a sympathy, even an empathy for our “heroes”. However, all the characters – Allies and Nazis – are presented as human. Not all those in the château are Nazis or deserve to die and, in much the same way as we were invited to reflect on the fates of our Dozen, we are invited to consider the purpose of their mission and to balance it with thoughts of justice and fairness. The pain is real and death is equally final no matter which side you are on, and the cruelty and brutality are all the more stark because here the Allies are responsible for them. The audience feels a certain ambivalence as we support those who attack the Nazis, yet we are horrified by the brutal acts inflicted on relative innocents undertaken in the name of Allied forces. We are presented with realities of war in which pain and suffering are real and are used by both sides to gain victory, with both sides convinced of the righteousness of their perspective. We may understand and accept the premise of the mission but the harsh realities are hard to bear.

This is surely an existential slant in which principle, values and morality are set aside to cause maximum damage to one’s enemy, and in which collateral damage is accepted as part of the price to pay.

Reisman, who has been presented as a tough but human officer willing to question and test military convention and authority, is a professional soldier who does what is necessary to complete the mission. Despite his apparent humanity and compassion, he will focus on the mission and apply brutal determination as and when is necessary.

Do fairness and justice exist? It appears to boil down to individuals and what they are willing or unwilling to do according to perspective and circumstance, to defend their society and attack their perceived enemies.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

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Reaction to Megalopolis

 

Brief reflections on Megalopolis

Written and directed by Francis Ford Coppola

Starring Adam Driver, Giancarlo Esposito, Nathalie Emmanuel et al.

I truly hate to be negative, but I fear Francis Ford Coppola (for whom I have great respect as a director) has tried too hard to make a work of art with this film.

It seems to me that in making Megalopolis, Mr Coppola has sacrificed clarity, substance and engagement for style, symbolism and indulgence. There is a lack of engagement with the characters because they are clearly representatives of attitudes and outlooks rather than fleshed out, believable and affecting, while the plot is a contrivance to make social and political points. The characters are tools in a mechanism created by Mr Coppola to say something about American society, politics, ambition and family, but also to show how clever and artistic he is.

At its core, I think this is probably a good story regarding the condemnation and demise of a society built on money-making corruption and the ever-increasing gap between the very wealthy (or “haves”) and the poor (or “have nots”). However, that is buried, along with clarity, somewhere beneath the mass of unpursued plot threads, the myriad of inconsistent or underdeveloped characters who make occasional appearances, pass comment and move on, bloated set pieces and clunky, forced dialogue which, in places, seems to aspire to Shakespearean tones. The style and self-awareness of Mr Coppola’s direction and script do nothing to engender sympathy, compassion or even intellectual satisfaction while in terms of performance, I am not convinced the actors always knew what purpose their scenes served or where these scenes fitted in the story arc.

On the positive side, the film is beautifully mounted with some dazzling and spectacular sequences and individual moments of brilliance, but overall its individual parts are greater than the whole. I’m afraid that, for me, it’s an exercise in cinematic posturing whose self-awareness condemns it to fail and I suspect Mr Coppola recognised these issues as he has labelled his film “a fable”, emphasising the artistic distance between his film and its audience.

Many reviewers have lauded the film’s ambition and I have to agree the film is astonishingly ambitious, but that alone does not make it worthwhile. Ambition must be tempered by respect and regard for those at whom the film is aimed, and I’m afraid it seems to me that Mr Coppola became so absorbed in his own thoughts that he failed to consider his audience.

The Godfather films and Apocalypse Now worked, along with many other Francis Ford Coppola films, because of the fundamental humanity of the characters and the effort to produce a coherent, well developed and natural plot which suggested respect for the audience and recognition of the need to involve it rather than patronise it as is the case with this artificial and contrived effort.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk) 

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Some reflections on Critical Thinking, what it is and when to use it

 

Some reflections on Critical Thinking, what it is and when to use it

 

Much is made these days of the term “critical thinking” and it is frequently used to suggest gullibility or naïve acceptance on the part of those who appear to put little thought into perspectives and perceptions.

So, what is “critical thinking” and why should it be considered important?

Before studying the operation of critical thinking, let us consider a few potential consequences of not applying what is, after all, merely a system of verification or checks and balances.

In the modern age when communication is easy and pressure to make commercial, legal or social decisions can be insidious and immediate, whether over the phone, via email or in a sales environment, it is essential to be able to verify or assess identity, figures, facts and reliability. Otherwise, you may enter into a contract with hidden clauses, false figures or disreputable partners. You may accept financial or business propositions over the phone from people falsely claiming to belong to a reputable organisation. You may hire dubious tradesmen to work on your home who fail to provide adequate documentation or guarantees. You may even be persuaded to vote for a politician who bombards you with general promises and statements of intent without furnishing details of just how his/her promises will be achieved and what he/she is likely to obtain personally from securing an elected position.

These (and many others) are all situations that may be avoided through use of critical thinking, which is merely the exercise of care and attention through application of reasonable doubt and verification. It is in your own best interests, indeed I would go so far as to say you owe it to yourself, to think critically.

At the heart of critical thinking is respect for objective truth.

Respect for truth must surpass opinion (which may consist of unsubstantiated thoughts or views), ambition (a prejudiced desire for a particular outcome to be the case), advantage (an unwillingness to accept a challenge to your belief if it weakens that belief) and pride (a stubborn refusal to change your mind despite clear and persuasive evidence).

Statements should not be accepted at face value. Corroboration or validation is required and may reasonably be expected. The proposer of a statement or contract should be able to provide clear evidence to support their claims.

Corroborated or validated accounts and evidence may be gathered to support or deny an affirmation (using facts, witness statements or accounts, images, sound recordings etc.). No extraordinary deductions should be reached – conclusions should be supported by facts, evidence and reason.

Recognition or acknowledgement of facts is essential, even (and especially) if the facts and evidence contradict previous statements or views. The overriding factor is a desire to reach the truth, not provide support for a particular standpoint.

Denial of facts or evidence, and conclusions drawn from them, is unreasonable and unacceptable as it is tantamount to setting subjective interpretation or insistence on a chosen viewpoint above objective evidence. Refusal to accept evidence and fairly-drawn conclusions will render a counter-argument invalid.

That said, some statements and evidence may be open to interpretation. Context and precision should be applied to reading of language or interpretation of evidence, and conclusions should be reached only if supported by reason and facts.

There may be insufficient evidence to support a conclusion but reasonable inferences may be drawn (clearly labelled as such), or there may be sufficient evidence to cast doubt on another assertion without necessarily proving a case.

Recognition of ignorance is essential – there should be no assertion of knowledge based on mere supposition or belief.

Insistence on a view despite counter-argument involving the presentation of facts and evidence suggests dependence on personal conviction rather than a pursuit of objective truth, and that view should be considered subjective or invalid.

 

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

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Very brief reflections on the relationship between an artist, art and “consumers” of art

 

Very brief reflections on the relationship between an artist, art

 and “consumers” of art

 

An artist may seek to convey a “message”, discuss a theme or draw attention to a concept by contriving a representation through poetic beauty, an engaging narrative or a striking image that captures the spirit of whatever truth or principle he/she has identified, and the “consumer” attempts to deconstruct this contrivance or artifice to elucidate the “message” contained within the artist’s work. Intelligibility may depend on several factors including the level of lucidity of the artifice and of course the level of perception on the part of the “consumer”.

Naturally, this deconstruction or analysis is open to personal interpretation and may involve ideas and concepts not originally intended by the artist whose work, essentially, takes on a provocative or evocative life of its own. The consumer is focused on the work of art before him, not on the ideas and concepts the artist originally tried to convey. The work of art may be viewed as an independent entity given birth by one but whose interpretation is developed or nurtured by another, therefore creating a “formula” of creator – product – interpreter.

An intriguing thought - can this principle be applied to all forms of communication? A poem, image, text, film, song, even a sentence, may be produced with one concept in mind but it may be interpreted by the consumer in a quite different way, dependent on the consumer’s background, frame of mind and powers of perception. If this is the case and a product is declared a work of genius, who deserves credit – the creator or the consumer? It is possible, after all, that the source of genius is in an interpretation not considered by the creator.

 

 

Stuart Fernie (stuartfernie@yahoo.co.uk)

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