All posts by Sebastian Reimann

Two Sides to Every Story – The Affair (2014–19)

By Kai-Arne Zimny

Have you ever talked about a past event with some­one who was involved in it and came to a point where you and that some­one didn’t quite agree on how, where, or even if some­thing had hap­pened? This can be amus­ing or awful, but it sure­ly makes us pon­der about truth, per­cep­tion, and the rela­tion­ship between the two.

And so does Showtime’s TV dra­ma series, The Affair.

The pilot episode starts in medias res with a police detec­tive (Vic­tor Williams) inter­ro­gat­ing our male pro­tag­o­nist, the teacher and semi-suc­cess­ful nov­el­ist, Noah Sol­loway (Dominic West). The detec­tive wants to know “how this whole mess got start­ed.” This is when it dawns on us that what we’re see­ing isn’t what’s hap­pen­ing right now. It’s mere­ly Noah’s rec­ol­lec­tion of what has hap­pened. Through Noah’s lens of mem­o­ry, we learn that at the begin­ning of the sto­ry he’s hap­pi­ly mar­ried (with 4 kids) to Helen (Mau­ra Tier­ney), his high school sweet­heart. Dur­ing their sum­mer vaca­tion in Mon­tauk (Long Island, New York), their lives change rad­i­cal­ly when Noah meets Ali­son Lock­hart (Ruth Wil­son). It is from her per­spec­tive that the sec­ond half of the episode is told. Ali­son is a wait­ress and unhap­pi­ly mar­ried to Cole (Joshua Jack­son). They’ve nev­er real­ly seemed to get over the death of their tod­dler who’d died in an acci­dent not long ago. As soon as she and Noah are on the screen togeth­er, we real­ize how this whole mess got started.

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Drew Hayden Taylor at Leuphana

From Novem­ber 3 to 5, Cana­di­an Anish­nawbe author and play­wright, Drew Hay­den Tay­lor, will be giv­ing talks in var­i­ous sem­i­nars at Leuphana. Top­ics range from tools of the cre­ative writ­ing trade to the post­colo­nial sit­u­a­tion of Native peo­ple across North America.

If you hap­pen to be in the area, feel free to stop by!

 

In a World Created by an Indigenous God: A Native Writer’s Take on Karl May’s Winnetou

By Maryann Henck

Pho­to Cred­it: Robert Fantinatto

It goes with­out say­ing that the Ger­mans’ unri­valled fas­ci­na­tion with the Native peo­ple of North Amer­i­ca is not exact­ly a well-kept secret. Case in point: the annu­al Karl May Fes­ti­vals in Bad Sege­berg and Elspe. But I’ve always won­dered whether this fas­ci­na­tion might be mutu­al. Spoil­er alert: It is.

In 2017, Anish­nawbe writer Drew Hay­den Tay­lor set out in search of Win­netou. What he found ranged from the amus­ing to the unset­tling. In oth­er words, the per­fect mate­r­i­al for his doc­u­men­tary film, Search­ing for Win­netou, where the fine line between appro­pri­a­tion and appre­ci­a­tion becomes a bit blurred. Curi­ous about the mak­ing of? Then click on our exclu­sive inter­view with the writer. Read more »

Aretha Franklin: Freedom, Respect, and the Moral Universe

By Christine Jones

Pow­er­ful and proud, Aretha Franklin’s music cham­pi­oned the ideas of free­dom and dig­ni­ty, mak­ing her voice an inte­gral part of the Civ­il Rights Move­ment in the Unit­ed States with songs like “Respect” (1967) and “Think” (1968). When I hear the word “free­dom” sung repeat­ed­ly in the cho­rus of “Think,” I’m remind­ed of Dr. Mar­tin Luther King Jr.’s icon­ic “I Have a Dream” speech on the steps of the Lin­coln Memo­r­i­al in 1963, where he etched the words “Free At Last” into the vocab­u­lary of the Civ­il Rights Move­ment. The song, “Respect”, unwa­ver­ing­ly and unapolo­get­i­cal­ly demands just that and trans­lates effort­less­ly into a voice for the fem­i­nist move­ment of the time. I was a child in that era, born in 1960, and the mes­sages expressed by voic­es like Aretha Franklin’s have left an indeli­ble imprint on me and many in my gen­er­a­tion. Those voic­es made me feel that, as Mar­tin Luther King put it, “the arc of the moral uni­verse is long, but it bends towards jus­tice.” They made me feel that the Unit­ed States was a place of social progress despite its struggles.

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BlacKkKlansman: A Much Too American Story

By Bobbie Kirkhart

It is an inter­est­ing sit­u­a­tion: a black cop infil­trates the Ku Klux Klan, the most sto­ried white suprema­cist group in the Unit­ed States. How could this new under­cov­er offi­cer resist the temp­ta­tion? How could he get past the one main obsta­cle: his blackness?

It is an inter­est­ing plot: a white cop play­ing a black cop, two peo­ple pos­ing as one voice and one per­son­al­i­ty, but one black and one white. How could a film­mak­er resist the temp­ta­tion? How could he get past the one main obsta­cle: that the Klan was a tired old group in the ear­ly 1970s and an ane­mic antag­o­nist. The book, Black Klans­man: A Mem­oir by Ron Stall­worth, is inter­est­ing – but is the movie?

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