David
Schorr recently invited me to share a few words about my latest video project
with the readers of this blog. The video will be called “Wood, Water, Stone,
Sky, Milk: Law and Landscape in Austria.” It will run about ninety minutes once
it’s complete, but in the meantime I’ve been releasing short draft segments,
one of which was cross-posted here a few weeks back.
The
latest segment is called “Alexander and Iris Talk About Stone (without meeting),”
and it explores an Austrian legal method beguilingly named after one of the most
prominent elements of the Austrian landscape:
Both
Alexander and
Iris were great
sports, and their enthusiasm for video as a medium enabled this segment to
address a serious subject with a light touch and to reach viewers well outside
university circles. That’s a tone and openness I’d like to achieve throughout
the film.
The
project grows out seven months I spent as a Fulbright Scholar at the University
of Salzburg in 2015, but its roots lie a bit further back. In 2012, I began an
extended, unpaid leave of absence from Rutgers-Newark School of Law, where I
had taught constitutional law and legal history for ten years. The reasons for
the change were personal: my wife is a
professor of English
at Wesleyan University, and the burdens of my commute from New Haven came to
outweigh the benefits of an academic career. We value our lives together.
The decision
came with some significant material costs, but it has given me the time and freedom
to strike out in new directions, and that’s been ever-inspiring. I had already
published three
books, and
I wanted to jump well outside my comfort zone and explore modes of historical
expression that were entirely new to me. I wanted to engage with radically different
forms and styles of telling stories about the legal past. As it happened, two of
the forms that came to interest me—two new directions I took—were visual.
The
first new direction led me into the world of museum exhibitions. Most
important, I began collaborating with my friend Mike Widener, Rare Book
Librarian at Yale Law School, on an
exhibition
for the
Grolier Club in New York about
illustrated law books. Called “Law’s Picture Books,” the exhibition will
feature
a number of works that are sure to interest readers of this blog, like
this
eighteenth-century book about Dutch water law, or
this
great edition of Bartolus. Do come join us when the exhibition opens in February
2018—it’s going to be exciting.
The
second new direction led me into the world of video production and editing,
which has become one of the most profound humanistic experiences of my life—it
forced me to wrestle with basic questions about our knowledge of the world.
I’ll find another occasion to reflect on the challenges involved when a
university scholar tries to learn digital video from scratch. But I can say
here that, to my relief, it struck me immediately that the storytelling
foundations of documentary work and my own academic writing were basically the
same. And, happily, after a couple of years of trial-and-error learning, I’ve
become familiar enough with Adobe’s suite of post-production
products—storytelling tools of jaw-dropping power for historians—to create work
that’s significantly better than the first film I made on my Flip Video camera.
Plus, the great thing about being a beginner again is there’s so much
opportunity to learn so much more.
“Wood,
Water, Stone, Sky, Milk”—or, when I’m feeling less ambitious, “Stone, Water,
and Wood”—began as a very different video project. When I put together my
Fulbright proposal, I intended to make a film about the Austrian legal
philosopher Hans Kelsen and his
pure theory of law.
This seemed like a project just quixotic enough to be interesting to me. But
after spending a series of afternoons meditating on Kelsen along the banks of
the beautiful Salzach river, it became clear that any filmic treatment of
Kelsen would after all have to be a film.
That is, it would require exploring his highly abstract thought in a way
that would be grounded in—indeed, that would proceed from—worldly, visual metaphors.
It also became clear that the project was too narrowly conceived.