Download Neoliberalism and Global Cinema: Capital, Culture, and by Jyotsna Kapur, Keith B. Wagner (editors) PDF

By Jyotsna Kapur, Keith B. Wagner (editors)

In cinema reviews this day, not often can we discover a direct research into the tradition of capitalism and the way it's been refracted and fabricated in worldwide cinema creation lower than neoliberalism. even if, the present monetary challenge and the following Wall highway bailout in 2008 have caused a world skepticism concerning the final 4 many years of monetary restructuring and the tradition that has followed it. during this edited quantity, a world ensemble of students appears at neoliberalism, either as tradition and political financial system, within the quite a few cinemas of the realm. In essays encompassing the cinemas of Asia, Africa, Latin the United States, Europe, and the us the authors define how the tradition and subjectivities engendered through neoliberalism were variously played, contested, and strengthened in those cinemas. the basis of this booklet is that the cultural and monetary common sense of neoliberalism, i.e., the novel financialization and market-driven calculations, of all features of society are indicators most sensible understood via Marxist idea and its research of the critical antagonisms and contradictions of capital. Taking various techniques, starting from political financial system, ideological critique, the intersection of aesthetics and politics, social background and critical-cultural idea, this quantity deals a clean, broad-based Marxist research of up to date film/media. subject matters contain: the worldwide albeit adverse nature of neoliberal tradition; the hunt for a brand new aesthetic and documentary language; the contestation among hard work and capital in cultural producion; the political financial system of hollywood, and questions of gender, sexuality, and the kingdom kingdom when it comes to neoliberalism.

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Extra resources for Neoliberalism and Global Cinema: Capital, Culture, and Marxist Critique (Routledge Advances in Film Studies)

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Robb, 2004. Directors Guild of America, 2000; Hozic, 2001, pp. 140–141, 148–151. Douthat, 2008. Bernstein, 2001; also see Cohen, 2001. Behnke, 2006. Lenoir, 2003, p. 190; Macedonia, 2002. Macedonia, 2002. Deck, 2004; Silver and Marwick, 2006, p. 50; Turse, 2008, p. 120. Burston, 2003; Stockwell and Muir, 2003; Andersen, 2007; Turse, 2008, pp. 122, 119; Harmon, 2003. ,” 2008; Power, 2007, pp. 279–280; Turse, 2008, pp. 117, 118, 123–124, 157; Lenoir, 2003, p. 175; Gaudiosi, 2005; Nieborg, 2004; Craig, 2006; Shachtman, 2002; Thompson, 2004.

I]n order to carry out this operation . . the neoliberals had to subject classical liberalism to a number of transformations. The fi rst of these . . was basically dissociating the market economy from the political principle of laissez-faire. Michel Foucault (2008, p. 2 touch on the core of this chapter: that Hollywood’s boasts of freedom, individualism, and entitlement to world dominance are as bogus as neoliberalism’s claim to have installed an unassailable regime of political and economic institutions that transcend the need for government.

55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. Toby Miller and Richard Maxwell Hays, 1927, pp. 37–38. Hays, 1927, p. , 2005. Hays, 1927. Stonor Saunders, 1999, pp. 311–312. Powdermaker, 1950, p. 71; Kahn, 1981, p. 145. Trumpbour, 2002, pp. 63, 3–4, 62, 98; Pauwels and Loisen, 2003, p. 293. High, 2003, pp. 503–504. Powdermaker, 1950, p. 36. Batchelor and Halas, 1954. Anderson, 1956; Cohen, 2003. Johnston, 1950, pp. 9–12. Quoted in Johnston, 1950; also see Hozic, 2001, p. 77. Lazarsfeld, 1950, p.

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