They Live in the Aesthetic Dimension
The hero, a wrestler garbed as a construction worker. / A pair of sunglasses that reveals yuppies as alien ghouls. / A chilly, enigmatic beauty, her intentions toward our hero unknown. / The black guy and the white guy. They begin in distrust but soon learn they’ve got enemies in common. From that point they’ll cover each other’s backs. / Machine-gun fire in a television studio. / A surprise with tits.[1]
They Live, Johnathan Lethem
John Carpenter’s They Live depicts Herbert Marcuse’s one-dimensional society, incisively and precisely critiquing modern American society. I claim They Live epitomizes revolutionary art as described by Marcuse in The Aesthetic Dimension. Roddy Piper, pro wrestler, plays main character Nada. To briefly summarize, They Live revolves around Nada and Frank Armitage (Keith David), two blue-collar men, members of the working poor, one white and one black. After one of film’s greatest fight sequences, Nada and Frank come together symbolizing the oppressed class’ infighting and the ultimate necessity of unifying to take back society from the oppressors. The oppressors are disgustingly ethereal aliens revealed through special sunglasses. As a team, Nanda and Frank use the glasses and seemingly destroy the aliens’ control over society. However, Carpenter ends the movie here leaving open the question that has long pained Marxists. Once the revolution is over (was the revolution televised[2]?), what comes next? Released in 1988, the film’s relevance is even stronger today.
Before getting into my argument, I will outline my interpretation of They Live giving my argument a foundation. Key to my interpretation is Herbert Marcuse’s concept of one-dimensional society:
“This book [One-Dimensional Man] deals with certain basic tendencies in contemporary industrial society which seem to indicate a new phase of civilization…The chief characteristic of this new mode of thought and behavior is the repression of all values, aspirations, and ideas which cannot be defined in terms of the operations and attitudes validated by the prevailing form of rationality. The consequence is the weakening and even the disappearance of all genuinely radical critique, the integration of all opposition in the established system.”[3]
The scene in the house when Nada attempts to show Cable 54 assistant director Holly Thompson (Meg Foster) the truth revealed in the sunglasses, she tells him she would only say she saw what he wants her to see. Nada’s glasses symbolize critical thinking. Holly, a member of the bourgeoisie and assistant director at the station beaming the alien mind control, represents a member of the liberal elite. She is not an alien but works with them, indicated when she kills Frank. Denying Nada’s glasses is the same way the Democrats in America deny true leftism, because leftism is genuine radical critique of existing society. The incredible fight scene between Nada and Frank echoes the class division amongst the oppressed in 1988 and today. It seems the case society continues to emphasize racial and ethnic inherent differences regardless of zero empirical evidence and zero valid metaphysical arguments arguing inherent differences exist, an example of repressing radical critique.
The other key concept is Noam Chomsky’s masters of mankind:
“Subversion of democracy by concentrations of private power is, of course, familiar: mainstream commentators casually observe that ‘business is in complete control of the machinery of government’ (Robert Reich), echoing Woodrow Wilson’s famous observation, days before he took office, that ‘the masters of the government of the United States are the combined capitalists and manufacturers of the United States.’…John Dewey concluded that ‘politics is the shadow cast on society by big business’ and will remain so for as long as power resides in ‘business for private profit through private control of banking, land, industry, reinforced by command of the press, press agents and other means of publicity and propaganda.’…Fundamental social change is necessary to bring meaningful democracy.”[4]
Chomsky’s masters of mankind are the aliens and collaborating humans in They Live. Carpenter uses television as the media format of the mind control signals because the history of television is deeply capitalist. Early television consisted of news, stage plays, and films. Eventually some capitalists figure out elementary school level, mindless plots with endless product placements and advertisements would make a lot of money. Television eventually had true artists create new shows (Breaking Bad, The Wire, Atlanta, and It’s Always Sunny in Philadelphia, amongst other shows, are comparable to film) but there is no denying the vast bulk of television is primarily capitalist based. Advertisements are also revealed as mind control in They Live. Matthew Weiner’s Mad Men is an incredible television series portraying the mad men ad execs of New York City in the fifties and sixties[5]. The mad men are reality’s aliens. The ultimate message is Nada and Frank first refusing class infighting and then refusing one-dimensional society when they overthrow the television station and the masters of mankind. Carpenter created a beautiful allegory epitomizing Hebert Marcuse’s one-dimensional society and great refusal.
My argument claims They Live embodies Marcuse’s notion of art presented in The Aesthetic Dimension. Marcuse writes:
“…in contrast to orthodox Marxist aesthetics, I see the political potential of art in art itself…I argue that by virtue of its aesthetic form, art is largely autonomous vis á vis the given social relations. In its autonomy, art both protests these relations and transcends them. Thereby art subverts the dominant consciousness, the ordinary experience.”[6].
The structure of my argument first examines the metaphysics of They Live, then its epistemology, and last its ethics. Metaphysics concerns the reality Carpenter crafted, epistemology is represented with the glasses, and Nada’s decisions concern ethics. Concluding the paper, I argue They Live continually increases in importance and makes the case the oppressed need to come together.
Metaphysics concerns itself with the nature of reality. On my view of Marcuse’s one-dimensional society, it seems the case the prevailing form of rationality takes on a pseudo metaphysical truth. For Holly, she couldn’t see a different reality than the existing reality, so she tells Nada he’ll never defeat the aliens. In our actual reality, an example of this is America’s overwhelming acceptance of the notion capitalism is a natural truth, not a human construct. The masters of mankind in America have made capitalism and Christianity (for a majority of the population religion is their metaphysics) inseparable. In They Live Carpenter uses a black preacher to espouse the truth. The preacher reminds a modern viewer of Cornel West. Yet since this preacher is preaching a radical critique police officers, agents of the state, beat him. Nada sees this happening, a violent repression, and an inkling something strange is happening begins to form. Carpenter’s use of a minority clergyman as the voice of truth subverts the dominant trend of oppressed Americans, white and black, looking to capitalist pseudo Christians for their metaphysical understanding. The preacher also emulates Christ far more than the mainstream preachers. Metaphysically Christianity seemingly does not endorse capitalism. See Acts 2:44,45: “44 And all that believed were together, and had all things in common; 45 And sold their possessions and goods, and parted them to all men, as every man had need”[7].
The preacher right before being beaten remarks on America’s worship of greed and owners (the masters of mankind). Unfortunately, this worship extends across all races, socioeconomic classes, and occupations. They Live subverts religious reality in America, and by extent most of the population’s metaphysics, first, and then argues for racial skepticism, another metaphysical claim. Nada and Frank’s union after the fight scene hints at the metaphysical fact race does not exist. Racial skepticism claims because biological differences amongst the races are false, there is absolutely no difference between two humans of different races. My argument accepts this as a fact, and I believe it is irresponsible to even engage arguments claiming racial differences based on biology. Undeniably, racial identity throughout all of recorded history has played a crucial role in forming individual identities. I believe (optimistic, seemingly), however, a society where race plays zero role as a contributing factor to identity is possible, regardless of how far away it may seem. Overcoming racial differences remains incredibly powerful as a deterrent for oppressed classes uniting. The National Rifle Association refused to comment when Philando Castile, an African-American law-abiding gun owner, was shot dead by police officer Jeronimo Yanez after informing the officer he had his legal weapon on his person and reaching to get his license from his pocket. Finally pressured to make a comment they hid behind the fallacious argument Castile had marijuana in his system and therefore the cop was okay. The NRA members (not those in charge of the NRA) are mostly white gun owners who are in the oppressed class whether they admit it or not. Pressure did not come from the NRA members to address Castile, it came from the outside, because the NRA is another tool for the masters of mankind to propagate division. Had Castile been white, the NRA outrage would’ve been immediate and if marijuana was also found in a white victim, it seems likely they’d find an excuse to consider the white victim a good person. Carpenter subverts racism by the seemingly unending, and ultimately pointless, fight between Nada and Frank. Carpenter rejects the traditional social relation of oppressed fighting oppressed, foolishly thinking they are competing with the other in order to join the ranks of the oppressor when in reality the most they’ll ever receive is a slightly bigger piece of pie. The shots and absurd length of the fight sequence (both men seem to land knockout blows multiple times) mirror the absurdity of racial division. Coming together in the end to fight the aliens represent the step our society still has not taken.
The epistemology of They Live has the surreal element of the glasses revealing the black and white truth of the world. Considering epistemology as the study of how things are known, the glasses’ power subvert reality because there is no on/off switch for knowledge. Nada’s glasses represent our ability to critically think. The difficulty Nada faces attempting to convince Holly to wear the glasses represents the difficulty critical thinkers face throughout history, getting society to accept critical ideas is never easy. For example, search on YouTube “the Frankfurt School”. Most of the results are reactionary conservative commentators decrying the cultural Marxism takeover of America. Carpenter uses sunglasses because regular eye classes may present the world more clearly but sunglasses alter anyone’s perception. Critical thinking, especially concerning society, often requires one to block the noise and boil things down to how they are and how they came to be. In America, the noise will have you believe Trump against Clinton was the right against the left. Critical examination tells us it was closer to the far right versus basic conservatism. Obama at the very least possessed the revolutionary moment in history when America elected the first minority president, rejecting racism in a general sense. Yet Obama’s actions and policies were not truly leftist. On their face value, they seemed to be in the American context. However, critical thinking allows one to understand why Obama didn’t act truly progressive. Killer Mike raps, “Ronald Reagan was an actor, not at all a factor / Just an employee of the country’s real masters / Just like the Bushes, Clinton and Obama”. This is not to say the Bushes, Clinton and Obama knowingly function as masters of mankind. Rather, the masters of mankind driven by profit over all else utilize figureheads to manipulate the general population. Obama personally could have wanted to enact far more progressive change but it was never a pragmatic option. The glasses reveal to Nada and Frank the manipulative reality they exist within, taking away the effort critical thinking requires to reach the same realization. Their team up after the fight shows the value of critical thinking because once Nada demonstrates to Frank his reality his false they immediately come together. If critical thinking can be taught and nurtured amongst the population then I believe we will start to see an increase in the toppling of class divides amongst the oppressed.
The divide in philosophy today seems to be analytic versus continental philosophy. Both require critical thinking and are noble pursuits. However, the critical thinking present in the continental tradition seems far more relevant to everyone’s day to to day life. Karl Marx is essentially the first philosopher to reveal capitalism as what it truly was. His ideas lead to violent revolution across the world but that was not his thesis. Marx predicted capitalism itself would lead its descent just as feudalism did before capitalism. However, much of the violent revolutions (particularly Russia and Spain) begin true to Marx and Russia even enjoyed a brief moment truly working towards communism. Then capitalism struck back. Russia and Spain were no much for the combined weight of the most powerful countries in the world’s addiction to capitalism, mainly America and the U.K. Carpenter ends They Live at the moment the revolution has won yet it seems Nada likely dies from his wounds. Where will Carpenter’s universe go from here? The ambiguity makes for the sustained relevance of They Live and increases its power as a call to action with each passing year society doesn’t truly reform. Applied critical thinking means actively studying and understanding thinkers such as Marx, Nietzsche, and the Frankfurt School amongst others and then spreading the ideas and concepts in order to promote true progressive change. Empirically it is becoming clearer capitalism is failing the majority of the world. Retreating into analytic philosophy instead of continental, or even using both in conjunction, denies Peter Singer’s claim I wholeheartedly endorse. Singer claims there are issues undeniably plaguing our society that do not depend on endless analysis with no action. It is the responsibility of every teacher and student to do something about such issues. In other words, academia at large, just like the oppressed Nada and Frank, needs to set aside superficial differences and change society for the better.
The third aspect of They Live important to consider are the ethics behind the characters’ decisions, specifically Nada in this case. As far as the audience can tell, Nada is an ethical, down on his luck member of the working poor journeying to Los Angeles from Colorado in search of work. Wearing the glasses and embarking on his revolution, those unaware of the truth will see Nada as a terrorist. Yet the ethical question Nada faces is what do once confronting with the truth. My first reading of Karl Marx’s The Communist Manifesto had me ready to start a communist army and overthrow the state. However, The Communist Manifesto is not Nada’s glasses, it requires effort to read and understand the ideas and their consequences. After calming myself down and reading some of the Frankfurt School I understood the difficult and consuming fight these ideas are in with society’s prevailing capitalist modes of thought. Our reality’s hope lies in constant education and non stop effort to pragmatically change the system because the means of violent revolution are beyond the means of the general population. However, Carpenter is making art to subvert the dominant consciousness and just as the glasses require no learning curve, if The Communist Manifesto also required no learning curve then I would all but guarantee the oppressed could take back America tomorrow. Carpenter recognizes the power of the glasses providing instant recognition of the masters of mankind’s manipulation therefore consistency leads Carpenter to have Nada and Frank instantly begin the revolution. Even though the United States military possesses weaponry beyond belief, if the millions of oppressed throughout the country stormed Washington D.C. and state capitals it would be impossible to stop short of massacre. While I do not believe this will happen or is feasible, Nada and Frank represent it happening on a smaller scale and are successful because the bourgeoisie is unprepared. For thinkers of the left, the question so often comes back to violent or pragmatic revolution and our reality dictates an approach marrying pragmatic decision making while ceaselessly advocating for true progressivism. The easiest example is the Bernie Sanders supporter having to decide whether or not to vote for Hillary Clinton. Regardless of her more closely aligning herself with conservatism than progressivism, the most morally correct choice in the face of Trump and company’s overt evil was to vote Hillary. Regretfully I did not cast a vote in 2016, never again will I make that mistake. Nada must decide what to do in the face of overt evil as well and he chooses to act. They Live’s universe allows Nada and Frank to carry out this revolution because They Live is art meant to subvert our dominating consciousness. The applicable point here is once the left educates enough people, there should be no hesitation. If the left in America begins to win, never again can they return to the conservative light attitude of the current Democratic party. Nada killing Holly symbolizes the ultimate rejection of the prevailing mode of thought, a step our supposed leftist politicians have yet to take in America.
In the chapter “Drawing the Color Line” in Howard Zinn’s A People’s History of the United States, Zinn describes fears of the bourgeoisie poor whites and black slaves would unite to overthrow the ruling class in early America. Racial infighting and white supremacy encouraged by the masters of mankind has been present in America throughout of all its young history. Donald Trump’s election undeniably rekindled the embers of racism dampened under President Obama. Yet Trump’s rhetoric and his political strategies are not original and because of the power of the internet and other media Trump is exposed equally as much as he’s applauded. The oppressed didn’t have this ability under Reagan and Nixon. Reagan’s trickle down economics didn’t have to withstand the criticism Trump’s tax cuts receive because information at that time was not readily available. Carpenter’s use of traditional television in They Live seems a product of its time considering the power of our internet today. However, Trump’s tax cuts still passed right through Congress. I believe this is because television remains the most powerful medium for manipulation and there are no better manipulators than the Republicans and Fox News. It doesn’t matter if a million perfectly valid, convincing arguments deny Trump’s tax cuts will lead to progress do not reach the eyes or ears of voters. Much of the country remains computer illiterate, in addition to lackluster public education, causing most people to live life just as the unaware men and women in They Live live. Carpenter’s use of television remains just as powerful of a message as in 1988. The rise of the internet yet lack of social progress indicates just how powerful They Live remains.
To conclude this paper, I’d like to argue why the oppressed increasingly need to realize they must come together in order to not only change society but to survive. John Carpenter’s They Live is the inverse of an interesting conspiracy theory I like to use as a thought experiment. In They Live the aliens control society and manipulate us. In reality, it is ourselves doing this to ourselves. This conspiracy theory argues aliens are aware of us but we don’t get to be a part of the club until humanity ends its self-mutilation. In other words, imagine all human beings alive as one organism. We treat ourselves terribly, constantly killing and harming one another in the name of nothing that matters once we die. If humanity existed in cooperation rather than competition, then the aliens let us into the club. Carpenter’s aliens must be killed to get the humans of The Live to come together because it is a science fiction movie and needs a villain. However, the aliens represent the toxic emphasis humanity places on individuality and division that we must destroy in order to come together to better society.
[1] Johnathan Lethem, They Live, ed. Sean Howe (New York: Soft Skull Press, 2010), 1.
[2] “You will not be able to stay home, brother / You will not be able to plug in, turn on and drop out / You will not be able to lose yourself on skag and skip / Skip out for beer during commercials / Because the revolution will not be televised” Gil Scott- Heron, The Revolution Will Not Be Televised, recorded 19 April 1971, Flying Dutchman Records, track 1on The Revolution Will Not Be Televised / Home Is Where The Hatred Is, 1971, vinyl.
[3]Hebert Marcuse, One-Dimension Man: Studies in the Ideology of Advanced Industrial Society, Boston: Beacon Press, 1991, xi-xii.
[4] Noam Chomsky, Failed States: The Abuse of Power and the Assault on Democracy, New York: Henry Holt and Company, LLC, 2006, 205–206.
[5] Also see Sigmund Freud’s nephew Edward Bernays, the father of American propaganda and advertisements technique.
[6] Herbert Marcuse, The Aesthetic Dimension, Boston: The Beacon Press, 1978, ix.
[7] The Bible (NIV), https://www.bible.com/bible/111/ACT.2.NIV.
Works Cited
Chomsky, Noam. Failed States: The Abuse of Power and the Assault on Democracy. New York: Henry Holt and Company, LLC, 2006.
Marcuse, Herbert. The Aesthetic Dimension. Boston: The Beacon Press, 1978.
Marcuse, Herbert. One-Dimension Man: Studies in the Ideology of Advanced Industrial Society. Boston: Beacon Press, 1991.
Zinn, Howard. A People’s History of the United States. New York: HarperCollins Publishers, 2015.
