Over at the Brain Pickings blog, Maria Popova has posted an amazing 1972 documentary based on Alvin Toffler’s famous 1970 book, Future Shock. The documentary, like the book, focuses on many of the themes we hear Internet optimists and pessimists debating all the time today: “information overload,” excessive consumerism, artificial intelligence and robotics, biotechnology, cryonics, the nature of humanity and how technology impacts it, etc, etc. Again, all the same stuff people are still fighting about today.
Popova correctly notes that “The film, darkly dystopian and oozing techno-paranoia, is a valuable reminder that… societies have always feared new technology but ultimately adapted to it.” Indeed, at one point in the film we hear, “The future has burst upon us… [but] is technology always desirable?” And that’s just in reference to the (now-obsolete) supersonic jet transport, or Concorde! “Changes bombard our nervous systems, clamoring for decisions. New values, new technologies, flood into our lives… Escape from change in today’s society become more and more impossible. But change itself is out of control.” Geez.. how did we make it past 1972!
The documentary is narrated by Orson Welles, which makes it even more fun. Welles had a presence that just made everything seem larger than life, and his voice-of-God narration here really added a nice touch to this film.
It’s an absolutely great find. Here’s the first 10-minute segment from the documentary. Watch all five segments over at
Brain Pickings.
http://www.youtube.com/v/6Ghzomm15yE&rel=0&hl=en_US&feature=player_embedded&version=3
<img alt="Film%20not%20Rated.jpg" src="http://www.techliberation.com/Film%20not%20Rated.jpg” width=”240″ height=”240″ / align=”right” class=”noborder”/>This review is terribly late, but I finally got around to watching the DVD of Kirby Dick’s documentary “This Film Is Not Yet Rated,” which goes after the MPAA’s movie rating system. Dick tries to paint the MPAA’s private, voluntary ratings board as a “star chamber” that sits in judgment of visual arts and routinely “censors” content it finds at odds with the desires of the studios, government, the military, churches, and so on. But to me, the whole film is much ado about nothing and, worse yet, it fails to adequately address the very real risk of a government censorship popping up in the absence of a private ratings system.
By way of quick background, the MPAA’s familiar ratings system was created by former MPAA president Jack Valenti back in 1968. It was partially a response to the growing pressure for film censorship. Back then – – and this is one of many things Dick’s documentary largely ignores – – there were local censor boards who sat in judgment of films and decided if they could be shown in their communities. And there were ongoing efforts by many lawmakers at all levels to impose regulation on movies or at least strong-arm movie makers into changing content in certain ways.
And so the MPAA ratings system was born. A crucial feature of the MPAA system was that those doing the ratings would be anonymous. The reason this was done was to protect them from being pressured by both those who made the films (who obviously want less restrictive ratings) and those in government or the public who critique the films (many of whom would want stricter ratings).
But keeping raters and the rating process secretive has always had one obvious downside: The system lacks transparency. Why is it that two films with very similar content get two different ratings? Sometimes it’s obvious, other times it’s not. And this is what has Kirby Dick, and the many directors or film critics he interviews in the documentary, up in arms.
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