A Ghost Story

As if the macabre specter of a ghost, albeit in a white sheet with two black eye-holes, were not enough for a spooky film, David Lowery endeavored to shoot and edit his 2017 film, A Ghost Story, using a relatively fast 33 frames per second in shooting the ghost moving, and editing without music so the story-world’s supernatural element would be subtly apparent. Although a prognosticator delivers a long philosophical monologue at a party somewhere in the middle of the film, Lowery does not characterize the meaning of the film in terms of that monologue’s point that the universe will eventually end so a person should live each day as if it were the last day of one’s life. Of course, none of us need worry about the universe burning up any time soon, so from that standpoint we can expect to live full lives without being nihilist on a daily basis. Fortunately, the meaning of the film, Lowery states in an interview, is not to live each day as if it is your last day. A more interesting question is whether the film is an exponent of nihilism as the real, ontological state of existence, or whether human fulfillment can fill human hollowness with the fullness of experienced life. Moreover, does a supernatural dimension, such as a heaven, exist such that human souls can depart from the human condition and even loved ones while still existing (after death). In other words, does holiness transcend hollowness? The latter may pertain more to the phenomenal realm of lived human existence than to the noumenal realm of things as they are in themselves, and thus what each of us really is.

The full essay is at "A Ghost Story." 

San Francisco’s Frameline Film Festival: On the Negative Impact of the Castro’s Culture

Ideological intolerance may not be typically thought of as stemming from a psychological pathology from unresolved emotional problems, especially if the ideology is classified under “political speech.” Even so, the vehemence with which flashes of hostility are unleashed by an intolerant ideologue against people objecting to the person’s ideology and thus to it being imposed as if it were God’s eternal truth is plainly psychological. Volunteering at a film festival in San Francisco in late June, 2026, I was the receiver, or lightening rod, of such vitriol from two attendees and the festival’s manager who oversaw the volunteers because I had unwittingly made statements that violated the dominant ideology not only at the festival, but in San Francisco moreover. In business schools, it is well known (or should be well known) that an organizational culture can reflect a wider culture in the organization’s environment. A toxic local or societal norm, which reflects values, beliefs, and even assumptions held by a sufficient proportion of inhabitants to gain a “critical mass,” can infect organizational cultures within the locality or society. I contend that this dynamic applied to the Frameline (LGBT) film festival in 2026 and the wider the Castro (gay) district of San Francisco then, where the festival was based. The same overreaching ideology and hostile defense mechanism were salient both in the non-profit organization and, extending beyond the Castro neighborhood, in San Francisco itself as well as in at least some of the suburbs.

The full essay is at "San Francisco's Frameline Film Festival."

 

Call Me by Your Name

The medium of film has the potential to not only to move audiences emotionally, but to speak to fundamentals in the human condition so that we may know ourselves (and each other) better on the subterranean level of essences. The 2017 film, Call Me by Your Name, is not “gay cinema” even though 17-year-old Elio falls in love with Oliver, a 24-year-old beginning doctoral student when the latter is staying with Elio and his parents at their villa in Italy during the summer of 1983. Falling-in-love, so unmistakable once it has hit, is so utterly human at the gut-level that the twists and turns in a narrative are but superficial in comparison, and even the gender of the beloved may come to matter less than would typically be assumed. In fact, both Elio and Oliver are attracted to women, and after his summer stay Oliver calls the Perlmans during a winter Jewish festival to announce that he is engaged; for even though Elio fell for Oliver, Oliver is not in love with Elio. Elio must take the unrequited love as a given, as about as hard as reality can be felt, and so Elio has the choice of whether to suffer the loss or "stuff it" emotionally by burning emotion itself from his very being.  Precisely this decision is the subject of a father-son talk that he has with his dad after Oliver has left. It is the substance of that talk that anchors the film firmly in the human condition, such that even the narrative, not to mention the fact that Elio has fallen for a man, is transcended. It is just such a transcendence that renders the medium of film so substantial, even meaningful, even if mostly just potentially. Parsing the father-son dialogue will lay bare this thesis.

The full essay is at "Call Me by Your Name."

Fifty Shades of Grey

A sadist is a person who feels pleasure in inflicting emotional and physical pain on another person. For the sadistic personality, the emotional pain that is inflicted on another person for the sadist’s own pleasure need not be associated with sex because emotional or physical pain is broader than that which can be inflicted sexually. Hence, the bottom-line for the sadist psychology is that pleasure that is felt by harming another person, who thus feels pain as a direct result of the sadist, lies in the making suffer. A sadist who does not permit oneself to feel emotion is particularly dangerous because no sympathy or compassion operates as a constraint on how much hurt is inflicted. In such a case, the sadist is like one of the androids in the film Ex Machina as the knife is coldly inserted into the torso of the programmer who built the intelligent machines. Indeed, the narcissistic sadist can be very intelligent in knowing precisely how to inflict emotional pain especially in an emotionally vulnerable victim. Once discovered, such a sadist will endeavor to avoid such a victim, but not because such an unemotional sadist has a conscience and feels guilty. In the film, Fifty Shades of Grey (2015), Anastasia Steele’s life changes forever when she meets the emotionally-tormented billionaire, Christian Grey. She falls in love with the sadist, and, because she wants to be with him, at some point she willingly assumes the masochist role even though she does not feel pleasure from physical (or emotional) pain being inflicted on her person. She loves him so much she wants to enter his deviant world; she even embraces that world. I could see myself doing that were I to fall deeply in love with a sadist, for accepting a person even in spite of that person’s flaws is part of love— unless, of course, lies, sidelining, and emotional betrayals are too much for any trust to be possible. Anastasia may come to treat Christian’s dungeon as a playroom of sorts in which she is his so they can be a couple with an opportunity to connect even more, rather than as a place where he acts out his severe emotional issues in which violence and sex are too closely related in his brain, whether psychologically or physically. Love is to a certain extent blind, or at least purblind. Given how toxic and unpleasant life can be, can we be blamed for valuing deep connection so very much even in cases in which meaning-from-personality comes with such a high cost?

The full essay is at "Fifty Shades of Grey."

Free Will and Moral Responsibility

According to Rousseau, we are born free but we live out our life in chains. Although some people subvert background context and foreground personhood such that the chains are believed to be societally imposed as if people are not sufficiently free to transcend or counter the “binding” external strictures of some institution or society, Nietzsche argues that the sovereign individual is lies at the end of an arduous long process by which our species has become bred to be “to a certain degree necessary, uniform, like among like, regular, and consequently calculable” and thus certain people can be trusted to be reliable in promise-keeping.[1] Such people are free individuals. They are autonomous even against the “Though Shalt Nots” of moral mores, which had their place as virtual societal straitjackets in the development of the species but are legitimately cast off by people who can be relied upon to keep promises without violating them in the heat of the moment. Such people are individuals, but not narcissists, for the latter calculate each moment as to what lies in their self-interest—the feelings of others be damned if they are in the way. It is ironic that moral responsibility applies to the latter rather than to the autonomous individuals because only the free ones can call their “dominating instinct” a “conscience.”[2] Modern society, at least in the West, could use an elaboration on Nietzsche’s description of the autonomous individual in so far as such a person is antipodal to the herd animals on whom moral responsibility should be imposed because they cannot be trusted, for they are not promise-keepers. St. Paul’s dictum to keep the fools at a distance is ironically in line with the second essay of Nietzsche’s On the Genealogy of Morals, where the Christian ascetic priest is lampooned for its innate weakness even as it seeks to dominate the strong out of ressentiment.

The full essay is at "Free Will and Moral Responsibility."

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1. Friedrich Nietzsche, Genealogy of Morals, in Basic Writings of Nietzsche, Trans and Ed., Walter Kaufmann (New York: The Modern Library, 1968), p. 495.
2. Ibid.

Intimidation in Retail: The Case of San Francisco

Visuals are an important ingredient in consumer marketing, so it is surprising to come across retail managers who are so purblind as concerns the latent yet obvious passive aggression in some of the visuals that those managers themselves approve in the name of security. The espoused, yet utterly fake claim that customer experience is improved by the added sense of safety—the actual underlying motive lies in loss prevention—is typically outweighed by the very human negative experience from being intentionally intimidated by passive-aggressive visuals. It may be that such managers, frustrated by high rates of in-store petty theft (i.e., “shoplifting”), are unconsciously taking their latent aggression out of the customers as a group. Even if not, the lack of judgment is palpable from the visuals themselves. It is no wonder that an increasing number of customers prefer shopping online. 

The full essay is at "Retail Intimidation ."

Nietzsche on Promise-Keeping: Sex and Relationships

Friedrich Nietzsche wrote on promise-keeping in Genealogy of Morals as being a result of a refined, and thus cultivated “breeding” of our species, rather than as an innate part of human nature that can be taken out for a spin on day one. In contrast, lying is more expedient and thus primitive in our nature, as if an instinctual urge that is more reflex than refined. In terms of romantic relationships, whether marital or not, “cheating” sexually is definitely a sign of weakness because it places momentary pleasure above being held as reliable (i.e., trustworthy) in terms of promise-keeping. A boyfriend who admits that he might hurt his girlfriend emotionally by engaging in infidelity is really telling her that he is weak-willed and thus not good boyfriend (or husband) material. To be sure, a couple could agree that both can have sex separately with other people, so not being monogamous need not involve violating a promise. I don’t think Nietzsche’s philosophy goes so far as to embrace such an arrangement (especially if romantic feeling or connection is allowed in the separate sex), but neither is monogamy advocated, given the nature of Nietzschean strength that should be allowed out of the cage of societal convention periodically (but not on a regular basis). The concept of strength plays such a powerful role in Nietzsche’s philosophy that even the occasional raw expressiveness of strength beyond a societal straitjacket of moral convention would not be viewed as violating promised monogamy. 

The full essay is at "Nietzsche on Promise-Keeping." 

The String

The original title of the 2009 film, The String, is Le Fil, which actually translates as thread rather than string. These two English words have different connotations and this bears on the film’s leitmotif. Whereas a person can string another person along, a thread has a connotation of linking people emotionally. The thread that ultimately succeeds in the film is that of caring, which is antipodal to hurting, emotionally speaking. In this sense, the film is like The Holiday (2006), another romantic drama in which the good guys (and gals) wind up on top. In terms of the theme of caring and not hurting other people, that The String centers on two gay men who fall in love whereas The Holiday is about two heterosexual couples matters little, though the resistance to homosexuality in The String is an additional hurdle. I contend that like The Holiday, The String can provide audiences with how falling in love can proceed naturally without exploding because one person hurts the other. In other words, the ethical wins out in both films in regard to emotionally intimate romantic relationships, and in this respect the medium of film has value in terms of ethics.

The full essay is at "The String."

The Pledge

Even though The Pledge (2001) is murder-mystery film, it is fundamentally a tragedy without regard to the murder. Jack Nicholson plays Jerry Black, a retired police investigator who loses everything because he is faithful to a pledge that he made to the parents of the young girl who had been raped and murdered by a serial killer. It is Jerry’s fidelity to the pledge that is highlighted throughout the film, and ultimately ends in his ruin. The film thus depicts what in Kant’s ethic is the ability of rational beings to be taken as promise-keepers bound by the promises we make as if they had the necessity of law.

The full essay is at "The Pledge."

Distinguishing Theology from Ethics: A Critique of Waging War

Whereas an ethical critique of war appeals to an ethical principle, typically that is against humans being harmed, especially the innocent, a theological critique can be based on a divine degree or on the nature of the divine in contradistinction to human nature as anything but. That is, a distinctly theological critique of war itself or people who wage war is typically based on some obfuscation of the divine and human wherein the latter has sought to appropriate divine nature or attributes to what is in Nietzsche’s famous phrase, human, all too human. Although Kant’s “kingdom of ends” formulation of his categorial imperative looks a lot like Jesus’s Golden Rule, for example, offending rational beings by treating them only as means to one’s own goals is distinct from offending God by violating the divine command of universal benevolence, or “neighbor love,” which is Jesus’s second commandment, which is like unto the first (i.e., to love God). Having probably just now lost, or “blown away,” just about every normal reader, I want to illustrate my point of distinguishing the ethical from the theological by analyzing pertinent comments made by Pope Leo, the first Midwestern (Illinois) pope, in April, 2026.

The full essay is at "Distinguishing Theology from Ethics."

Transcending Caritas in Romantic Love

During the High Middle Ages, Troubadour poetry composed primarily in southern Europe included themes including of courtly love, which became associated with marriage. Before then, that institution was associated mostly with property and progeny rather than with romantic love. Interestingly, it was just as love was becoming associated with marriage when the Roman Catholic Church ended its centuries-old gay-marriage liturgy, which, sans property and progeny, was uniquely associated with love (for why else would gays marry?). The irony is that “modern” gay marriage in the West in the twenty-first century may have more to do with sex than love in the sex-centric gay culture of today, though obviously gays are fully capable of genuine romantic love that transcends such superficialities as lust that can be prioritized too highly at the expense of romantic love. Fear of emotional intimacy can exascerbate such misordered concupiscence. Adventurous exuberance combined with this fear need not eclipse more meaningful intimate relations. Indeed, married gays in loving, committed relationships even raise children in loving homes. Although utterly obscene to more conservative folks, such “mixed families” grounded in love warrant respect and even admiration for being based in genuine love even though emotional intimacy can be scary. This is what should be preached from the pulpit. Antipodally, the sex-centric approach to “relationships” in the gay “culture” justly warrants condemnation for being superficial, short-sighted, and utterly self-centered. Yet, whether gay or heterosexual, romantic love need not be selfish. The distinction in Christian theology between caritas and agape is relevant in making this point.

The full essay is at "Transcending Caritas in Romantic Love."