Sociocultural issues of the 1920s and today resurface in the Netflix film

By SIERRA JIMENEZ — arts@theaggie.org

On Nov. 10, 2021, Rebecca Hall’s monochrome film adaptation of Nella Larsen’s 1929 novel “Passing” was released on Netflix. Nominated in the top ten films of 2021 by the African American Film Critics Association, the film stars Tessa Thompson as protagonist Irene “Reenie” Redfield and Golden Globe nominee for Best Supporting Actress, Ruth Negga, as Irene’s literary foil, Clare Kendry. 

The title refers to the practice of “racial passing” in which fair skinned African American individuals would “pass” as white to escape racial discrimination in the Jim Crow America of the 1920s. With the political polarity and racial distress currently present in modern America, the film brings up past social issues of race, sexuality and identity still seen today. 

Taking pieces of her own experiences as a mixed woman in America and historical events such as the Homer Plessy case of 1892, Larsen utilizes the environment around her to create the characters in her novel. With the emergence of the Black Lives Matter movement, LGBTQIA+ activism, and other sociocultural movements, the film could not have come out at a better time. 

Larsen’s novel is about cultural transformations post World War I, and reveals “changing definitions of concepts like race and gender, and the inextricable relationship between whiteness and blackness,” wrote author Emily Bernard in the introduction of “Passing.” “It is a universal story of the messiness of being human as it is portrayed in the particularly explosive relationship between two black women.” 

The novel is structured in three sections: Encounter, Re-Encounter and Finale, much like acts in a theatrical play. According to Bernard, the theatrical structure is meant to represent race as a function of performance and “blackness [as] a matter of perception.” The film is shot in black and white perhaps to visually represent the perception of blackness and whiteness in the story. 

The film begins with a white screen and then transitions into a blurry camera view of shoes walking the streets of New York with faint voices echoing in the background. The camera shifts into focus, and the black and white film unfolds from a foggy perspective to crystal clear vision — symbolic of the differing perceptions of race in Larsen’s novel. 

Irene Redfield, who could pass as white due to her fair complexion, chooses to associate with her Black heritage and play an active part in the Black community of Harem. Conversely, Clare Kendry, who is also white passing, chooses to pass as white in order to evade prejudice and benefit from the privileges of white society.

Clare represents the New Woman, a notion born in the late nineteenth century of a defiant sexual woman who counters traditional norms. Her mysterious and seductive nature portrayed literarily in Larsen’s novel and visually in the film make her the rebellious character put into question by more conservative characters like Irene. 

Irene represents the world of the Black bourgeoisie where race consciousness and racial pride were boisterously talked about in conversation and incorporated in daily life. In the film, Irene coordinates elaborate Black-centered events and is close to white author Hugh Wentworth as a tribute to her elite social class in Harlem. 

Clare envies Irene’s involvement with her Black culture and attends these events to compensate for her lack of “Blackness” in the white world in which she lives. She straddles the line between Black and white, which Irene constantly reminds her is a dangerous game.

“Irene is a conservative who is threatened by Clare because she represents a challenge to the sense of order and linear progress endemic to the ‘lifting as we climb’ motto of the black bourgeoisie,” Bernard wrote. “[Clare] is a gambler, playing the high stakes game of racial roulette.” 

Their differing identities and their unique struggles to grapple with race are represented by their complex relationship being both beautiful and frustrating. While Irene despises Clare, she also adores her — adores her to a point of sexual romanticization. Through a third person perspective of Irene, Clare serves as “the personification of desire itself” — both a racial and sexual desire. 

The film exemplifies the women’s sexual tension through various videographic persepectives and their sensual and slightly embarrassed body language. Jazz music plays over the noir-esque Roaring ‘20’s allure, seductively yet almost uncomfortably placing the viewer between the characters. 

Up to the notoriously controversial ending, the relationship between Clare and Irene illustrates, cinematically and literarily, the performance of race and the balancing act of identity in a racially-separated society. 

Written by: Sierra Jimenez — arts@theaggie.org

Davis students offer their perspectives on the effectiveness of the tradition

By CLARA FISCHER — arts@theaggie.org

As a new year dawns before us, there is one certainty it brings with it — the onset of a slew of resolutions, made in good faith by people seeking to better some aspect of their life.      

The tradition of making New Year’s resolutions dates back to Babylonian times and has evolved from the making of religious promises to a secular practice of self-improvement.

This tradition seems harmless enough, and it can even be argued that there is some benefit to a majority of the population seeking to improve something about themselves.

However, statistics have shown that only 25% of those who make resolutions actually stick to them after 30 days, and a mere 8% of those who declare resolutions actually end up accomplishing them. 

“I’ve found that when I attempted to make New Year’s resolutions, I’d just be disappointed that I hadn’t done them,” said Elizabeth Woodhall, a second-year English and psychology double major, via Facebook Messenger. 

So how do people get started on (and more importantly, stay committed to) this journey of self-improvement?

“There needs to be some other motivating factor behind a change in your lifestyle,” said Kiara Kunnes, a third-year international relations major. “People are able to make changes without that, but the most successful lasting transformations do have an underlying cause.”

She may be right — New Year’s resolutions are notoriously easy to give up on. According to The New York Times, resolutions tend to fall through due to their being too vague, being made for the wrong reasons (i.e. what society wants the resolution-maker to do rather than what the individual themselves wants to do) or being too unrealistic. 

But can there really be harm in setting a positive goal for yourself with the onset of a fresh, new year? Connie Wang, a second-year political science major, doesn’t think so.

“I think New Year’s resolutions let people reflect on any improvements they want to see in their life, which is always good,” Wang said.

While it may be true that resolutions provide a convenient opportunity for many to reflect on what in their lives may need improvement, the general consensus seems to be that long-lasting change is not likely to come from them.

  “I don’t typically make New Year’s resolutions,” Kunnes said. “I don’t see a need to — I’m generally a person that will make a change at the moment that I want to make it.”

Reagan Campbell, a second-year English major, had a different take on the matter. 

“Overall, I believe that New Year’s resolutions can start your year off on a positive note — however, it’s more about whether or not you have the willpower to actually follow through with them,” Campbell said.

Her viewpoint succinctly summarizes it: Anyone can make a resolution, but it will only be beneficial to those who actually set realistic goals and are willing to put in the necessary work to see them through. 

That being said, even just setting a goal for yourself can be considered a win, and after these past two years, every victory (however large or small) deserves to be celebrated. 

Written by: Clara Fischer — arts@theaggie.org

Art exhibits, comedy shows, live music and more to check out in Davis this January

By ANGIE CUMMINGS — arts@theaggie.org

Note: This article reflects information prior to closures and cancellations as a result of the recent surge in COVID-19 cases. Please refer to the links below for updated information regarding the status of these events. 

“Mary Heilmann: Squaring Davis / William T. Wiley and the Slant Step: All on the Line” (Manetti Shrem Museum, open January 8 through May 2022):

Start the first weekend of the quarter off appreciating some beautifully made art of varied mediums from UC Davis alumna Mary Heilmann, who the Manetti Shrem website describes as “one of North America’s greatest living painters.” This exhibit features early works by Heilmann, which include paintings, ceramics and sculptures from the 1960s and 70s. Admission is free, and if you miss opening night, not to worry, because this exhibit will be open through the entire quarter (and into the next). 

“From Moment to Movement: Picturing Protest in the Kramlich Collection” (Manetti Shrem Museum, open January 8 through June 19):

Opening on the same day is this incredibly emotionally charged and apropos exhibit that aims to shine a light on the varied forms of resistance, and what the Manetti Shrem website describes as “the power and politics of viewing.” This inspiring show comprises six large-scale video and film installations, bringing together decades of media from the Kramlich Collection that will be available for all to see at no cost through the end of this school year. This show promises to be an incredibly valuable viewing experience for anyone who attends. 

“The Conversation: “The U.S. Capitol Insurrection: One Year Later” (Student Community Center, 3:10 – 4:30 p.m. on January 11):

Presented by the UC Davis Humanities Institute just after the first anniversary of the riots and subsequent insurrection of the U.S. Capitol on Jan. 6, 2021, this conversation offers a discussion about what that unprecedented event means for us now. This compilation of short presentations and an open discussion is free and open to all, being held in the Multipurpose Room of the SCC. While this is quite a bit more of a heavy topic than most of the recommended events for this month, it is still a worthwhile event to attend and is relevant to the 2022 midterm elections coming up in November.

“2nd Friday Art About” (826 2nd St, 5 – 9 p.m. on January 14):

On the second Friday of each month, a rotating collection of downtown Davis businesses and galleries provide Davis residents with an evening complete with a self-guided art walk, live music, andfree food and drinks as a fun way to mingle with the community. With displays of everything from local art and jewelry to performances, this is always sure to be a fun (and free) Friday evening, so why not catch the very first one of the new year? 

“Hasan Minhaj: The King’s Jester” (SAFE Credit Union Performing Arts Center, Sacramento, 7 – 9 p.m. and 10 – 11:59 p.m. on January 14, 7 – 9 p.m. on January 15):

While this event is not actually in Davis, it is only a quick 20-minute ride away to see a notable UC Davis alumnus perform. Tickets for Minhaj’s stand-up show range from about $50 all the way to over $100, but even with nosebleed seats, you will still be laughing. In addition to attending UC Davis, Minhaj has also been a star correspondent for “The Daily Show” and the host of his own Netflix series “Patriot Act,” giving us a good glimpse of his humor and wit. Tickets are available on most third-party ticket vendor sites, including tickets for both of the 7 p.m. shows starting at $69, and (much more affordably) tickets for the 10 p.m. show starting at $48 on Stub Hub, Seat Geek, Ticketmaster and Vivid Seats. 

“Davis Jazz Night” (John Natsoulas Gallery, 521 1st St, 7 – 9 p.m on January 28):

Smooth jazz and beautiful art really do go together like wine and cheese, and John Natsoulas Gallery makes this dream pairing a reality. This special night, which is normally held the last Friday of every month, has been on pause for months now due to COVID-19, but is finally starting back up at the end of January. The event is completely free and is right downtown, so there really is no reason for any jazz lover or art appreciator to miss out on this monthly event’s triumphant return. 

“Winter Season Celebration” (Manetti Shrem Museum, 2 – 4 p.m. on January 30):

The Manetti Shrem Museum invites all to come at the end of the month for their first large-scale in-person event of the new year. This celebration features a talk between one of the featured artists, Mary Heilmann, and the museum’s curator, Dan Nadel. The event is free and is a great way to learn even more about the amazing art exhibits available at the museum, including the first two events on this list. 

Written by: Angie Cummings — arts@theaggie.org