Albert Camus and a parallel between Meursault and “gay marriage”

One of the major themes of Luchino Visconti’s 1967 adaptation of Albert Camus’ The Stranger (which I recently watched) is, about a perceived conflict between the liberty of the individual and the integrity of society. We can also turn to the story and to one scene in particular, and find a good parallel to the question of whether the marriage of non-heterosexual couples should be legally recognised: the issue of ‘gay marriage’/ ‘marriage equality’.

lestrangerCamus is one of my favourite public figures of conscience. Visconti’s Lo Stranero is a very faithful adaptation. His interpretation of Meursault as a benign sensualist is sound; and if anything the film is perhaps too faithful1Camus’ estate placed limits on artistic licence and selected the script writer; and in several scenes of the film Meursault narrates lines directly from the book which are jarringly flowery coming from the voice of the film’s typically direct and concise character.

This is the story of the trial-by-character of the Algerian Frenchman, Meursault who inexplicably kills an Arab on a beach in Algiers. Many have read The Stranger during a ‘coming of age’ period of their lives where they appreciate the social rebellion embodied in Mersaults’ apparent amorality, yet, as one of those amorphous stories that can be seen from a different light when read again, today I will be exploring it in parallel to contemporary debates about marriage.

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Star Wars, culture, and the ‘legitimate’ use of violence

Stormtrooper

In Star Wars: The Force Awakens (the latest iteration of the franchise), it is revealed that stormtroopers are known to one another not by ‘names’  but by an assigned letter and series of numbers (e.g. f4570). The viewer also learns that stormtroopers are ‘programmed’ from a young age. As well as serving to emphasise the good/evil dichotomy and embellish the rebel’s status as ‘the just’ – because like the societies we inhabit they allowed names and individuality – this also goes someway to explaining the motivation of stormtroopers and provides a condition for our developing sympathy towards them. They are ‘brainwashed’ and hence not entirely at fault for their misdeeds.

In another scene, a stormtrooper is portrayed showing concern for a felled comrade and attempting CPR. This is also the first instance (I am aware of) in the Star Wars series that we see the blood of a stormtrooper, a result of blaster fire – prick them do they not bleed? But this scene does not anticipate a ‘humanisation’ of stormtroopers later in the film as it could have done; it is a plot device to establish the character of an individual stormtrooper (indicating ‘I am not like the others’, rather than ‘they are all like me’) Continue reading