Radio Stockdale

How do two films, one produced in 1996 the other in 1932, based upon the H.G. Welles novel explore the ethical challenges posed by genetic engineering? What sort of commentary does it provide concerning the slide into morally dubious actions that can be brought about by scientific fascination with following a trail of research? How do the original book’s anti-vivisectionist roots explain elements of the story? How do the book and films provide commentary on the eugenics movement, popular at the time of the writing of the novel? How do the ‘ape man’ hybridization experiments undertaken by Soviet Russia in the 1920s illustrate these concerns, and show real world parallels with this work of fiction? How does the story connect thematically with Joseph Conrad’s story Heart of Darkness, and presuppositions at the root of colonialism of the day? Do the works of H.G. Welles fail to make the transition to successful film adaptations? If so, why is this?

What does this 1992 Clint Eastwood film tell us about mythologizing of cruel figures in the so called ‘Wild West’? How does the character “English Bob” reflect the sanitizing fictions that were circulated in the press and popular culture in the late 19th and early 20th centuries? How does the film illustrate the real emotional and moral impact of killing? How do the differing reactions of Munny, Ned Logan and the ‘Schofield Kid’ illustrate the moral deadening and injurious effects of a lifetime as killer and outlaw? How does the character Munny illustrate that in lawless circumstances, in order to exact justice or retribution, or provide security, society often employs hard men, but then tends to push them aside when the emergency has passed? How does the treatment of the women in the film illustrate the morally shocking nature and misogyny of brothels? The victim of a viscious attack is treated merely as property that had been damaged. How do the women respond when they find they will not be protected by Little Bill, the sheriff? How does the film illustrate arguments in favor of legalizing such work which eventually carried the day in Nevada? How does the parasitical nature of the writer W.W. Beauchamp, and his desire to latch on to the three main characters illustrate the moral risks and harmful consequences of ‘yellow journalism?’

What does this 2017 Film about the origins of the HELA cell line used in biomedical research, and the family of ‘donor’ Henrietta Lacks, show us about the ramifying effects of the loss of Henrietta on her children and extended family? Would it have been more true to the rich source material (a best-selling book on this family's experiences) to have created a mini-series instead of a single film? How does the story highlight the ethical problems involved with taking samples from patients, propagating, distributing and using them for research without informing them or gaining their consent? What are the arguments against requiring fully informed consent for potential research purposes when samples are taken, and do they carry the water in cases like the HELA cell line? How does the film illustrate the stark contrast in medical care typically afforded black Americans in the 1950s, as opposed to white Americans? How does the fate of Elsie Lacks, Henrietta’s disabled daughter, who died at the Crownsville Hospital for the Negro Insane of Maryland, illustrate systematic racism in place at the time?

What does this 2011 Science Fiction film, premised on the technological possibility of reliving the last few minutes of a person’s life by soul-jumping into their bodies in parallel universes, tell us about ethical issues that would arise in using such technology? Does the program director, Dr. Rutledge, believe that Source Code is merely a simulation, or does he think Colter Stevens is actually sent into alternate universes, occupying each universe’s Sean Fentress? How does Capt. Goodwin’s choice to honor Stevens’ request to take him off life support jeopardize the Source Code program? If Stevens is the only person capable of being used in Source Code, should she have acquiesced in Rutledge’s order to conduct the ‘mind wipe’ of Stevens? At first, Stevens is not aware that he was terminally injured, and is being held on life-support and a part of the Source Code program. Is the wrong inflicted upon him in this lack of fully informed consent offset by the millions of lives he saves? Would there be a way to more ethically conduct this program using mortally wounded soldiers like Stevens? Is it ethically similar to real world programs such the MK Ultra and Edgewood Arsenal studies? What happens to Sean Fentress at the end of the film? Is he killed, as Stevens’ soul takes up residence in his body? Should Stevens (now in Fentress’s body) tell Christina, Fentress’s girlfriend? Should he tell the Fentress family? He calls ‘his’ father, posing as an army friend, relaying Stevens’ dying words. Should he reconsider, and seek out ‘his’ father in that universe? Would that be morally and emotionally traumatic for the father, given there will now be two Colters in that universe?

What does this 1962 Orson Welles film, based upon the incomplete Franz Kafka novel, tell us in its utilization of a nightmarish story? How does the illogic of transitions mimic nightmares? Do any of the characters surrounding and including protagonist Joseph K, truly know what is going on? Are they all in the same uncomprehending state with regard to their places in the world? How does Joseph K’s ‘throwness’ into his world reflect our own status, according to existentialist thought? How does this 1914 novel forecast elements of the legal systems of later 20th century totalitarian states in Germany and Soviet Russia? What does the fable of the man sitting in front of the doorway asking for entrance to ‘the Law’ represent? Does the Law represent God? Does the film present us with a meditation on the problem of evil, pain and suffering being allowed by God, and man’s inability to find justification or rationale for it? How does Welles symbolize human ignorance in the closing of the film, using the parable of the man at the gates of the Law watching the door close forbidding his entrance as he dies?

How does this 1972 film, based on the Second Continental Congress’ deliberations on Independence, reflect the times of its production, as well as the actual events surrounding the adoption of the Declaration? Does the effort to make the founding fathers more human work? Does the film accurately reflect the motivations of men like John Dickenson? Why does it simplistically portray some of them as primarily wanting to protect their wealth or land holdings? How does the film dramatize the debate over and excision of Thomas Jefferson’s section on slavery, and the rationale for that deletion? How does the language of the preamble of the Declaration illustrate the longer term strategy of Jefferson and others in regard to eliminating the slave trade? How does the story of Jack Warner’s and President Nixon’s concerns about one song illustrate the politics of the early 1970s? How did this musical film inspire Lin-Manuel Miranda to create the play Hamilton?

What does this miniseries, based upon the Chernobyl nuclear power plant disaster and its aftermath, tell us about the contribution made to the disaster by the closed Soviet system, and its Marxist/Leninist ideology? How important was international media to the eventual clean-up and averting of an even worse disaster? How do the film-makers portray the heroism of ordinary citizens in the cleanup operation? How does the miniseries show the cynicism of ordinary citizens and party functionaries in the face of the failures of the Soviet system? How does it show the ordinary person’s courage and willingness to sacrifice their lives? How does this invidiual heroism contrast with the willingness of communist states to indulge in crude utilitarian calculus when it comes to mass sacrifice of human life? Should the Russian government have allowed people to return to live in the exclusion zone? Should people be allowed to visit the area? What level of respect to those who died should be shown by such visitors, and how has social media illustrated this? What books should one read in concert with watching this miniseries? Is the film intended to be anti-nuclear power?

How does this 1951 film set during the contemporaneous Korean War explore racially connected issues in the U.S.? How does it go against type for so called “B” movies in its exploration of these issues? How does it reflect the communist world’s awareness of America’s faults and attempts to exploit the existence of racial bigotry? How does the director, Samuel Fuller’s, military experience lend credence to his portrayal of small unit climate and dynamics? How does the relationship of the relatively green Lt. Driscoll and experienced Sgt. Zack reflect the realities of these dynamics? Why did the Army react negatively to this film’s portrayal of the shooting of a POW? Why is there a relative dearth of films dealing with the Korean War, as compared with WWII and the Vietnam War? Does the ambiguous outcome of that conflict account for this?

How does this film’s attempt at a realistic or plausible variation on the theme of superheroes work as compared with more mainstream films in that genre? How does Elijah Price’s disease, and his mother’s attempts to counter his fear, lead him to believe comic books contain a kernel of truth with regard to people that are physically impervious to harm, and how does this lead him to discover David Dunn? How does Elijah attempt to convince Dunn that he needs to play the role of protector? What was Elijah’s ultimate purpose in causing catastrophic incidents, including the train derailment that opens the action for Dunn? How does the scene at the train station, where Dunn intuits or sees various crimes illustrate a more realistic or down-to-earth superhero theme, in that he must conduct a sort of triage before he acts? How effective is the effort to place the super-hero theme in a more restrained and realistic environment, and how does it motivate the dilemmas the characters face? How does Shyamalan work with the comic book genre’s notion of a fatal weakness in order to ground and make plausible Dunn’s superior abilities?

How does this noire film, which contrasts a barely noticeable wallflower of a main character with a set of boisterous ‘BS-ing’ characters, use this contrast, and for what purpose? How is Ed’s position in this ‘big wide world of yakity-yak’ like ours? How does Ed’s passivity illustrate points made by existential philosophers, with regard to alienation and 'authentic' existence? How does the introduction of aliens and UFOs symbolize Ed’s passivity with regard to his own life? How does Ed's defense attorney make use of an argument about the ‘plight of modern man’ to argue that Ed was incapable of the crime with which he was charged? How does Ed’s arc of development, as contrasted with those of other more active characters in classic noire films, illustrate the dark underlayment lurking in the existentialist notion of authenticity, when combined with its peculiar aesthetic view of morality or values? How does Ed’s desire to help Birdy start a musical career show his concern for not having led a meaningful life? Why is he shocked at Birdy’s tawdry response?