Robert Gerst: Remembering Noel Ignatiev (1940-2019)

Noel Ignatiev (1940-2019)


We were fly fishing, Noel and I, on that lake beside his house in the woods where he kept his worn-out Jaguar. It was maybe 2008 or 2009, a lifetime ago. We were fishing for those silver lake fish the name of which I cannot recall on that floating thing Noel kept to row on the lake, casting and recasting those arcs you make when you fly fish. We were using the Sears Roebuck fly rods Noel kept in that room between his kitchen and his living room. It was getting late, maybe five PM. The water had the viscous glow it takes on when night is approaching and the lake had the feel of cup of water already full into which more water was spilling.

The fish were not biting—not in the middle of the lake and not in the shallows near the far shore where  generally, Noel said, they abounded. The air was still. Late spring, early summer. It was good there. It was peaceful. It was quiet. Beside our own, no boat floated on the water. Eventually, we caught one fish—or rather, Noel did. He unhooked it. It was the size of Noel’s hand from pinky to thumb and when it was free of the hook he tossed the fish between our  bare feet. The fish flip flopped in the inch or two of water that floated at our feet like a miniature of the greater lake around us. We caught nothing more. We made  our way back to the dock and beached the raft and when we returned to Noel’s house across the road, he whacked the fish with a cleaving knife and scaled it and fried it in a large iron skillet. Cooking like that in oil, it crackled and filled  the air with the scent of fried fish. Noel cooked it. I ate it.

Thinking about all this now, I suddenly  sense—I had never thought of this before— why this moment on the water is coming back to me and why of all my years of friendship with Noel it is this instant that most returns to me. Floating there together on that lake, we had become in our own way characters in Noel’s favorite book, Huckleberry Finn. We were Huck Finn and Tom Sawyer. We were companions. We were floating together on the river of life where it turns to darkness at the end of things.

I was a friend of Noel, and he, a friend to me, not because we shared this idea or that idea about any one of the transient matters that preoccupy us humans. In fact, we disagreed about countless matters that should have made us, according to the strictures of politics, irreconcilable enemies. But what I saw in Noel—and what perhaps he saw in me—was an abiding love of truth and a reverence for what people at their best could be. I valued Noel’s capacity to see through cant and his reverence for what we humans have achieved. We taught together at a college. We were workplace friends. Actually, I hired him. For eighteen years, he taught history and I taught film. He had friends, wives, colleagues, children: I played no larger role in his life than a single  tree plays in a forest. But he was for years my good and beloved companion. He was my spiritual brother. He was my Huckleberry Finn. He enriched my life. I see us forever floating in that boat we shared that, seen rightly and with reverence, floats on the world entire.

Bless you, Noel. Thank you.


Noel Ignatiev Memorial Ceremony

“I have squandered the splendid years that the Lord God gave to my youth in attempting impossible things, deeming them alone worth the toil.”


Read in Memory of Noel Ignatiev at the Noel Ignatiev Memorial Ceremony, January 20, 2020, Plymouth Church, Brooklyn, New York




Sung In Memory of Noel Ignatiev at the Noel Ignatiev Memorial Ceremony, January 20, 2020, Plymouth Church, Brooklyn, New York


“Hard Times Come Again No More,” Stephen Foster, composerr, The Chieftans, performers

Film Viewing & Criticism: Yitong Liu (’20): China’s Media Censorship

The Blue Kite (1992)

I finished shooting The Blue Kite in 1992. But while I was involved in post-production, several official organizations involved with China’s film industry screened the film. They decided that it had a problem concerning its political ‘leanings,’ and prevented its completion. The fact that it can appear today seems like a miracle… The stories in the film are real, and they are related with total sincerity. What worries me is that it is precisely a fear of reality and sincerity that has led to the ban on such stories being told.”

— Director Tian Zhuangzhuang[2]


I would like to talk about absolutism in Chinese film and discuss Chinese media censorship in general. Consider first the fate of a narrative film,  Zhuang Tian’s The Blue Kite (1993)).  Still banned in China, the film depicts the suffering experienced by countless Chinese people during the Cultural Revolution and the Great Leap Forward, The film represents that, during this period, the government controlled the actions of all its citizens. It depicts the Chinese as “head washed” and forced to abide the unilateral and often irrational diktats of Mao. Those who failed to obey, even innocent people. were punished. The Blue Kite  depicts the Chinese Marxist party unfavorably. It reminded people of the suffering they experienced in Maoist times and undermined the reputations of Communist party leadership. If this particular movie was released, officials judged, it would inspire widespread and determined resistance to the Chinese government. Accordingly, the Chinese government banned the movie to hide the bleakness the movie depicts.

Consider, second, the fate within China of numerous documentaries, records, photos of the 1989 Tiananmen Square massacre ( also called the June fourth incident).  The Tiananmen Square massacre occurred in June 1989, when armed soldiers attacked crowds of demonstrators,  murdering and arresting a large number of protesters. Students had flocked to Beijing protesting, chanting, and singing for better democracy and seeking the resignation of the China Marxist party chief, who they regarded as oppressive. Tensions escalated.  On June 4th, Chinese militants and security officials attacked, shooting aimlessly at multitudes of demonstrators. Shocked and startled journalists secretly filmed the massacre and sent news of this atrocity to foreign countries. On 15th August 1989, a large group of pro-democracy Chinese student gathered together in a silent protest against the government policies. The students sought broader freedom. But this student protest didn’t please the government, and leader Deng Xiaoping ordered soldiers to end it by military means. Military men were to be merciless in stopping whoever came their way. The protesters, too, fired back with their limited weapons of stones and sticks. They also protected the journalists so that journalists could spread word of  the injustice they suffered. Journalists and western representatives later estimated the number of protesters killed surpassed 400, and more than 9000 had been arrested.

What record of this brutal event endures in China today? Virtually none. Almost no information or record of this incident remains in China today, despite the fact that this incident was fully recorded. Within China, the Chinese government blocked virtually all information about the Tiananmen Square massacre emanating  from foreign countries. The government sought to erase the event from history.

China’s media show only positive things to Chinese citizens.  Media are ruthlessly synchronized all over China.  The actions of China’s government demonstrate that, within China, there is no liberty of expression. There is no escape from China’s media censorship. In China, media outlets show only a prosperous and strong China. Any sort of discussion of the Tiananmen Square massacre in any form of media is looked upon as a criminal offense,  punishable by law. This is another example to show how the Chinese government allows no freedom of media.

The Chinese government,  I believe,  censors the media for the purpose of maintaining their hold on power. The Chinese media cannot report to the world beyond China or to the 1.3 billion Chinese people their actual experience and emotions: media organizations would face potential criminal charges for doing so.  And while the Chinese government loves to hide their unpleasant behavior, they simultaneously seek to spread only positivity about their country. In media, movies, documentaries, and news, producers refrain from depicting unsavory experiences. In 2006, more stringent media policies re-regulated foreign productions, making them available for only limited periods of time. On the other hand, the TV Series  In The Name of People, produced by the Supreme People’s Procuratorate of China, floods TV screens across China to depict the contemporary  “anti-corruption” campaign conducted by government. To host a successful Olympic games (as a form of political performance art) and to show the rapid development of China, the Chinese government total invested $42 billion, turning the Olympic Games of 2008 into the most expensive one in the history.

In China, only those films and other media that comport with government policies reach a significant public. In China, the government sets rules.  I still love and feel proud of my country. I hope it can be better.

(English language revision by Robert Gerst)


Read Roger Ebert review of The Blue Kite here.