Ideological Diversity, the University, and the Uses of Screen Adaptation
by Mark Wallace
Interesting piece from Times Higher Education about the progressive political views held by almost all academics in the USA and embedded in the research they create: not just in the form, but in the actual content. The author, Musa al-Gharbi, avers that academics routinely “exaggerat[e] conclusions when convenient while finding ways to ignore, discredit, defund or suppress research that threatens their identity or perceived interests.” Generally this is to support a progressive bias, says al-Gharbi. A knock-on effect of this is that conservative-leaning persons don’t feel comfortable in academia, and find it harder to build a career, leading to the proliferation of extremely well-funded and influential “think-tanks” comprising conservative thinkers and researchers. Another knock-on effect is that academia has very little credibility among large sectors of the population.
On a narrowly political scale, one has to note that academia’s commitment to progressivist-leftist ideals has not strengthened the left in the USA. The president is very right-wing, and the two houses of parliament are now both controlled by the Republican Party. Academia’s influence on society, then, is a depressingly negative one, pushing people towards the opposite extreme.
Academia needs to come to terms with and to engage in dialogue with its right-wing other. An argument I am kind of making in an upcoming publication is that one way to do this is through the use of transtemporal adaptations – that is film/tv (or other media, in theory, though not in my practice as yet) adaptations of novels from another period. Say, the Victorian period. The fact is, almost all writers from that period have various opinions far to the right of the people who tend to watch adaptations of the novels, and of people who write these adaptations. Dickens in Oliver Twist, for example (the example I am using in said upcoming publication), subscribes to fairly hardcore anti-semitism in Oliver Twist, in the character of Fagin; makes his heroine, Rose, a pure and sexless angel-in-the-house type; signifies Oliver’s moral superiority with an otherwise inexplicable upper-class diction, and so on. All of this causes problems for adapters, because to reproduce such ideological functions could make Dickens appear to modern sensibilities shallow, old-fashioned and even obnoxious. So, consciously or unconsciously, Dickens’ less progressive opinions are toned done, left out or turned round.
These operations of toning down, etc., become important at the moment of comparative narrative analysis. Being acquainted with what appears in the novel in a different form to the adaptation, we become aware of the ideological otherness of Dickens. This provides a mild shock, as we are regularly assured that Dickens was a progressive writer, a great champion of the poor, a “seeker after gentle justice” etc. – which is, indeed, approximately half true. By being forced to juxtapose this genial image with the problematic reality of Dickensian ideology, we gain insight into the complexities of the formation of ideological consciousness. We also problematize the more presentist stance presented by the adaptation, in its toning down, etc. What seemed natural in the context of the adaptation alone, “how things really are”, is seen now as a deliberate choice, one informed if not dictated by the ideological presumptions of our time and place. And this problematization is absolutely a worthy goal in our climate. This was Žižek’s aim in In Defense of Lost Causes (Verso, 2009), ‘to render problematic the all-too-easy liberal-democratic alternative’ (6), and it is something that is still a long way from being done with sufficient rigour in academia.