Lovers And Haters: Further Thoughts On The Hobbit Dispute

Enforcing Difference: In the American South, during the "Jim Crow" era, it was as vital for whites to engage in discrimination as it was for blacks to suffer it. In New Zealand, during the Hobbit Controversy, it was vital that most Kiwis be seen to be backing Sir Peter Jackson and his anti-union allies. "Hobbit Hater!" - like "Nigger Lover!" - is an insult designed to both discipline and isolate the dissenting minority from the assenting majority.

“NIGGER LOVER!” No accusation was more feared by white citizens of the old American South. Upon its recipients’ shoulders descended – with the sting of an overseer’s stock-whip – the entire, obdurate and unyielding expectations of Dixie’s racially-defined culture.

 

Following the withdrawal of the federal government’s army of occupation in 1877, a “Nigger Lover” was any Southern white who dared to deviate from the brutal racist consensus which,  vote by vote, law by law, lynching by lynching, was rebuilding white supremacy in the states of the shattered Confederacy.

 

It is a fact easily forgotten that the “Jim Crow” segregationist regimes of the South were as dependent on the willingness of whites to enforce their will, as they were on the legally engineered incapacity of blacks to defy them.

 

Securing the full co-operation of Southern whites in the grim business of exploiting Southern blacks, required constant and unrelenting ideological effort. The beneficiaries of segregation had to be reassured that the racist rules of their society represented not simply the most practical answer to the “race question”, but also constituted its best, self-evidently moral, resolution.

 

To ignore or openly defy the Jim Crow Laws of the South, by reaching out to one’s black neighbours, workmates or employees was, in effect, to engage in an act of brazen subversion. To treat African-Americans as equals was to concede their full constitutional status, both as human-beings and citizens, and thus to acknowledge their right to all the opportunities and services denied by segregation.

 

“Nigger Lover!”, therefore, wasn’t merely a declaration of racist scorn, it was a reminder – a very sharp reminder – of the white individual’s obligation to maintain solidarity with every other beneficiary of racist bigotry. The whole socio-economic and political order of the South, and their status within it, required whites (either passively or actively, as the situation dictated) to hate and oppress their black neighbours.

 

THESE MUSINGS on the most devastating disciplinary insult of the Old South were prompted by the past week’s recapitulation of the so-called “Hobbit Crisis” of October 2010.

 

The release by both the National-led Government and the Council of Trade Unions of hitherto withheld documents and e-mails has confirmed the reportage of that very small number of journalists who refused to accept the “official version” of events which so inflamed New Zealanders at the time. (Again, I raise my hat to Radio New Zealand’s Brent Edwards and Scoop’s Gordon Campbell.)

 

We know now that the “official version” of events, the version scripted by Sir Peter Jackson and the National Government, and relayed almost verbatim to the public by a distressingly large section of the news media, bore very little relation to what was actually happening.

 

Being wrong, however, in no way reduced the “official version’s” effectiveness. Sir Peter is a master story-teller and the tale he wove around the hapless Actors Equity Union was one from which it could not escape.

 

Hobbit Lovers: Even children were enrolled in the campaign to prevent the New Zealand film industry from being unionised.

 

Because Actors Equity wasn’t simply the villain of Sir Peter’s particular story. His admirers were encouraged to see it as something more: a generic enemy which threatened not only The Hobbit and the local film industry to which it was so important, but also the whole way of doing business in Twenty-First Century New Zealand.

 

It is important to recall the context in which the Hobbit Crisis took place. The world remained in the grip of the Global Financial Crisis, the Labour Party was moving to the left, and the trade union movement had just held a series of mass rallies around the country. On the right of politics there was a sense of unease – a feeling that, after thirty years of steady advance, its ideology was in retreat.

 

Sir Peter’s genius allowed him to transform the question of whether The Hobbit would be filmed in New Zealand, and under what sort of labour relations regime, into a litmus test of people’s allegiance to the social, economic and political realities of the “new” New Zealand.

 

The actual provenance of the epithet used by those opposing the efforts of Actors Equity and the CTU to unionise the New Zealand film industry is unclear. What cannot be disputed, however, is its impact. “Hobbit Hater” – like “Nigger Lover” – branded the recipient as someone hostile to the objectives of national revitalisation. Someone who still saw ordinary workers – even actors – as people with a legal right to bargain collectively for higher wages and improved conditions.

 

“Hobbit Haters” were the sort of people who wanted to return New Zealand to the bad old days of unbridled union power. “Hobbit Haters” had no respect for Weta Workshop’s Sir Richard Taylor or his army of “independent contractors”. “Hobbit Haters” were people who stood in the way of jobs and prosperity – like Labour and the Greens.

 

“Hobbit Haters”, like “Nigger Lovers”, refused to recognise what was good for them.

 

This essay was originally published in The Press of Tuesday, 5 March 2013.

A Free Country?

How Free? New Zealanders like to think they live in "a free country". But, between the theory of democratic citizenship and its practice in the everyday lives of ordinary Kiwis, the gulf grows wider and wider.

 

“IT’S A FREE COUNTRY.” Ask someone if it’s okay to sit down, make a coffee, or take a squiz at the paper, and chances are you’ll receive this stock response. But just because a phrase is oft repeated doesn’t make it untrue. Ours is a free, open and democratic society, where everything that isn’t expressly forbidden is permitted.

 

Isn’t it?

 

Just a few days ago I was chatting with a group of young New Zealanders and the conversation turned to blogs and blogging. My companions were all intelligent, well-educated and gainfully employed Kiwis, and yet I was staggered to learn that none of them were willing to either post or comment on a blog using their own name.

 

Why were they so unwilling to put their names to their thoughts? What did they think would happen to them if they did? This is New Zealand, I reminded them with a puzzled frown. We’re not living in Putin’s Russia or North Korea. This is still “a free country”.

 

They gave me that weary, gently condescending look which Gen-Xers reserve for members of the Baby Boom generation who just don’t have a clue what life is like for people who didn’t grow up in the 1960s and 70s.

 

“If I apply for a job”, said one, “I don’t want my prospective employer to Google my name and be confronted with a whole series of fiery left-wing rants on controversial subjects.”

 

“It can hurt you professionally”, said another, “if your boss reads something you’ve written on a blog that he or she finds objectionable. It can harm your career prospects.”

 

“Or get you fired.”

 

This was too much. Had none of them heard of the Bill of Rights Act? The Human Rights Act? The Employment Relations Act? All New Zealanders are guaranteed the freedom of expression. It is illegal to be discriminated against on the basis of one’s beliefs. No one can be sacked for having an opinion – no matter how controversial.

 

“Maybe not in your day,” responded my young companions, “back when unions were strong and a civil service job was for life. But things are different now. Everyone’s vulnerable.”

 

And of course they were right. As we argued back and forth I suddenly recalled the extraordinary content of a recorded conversation broadcast on Radio New Zealand’s “Morning Report” on Monday 10 December – just a few days earlier.

 

Todd Rippon, a “Lord of the Rings” Tour Guide employed by Wellington-based Rover Tours Ltd, was fighting to keep his job following the communication of negative “feedback” to his employer, Scott Courtney, by the staff of Absolutely Positively Wellington Tourism. Mr Rippon’s offence? To have spoken in less than glowing terms about Sir Peter Jackson – a charge which Mr Rippon emphatically denies.

 

Listening to the recording, however, it soon became clear that the offence Mr Rippon’s boss objected to most strenuously was his employee’s active participation in the Actors Equity union.

 

“You’re involved with an organisation that is completely at odds with what I do”, Mr Courtney told his employee, even though Mr Rippon’s work as a tour guide was quite separate from his career as a professional actor and his role as the Vice-President of his union.

 

Also clear was that Tourism New Zealand – a body with which Mr Courtney’s firm works very closely – harboured similar misgivings concerning Mr Rippon’s associations.

 

When Mr Rippon asked his boss: “And what about the pressure from Tourism New Zealand? Do you think that it’s harming you that I’m working for you?” Mr Courtney replied: “Yes, I do.”

 

“Because Tourism New Zealand disapproves?”

 

“It will be something that is always at the back of their mind.”

 

This admission by Mr Courtney is deeply troubling. Tourism New Zealand has no legitimate interest whatsoever in the groups with whom Mr Rippon chooses to exercise his statutory right to freedom of association.

 

It got worse.

 

The industrial dispute between Actors Equity and Sir Peter Jackson over the filming of The Hobbit had appalled Mr Rippon’s boss:

 

“I am disgusted with what the Actors Equity union did and what their position is. It affects me, it affects my business. I don’t believe what they did was right. And it’s not something I want my company, or anyone involved with my company, to be involved with.”

 

When Mr Rippon objects: “You can’t set me aside because I belong to that.” Mr Courtney replies: “But I can! You see, this is the point.”

 

“You can’t do that!” protests Mr Rippon. “ It’s a basic human right to be a member of a union!”

 

“No, no, no!” Mr Courtney snaps back. “It’s not!”

 

It is difficult to imagine a better demonstration of the gulf which now exists between the theory and practice of democratic citizenship in contemporary New Zealand.

 

A free country? If only!

 

This essay was originally published in The Press of Tuesday, 18 December 2012.

Welcome To Middle Earth

Re-imagining New Zealand: Forty years of official biculturalism and assertive indigeneity have failed to suppress the colonisers' desire to refashion their new world in the image of the old. In this regard, "Middle Earth" has proved to be a much more comfortable cultural fit than "Aotearoa".

 

ONE HUNDRED PERCENT Middle Earth. That’s how the tourism industry has decided to promote New Zealand. Our national airline has even contributed one of its airliners, emblazoned nose to tail with images from The Hobbit movie, to elevate the promotional cause. This flying billboard will wow those attending the film’s “red carpet” premiere with a low-level fly-past.

 

Asked by a local journalist for his response to Air New Zealand’s generosity, an executive from the movie’s maker, Warner Bros, didn’t know whether to laugh out loud or titter. His consternation is understandable. Very few countries have been as willing to abase themselves quite so completely to the “soft-power” of Hollywood as we poor deluded Kiwis.

 

Having successfully persuaded New Zealand’s government to re-word its labour and immigration laws to industry specifications, increase its financial incentives and provide Warner Bros with millions of dollars’ worth of free publicity, the Hollywood moguls should be blushing with shame. More likely they’re kicking themselves for not demanding more.

 

And considering what we’ve been willing to do unasked – who could blame them! A friend of mine, returning from a trip to the United States, told me of his cringing embarrassment upon discovering that Air New Zealand’s passenger safety instructional video now doubles as a trailer for The Hobbit (complete with the Gollum character crawling up the aisle in search of  his “Prescioussss” – presumably the nearest exit!)

 

Why are we doing this to ourselves? Why are we so quick to dismiss even the slightest criticism of the Middle Earth franchise? How has The Hobbit’s director, Sir Peter Jackson, acquired such a powerful grip upon the public’s imagination and affection, and thus upon the direction of Government policy? What has caused a little nation located in the South Pacific to expend so much time, energy and money transforming itself into a bucolic version of medieval England?

 

Perhaps, after nearly forty years of official decolonisation, Sir Peter’s masterful adaptation of Tolkien’s masterpieces has opened a long-locked door to the colonisers’ cultural storehouse. Most New Zealanders are, when all is said and done, English speakers and (as Maori have been telling us for nearly forty years) culture and language are inextricably linked.

 

Transported half way across the planet our ancestors lost little time in reshaping Aotearoa’s natural landscape with flora and fauna appropriate to their vocabulary. And alongside the oaks and elms, sheep and cattle they’d introduced, they also constructed churches, schools, town halls and railway stations designed to “age” their young colony. It’s why the centre of Christchurch used to, and the heart of Dunedin still does, look like it’s stood there for centuries.

 

Ageing The Colony: St Andrew's Presbyterian Church, Auckland: "A baroque tower in Symonds Street that appears to have stood there since 1730." (Photo by Chris Harris)

 

Two great waves of cultural change have laid much of this “Better Britain” flat. The first was the wave of brutal modernist architecture which reduced the neo-classical and Gothic buildings of our Victorian forebears to rubble. And as modernism flattened New Zealand’s constructed landscape, so the second great wave: officially sanctioned bi-culturalism and assertive indigeneity; deconstructed its fondest cultural assumptions and undermined its intellectual confidence.

 

This great laying to waste of the West’s best stories, which goes by the name of Post-Modernism, is described by the social theorist, Frederic Jameson, as “the cultural logic of late-capitalism”. It’s most devastating characteristic is its power to dissolve boundaries. High and popular culture mingle promiscuously in the post-modern societies of the 21^st Century; as do past and present, fact and fiction, science and religion.

 

Sir Peter Jackson floats freely in this post-modern world – as his mischievous 1995 faux documentary, Forgotten Silver, made very clear. Who better, then, to overlay Tolkien’s Middle Earth upon a New Zealand landscape already transformed by the ecological imperialism of its Victorian colonisers? The Lord of the Rings trilogy, and now The Hobbit, may “only” be movies, but that has not prevented them from turning Mt Ngaurahoe into “Mt Doom” and Matamata into “Hobbiton”.

 

Tolkein’s writings may be fictional but they possess a cultural power that is very real. And thanks to the cinematographic skills of Sir Peter Jackson and the digital magic of Weta Workshops, Pakeha New Zealanders have been given reference points that owe nothing to their country’s indigenous culture. In our post-modern world, where reality has taken on an alarmingly subjective quality, “Middle Earth” is a much more comfortable fit than “Aotearoa”.

 

More comfortable, too, for dwellers in a “West” beset with economic, political, environmental and cultural challenges. A West in whose eyes New Zealand stands as a refuge every bit as wholesome and protected as “The Shire”. New Zealanders’ desire for cultural reassurance and comfort is thus reinforced by an international audience desperate to escape the daunting challenges of multiculturalism and austerity.

 

No, the tourism industry and Air New Zealand should have little difficulty in filling those airliners. Not while Middle Earth is so much more enjoyable than the real one.

 

This essay was originally published in The Press of Tuesday, 27^th November 2012.

Still Cringing

"The trick of standing upright here": After the cringing fiasco that was 'The Hobbit Affair', it's depressingly clear that most New Zealanders have yet to master the art of living as if they were free.

WHO ARE WE NOW? What have we become? Where, exactly, is New Zealand?

I only ask because last weekend I saw people holding up placards informing me in no uncertain terms that "New Zealand IS Middle Earth".

What the placard-wavers seemed to be saying was that all those Kiwis willing to sacrifice everything to ensure Sir Peter Jackson’s production of J.R.R. Tolkien’s classic children’s tale remained in New Zealand, should consider themselves "Hobbits". While those New Zealanders with the temerity to join unions and bargain for better wages and conditions should be lumped-in with the goblin enemies of all that is good and true and wholesome in "Middle Earth".

How did it come to this? When did New Zealanders lose touch with their country’s own identity to such a degree that many now take more pride in being associated with a work of literary fantasy than their own homeland?

These are serious questions. New Zealand’s immediate future contains a daunting number of economic, social and constitutional challenges. Overcoming these challenges will test this nation’s mettle in ways not experienced since the 1930s and 40s.

The New Zealand that came through the Great Depression and the Second World War was configured very differently from the New Zealand of today.

The Labour Government of Michael Joseph Savage and Peter Fraser, by drawing all the various sectors of New Zealand society – employers, unions, farmers, professional organisations, churches, community groups, artists – into a collective struggle for national survival, fostered a nationalistic spirit of unity and purpose which enabled our small and vulnerable population to emerge from the period stronger, more prosperous and vastly more self-assured than before.

The artists, in particular, played a vital role in creating New Zealand’s national identity. Though the bonds of empire remained strong, it was possible to discern, through the war-torn and increasingly thread-bare Union Jack, a new and independent nation slowly but unmistakably acquiring a distinctive form and shape.

This emerging New Zealand was an unequivocally Pacific nation with its own indigenous Polynesian culture (as tens-of-thousands of Kiwis serving overseas realised with a sudden pang of homesickness whenever they heard Maori music played).

The novelist, John Mulgan, had high hopes for this emerging New Zealand:

I have had visions and dreamed dreams of another New Zealand that might grow into the future on the foundations of the old. This country would have more people to share it. … [M]en who want the freedom which comes from an ordered, just community. There would be more children in the sands and sunshine, more small farms, gardens and cottages. Girls would wear bright dresses, men would talk quietly together. Few would be rich, none would be poor. They would fill the land and make it a nation.

It was the dream of the younger Labour men and women returning home from the war. The dream of Finance Minister, Arnold Nordmeyer, and Industries & Commerce Minister, Phil Holloway. The dream for which Norman Kirk died in 1974.

It is also the dream which Roger Douglas, Ruth Richardson and the whole neoliberal economic order they brought into being, have spent the last quarter-century attempting to root out of New Zealand’s collective memory.

Central to that task has been the deliberate falsification of this country’s recent history. For New Zealanders to become the ‘global citizens’ of the ‘borderless world’ that neoliberalism requires, all generators of national identity; all the mechanisms of economic sovereignty, must be dismantled.

To present this as a positive achievement, New Zealanders – especially young New Zealanders – must be persuaded to perceive their country’s recent past in darkly negative terms. Kirk’s New Zealand, the New Zealand of social equality and full-employment had to presented as, in David Lange’s witheringly dismissive phrase: "a Polish shipyard".

In place of Mulgan’s quiet, egalitarian New Zealand, neoliberalism has erected a raucous culture of rampant greed and conspicuous consumption. In neoliberal New Zealand, only losers care about losers. All that matters in the brave new world of the all-conquering free market is winning.

Sir Peter Jackson is a winner. Ipso facto, a Hollywood blockbuster located in New Zealand and directed by "Wellywood’s" Oscar-festooned maestro makes all of us winners too. Anyone attempting to block the great man’s path (like NZ Actors Equity or the CTU) must, therefore, be dismissed as, to use Paul Holmes’ ripe vocabulary – "filth".

Sixty-seven years ago, in his poem The Skeleton of the Great Moa in the Canterbury Museum Allen Curnow prophesied that: "Not I, some child, born in a marvellous year/Will learn the trick of standing upright here".

Surveying last week’s placard-waving crowd in Wellington’s Civic Square – and after watching our Prime Minister’s supine surrender to Sir Peter Jackson’s and Warner Bros.’ demands – it has become dispiritingly clear to me that "standing upright" is a trick we’ve yet to master here – in "Middle Earth".

This essay was originally published in The Press of Tuesday, 2 November 2010.