Week  8a

Inner-­‐Direc.on  in  You  Can’t  Take  It  with  You  

Ques.on  for  students

•  What  is  your  capital?    •  How  would  you  define  your  capital  right  now  as  a  student?  

•  How  would  you  define  it  later  when  you  apply  for  a  job?

•  Descendants  –　子孫  (to  descend  from)    •  Transparency  –  透明性（コミュニケーションにおける）

•  Like  inner-­‐direc.on,  one’s  capital  is  invisible.  •  In  fact,  inner-­‐direc.on  is  a  form  of  capital.  

“Progressive”  model  for  society

•  As  opposed  to  “tradi.on-­‐directed”  socie.es,  the  “inner-­‐directed”  society  is  based  on  a  progressive  model.  This  model  depends  on  transparent  communica.on.  

 

On  transparency

•  Why  is  transparent  communica.on  necessary?  

•  One’s  inner-­‐direc.on    is  not  defined  by  race  or  class,  it  is  invisible  so  it  has  to  be  communicated.

•  Why  express  this  inner-­‐direc.on?  •  To  be  recognized.  

•  What  is  the  social  value  of  this  inner-­‐self?  

•  Laborers:  their  labor  is  their  capital.  •  Ci.zens:  their  “inner-­‐direc.on”  is  their  capital.

“Progressive”  model  for  society

•  Inner-­‐directed  people  discover  and  develop  new  technologies.  

“Progressive”  model  for  society

•  They  are  needed  for  a  society  based  on  produc.on.  Increasingly,  this  society  is  one  based  on  mass-­‐produc.on.  

 

Value  of  “inner-­‐direc.on”

•  How  much  of  your  “inner-­‐direc.on”  will  help  us  produce  new  and  “beUer”  things  in  the  future?

The  American  model

•  Sons  and  daughters  of  immigrants  oWen  have  the  talent  to  develop  new  technologies.  

•  Why?  

Americans  as  descendants  of  immigrant

•  Because  they  don’t  have  their  parents’  roots.  They  are  “free”  from  the  past.  They  don’t  depend  on  tradi.on.  Instead,  they  seek  out  new  ideas,  including  a  new  way  of  life.  

Americans  as  descendants  of  immigrant

•  This  new  way  may  also  include  the  no.on  of  love,  that  is,  how  men  and  women  communicate  with  each  other.  

1930s

•  New  York  is  the  (global?)  center  of  media  produc.on/invisible  informa.on.  

•  Do  New  Yorkers  lead  a  local  or  mass  existence?  

•  To  develop  inner-­‐direc.on  (Inner-­‐talent  to  develop  something  new)  one  needs:  

1.  Other  investors  2.  Not  only  money  investments,  but  support,  as  

in,  “love.”

You  Can’t  Take  It  With  You  (1938)

•  Directed  by  Frank  Capra

YCTIWY  (1)  –  Tony’s  Inner-­‐Direc.on

•  Tony:  To  do  what  you  want  to  do  takes  courage.　  

•  Tony:  When  I  was  in  college,  I  wanted  to  discover  something  unique.  

(clip1)  

 

YCTIWY  (1)  –  Tony’s  Inner-­‐Direc.on

•  TONY:  We  could  take  all  the  power  we  could  ever  need  from  the  sun's  rays.    

•  Tony:  We  got  so  excited  about  it  we  forgot  to  sleep.  

YCTIWY  (1)  –  Tony’s  Inner-­‐Direc.on

•  TONY:  We  could  take  all  the  power  we  could  ever  need  from  the  sun's  rays.    

•  Tony’s  interest  in  technology  and  research,  not  banking.

YCTIWY  (1)  –  Tony’s  Inner-­‐Direc.on

•  Defining  “oneself”  by  sedng  a  goal  that  is  “large  scale.”  

•  膨大な規模／目標を果たすことによって「自分」を見つけ出す

The  “dark”  side  of  inner-­‐direc.on

•  Inner-­‐Direc.on  can  be  a  trial.　（苦労）  •  The  result  may  be  failure.  （挫折）  

Reality  and  Inner-­‐Direc.on

•  One  gain  a  sense  of  iden.ty  if  inner-­‐directed  goal  is  successful.  

•  However,  what  if  one’s  inner-­‐direc.on  fails?

Reality  and  Inner-­‐Direc.on

•  What  if  one’s  inner-­‐direc.on  fails?  •  That  is,  what  if  one’s  goals  are  not  accomplished  in  reality?  

(clip  2)

Reality  and  Inner-­‐Direc.on

•  What  if  one’s  inner-­‐direc.on  fails?  

(clip  2)

Reality  and  Inner-­‐Direc.on

Alice:  Then  what?    (トニーの「野望」の研究に関して）

Tony:  We  leW  school  and  now  he‘s  selling  automobiles  and  I’m  in  some  strange  thing  called  banking.（現実に直面、厳しい現実）

Reality  and  Inner-­‐Direc.on

Alice:  And?  Tony:  He's  married,  and  his  wife  just  had  a  baby.  He  didn't  think  it  was  fair  to  gamble  with  the  future.  (inner-­‐direc.on  and  future  risk).    

Reality  and  Inner-­‐Direc.on

“He  didn't  think  it  was  fair  to  gamble  with  the  future.”  

 He  couldn’t  invest  his  talent  in  the  future  anymore.  

 Tony’s  friend  no  longer  has  a  “future.”    He  must  give  up  on  his  inner-­‐direc.on  to  start  a  family.

Reality  and  Inner-­‐Direc.on

•  Tony  doesn’t  have  a  family.  He  isn’t  married.  So  he  can  s.ll  gamble.  Why  doesn’t  he  risk  his  talent?

Reality  and  Inner-­‐Direc.on

•  Tony  doesn’t  have  a  family.  He  isn’t  married.  So  he  can  s.ll  gamble.  Why  doesn’t  he  risk  his  talent?  

•  He’s  afraid.  

Reality  and  Inner-­‐Direc.on

•  Why  is  he  afraid  though?  He’s  wealthy.  

Reality  and  Inner-­‐Direc.on

•  Why  is  he  afraid  though?  He’s  wealthy.  •  Because  he  comes  from  a  wealthy  family.  •  This  family  does  not  support  his  inner-­‐direc.on  (of  research  in  chemistry/technology).  

Reality  and  Inner-­‐Direc.on

•  So  he  needs  support.  Where  does  that  support  come  from?  Someone  very  different  from  his  family.

Reality  and  Inner-­‐Direc.on

Tony:  So  what's  my  excuse?    Well,  the  Kirbys  have  been  bankers  for  9,000  years.  That's  been  pounded  into  my  brain.  

Alice:  Tony,  that's  kind  of  silly,  you're  preUy  young  to…  

 Alice  believes  that  Tony’s  inner-­‐direc.on  s.ll  has  poten.al  for  investment.

Reality  and  Inner-­‐Direc.on

NOTE:  How  does  Alice  value  Tony?

Reality  and  Inner-­‐Direc.on

NOTE:  How  does  Alice  value  Tony?    Not  according  to  his  social  status  or  class,  but  according  to  his  intelligence,  that  is,  his  inner-­‐directed  poten.al.

Reality  and  Inner-­‐Direc.on

His  intelligence/his  inner-­‐directed  poten.al.    Alice:  Besides,  I  resent  what  you  said  about  your  brain.  I  think  it's  (your  brain  is)  beau.ful.  

Remember!

•  With  inner-­‐direc.on,  you  cannot  accomplish  your  goals  on  your  own.  

•  Note  in  this  film:  who  invests  in  Tony’s  talent  (to  become  an  engineer)?  

•  Who  doesn’t  invest  in  Tony’s  talent?

Reality  and  Inner-­‐Direc.on

NOTE:  How  does  Tony’s  father  value  Tony?      

     (clip  3)  

Reality  and  Inner-­‐Direc.on

Compare  scene  with  Tony  and  his  father.    Tony:  I  thought…I  could  work  on  that  grass  project  when  I  get  back.    Remember  that  thing  that  Bob  Smith  (my  friend)  fooled  around  with  in  college?  

Father:  (laughs)  Tony:  (angry)  If  you  think  it’s  funny,  I’m  sorry.  I  came  here  to  say  goodbye.

Alice  and  Tony’s  father

Alice  takes  Tony’s  inner-­‐direc.on  seriously  （真剣）    

Tony’s  father  laughs  at  Tony’s  inner-­‐direc.on  (冷笑）  

 

Alice  vs.  Tony’s  father

Tony’s  father  is  blind  to  Tony’s  inner-­‐direc.on.      He  can  only  see  his  son  as  a  “Kirby”  banker  (tradi.on-­‐directed).  

 Because  his  father  refuses  to  see  his  inner-­‐direc.on,  Tony  decides  to  leave  the  family/tradi.on.

 

Tradi.on-­‐direc.on  as    Inter-­‐genera.onal

•  Tradi.on-­‐direc.on  is  ver.cal  Between  genera.ons  •  Father　    •  Son

Horizontal    (shared  within  a  genera.on)

•  Inner-­‐direc.on  is  horizontal    Genera.onal  iden.ty  （同世代感）      •  Man      Woman  (same  genera.on)

You  Can’t  Take  It  With  You

•  Inner-­‐direc.on  is  horizontal  •  Man      Woman  •  Tony  and  Alice

Odd  Love  Triangle  （奇妙な三角関係）

Alice’s  Family  (Inner-­‐Directed)

Kirby  Parents  (Tradi.on-­‐directed)

Tony  Kirby

Inner  Dir.  vs.  Tradi.on

•  Tony  chooses  the  inner-­‐direc.on  of  Alice’s  family  (Sycamores-­‐Vanderhofs).  

•  And  rejects  the  tradi.on-­‐direc.on  of  his  parents,  the  Kirbys.  

 •  The  Kirbys  must  accept  the  inner-­‐direc.on  of  their  son.  

Tony’s  values

Father:  You  can’t  do  this,  aWer  all  the  plans  I  made  for  you.  

Tony:  I  think  this  business  (of  banking)  is  great.  It’s  good  for  you  because  you  like  it.  I  don’t  and  I  never  will  (like  this  business).  

 

Tradi.on

•  Tony  doesn’t  care  about  his  parents’  money/wealth/business.  

•  Why?  

Tradi.on

•  Why?  

•  It  has  nothing  to  do  with  Tony’s  (inner)  talents.  

•  Family  business  is  valued  according  to  social  status  (社会的地位）and  wealth.  

Tradi.on

•  The  Kirbys  measure/value  others  according  to  their  superiority  in  terms  of  class  and  wealth,  not  their  talent(s).      

•  Their  values  are  tradi.on-­‐directed.  

Tradi.on

•  The  Kirbys  believe  their  values  are  correct  because  they  have  always  been  rich.  

 •  Authority  =  power  over  .me    •  “Our  beliefs/values  are  correct.  That  is  why  we  have  always  been  rich  and  superior.”

Inner-­‐Direc.on    and  modern  democracy

Alice:  I  don’t  care  if  you  (Tony  and  Kirbys)  are  rich.    

   

Inner-­‐direc.on  is  not  about  wealth,  but  the  poten.al  to  create  wealth.

•  This  wealth  is  not  always  measured  in  terms  of  money.  

•  There  are  other  standards  of  value.  

•  The  standards  of  transparency,  that  is  transparent  communica.on.  

 

Transparency  and  “love”

•  In  many  Hollywood  films  ,“love”  is  defined  in  terms  of  transparent  communica.on.  

•  “I  can  talk  to  her/him  about  things  I  can’t  men.on  to  anyone  even  my  parents  or  friends.”

•  While  tradi.on-­‐directed  values  no  longer  apply,  it  is  unclear  how  people  are  valued  in  an  inner-­‐directed  society.  

 •  How  is  value  (one’s  worth)  defined  in  an  inner-­‐directed  society?  

Standards  of    transparent  communica.on

•  In  this  film,  “love”  is  defined  in  terms  of  transparent  communica.on.  

•  “I  love  you”    meaning:  

“Our  communica.on  is  transparent.”  

Inner-­‐Direc.on    and  modern  democracy

•  A  person’s  value  is  no  longer  limited  to  tradi.on.  

 •  Tradi.on-­‐directed  values  no  longer  apply.  

(clip  4,  3:00)

Inner-­‐Direc.on    and  modern  democracy

(clip  4,  3:00)

•  And  “love”  is  defined  in  terms  of  transparent  communica.on.

Flow  of  informa.on

•  In  an  inner-­‐directed  society,  the  ideal  flow  of  informa.on  is  democra.c.  

•  It  is  not  “owned”  by  the  wealthy.  •  The  informa.on  gets  exchanged  between  people  with  very  different  backgrounds  (in  terms  of  class,  and  later  ethnicity).  

 

Flow  of  informa.on

•  The  informa.on  gets  exchanged  between  people  with  very  different  background  (in  terms  of  class,  and  later  ethnicity)  

 

Flow  of  informa.on

•  Everyone  should  have  equal  access  not  only  to  property,  but  informa.on.  

Flow  of  informa.on

•  Communica.on  is  less  a  maUer  of  defining  authority  as  it  is  one  of  recognizing  the  other  person.

Flow  of  informa.on

•  Communica.on  is  a  maUer  of  recognizing  each  other.  

•  “Seeing”  each  other.  

Condi.ons  of  trust

•  In  terms  of  informa.on  and  trust,  it  means  that  both  par.es  have  the  power  to  build  it.  

•  Communica.on  is  a  process  of  building  collabora.on  within  a  certain  genera.on.  

•  Friends  and  lovers,  not  extended  family,  become  central  in  these  films.

The  ideal  of  “love”  and  democracy

•  Democracy:  government  by  the  people.  •  “Democra.c”  communica.on:  based  on  equal  access  to  informa.on  and  its  uses.

Democra.c  communica.on

•  “Love”  between  man  and  woman.  •  Local  friends  and  community.      (“It  doesn’t  maUer  who  is  rich  and  poor.  We  are  equal  to  them  as  long  as  we  can  exchange  informa.on  equally.”)

It’s  a  Wonderful  Life  (1946)

•  Watch  the  first  hour.  If  you’re  interested  in  the  film,  watch  the  rest  of  it.  (Room  3535)  

•  レンタル屋でも見つかります。  （邦題：『素晴らしき哉、人生!』）  

•  Think  of  how  it  differs  (in  terms  of  depic.ng  inner-­‐direc.on)  from  You  Can’t  Take  It  with  You  and  American  Madness.  

 

It’s  a  Wonderful  Life  (1946)

•  Although  it  is  known  as  an  “American  classic,”  take  notes  on  the  “dark”  side  it  depicts.  

•  If  you  watch  the  rest  of  the  film,  watch  the  “bank  run”  (where  everyone  asks  to  have  their  money  returned)  scene.  It’s  very  similar  to  the  bank  run  scene  we  watched  in  American  Madness,  but  also  very  different.  Note  these  differences.