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Although Marx never went to the movies, Marxism has significantly affected filmmaking by politically committed directors such as Eisenstein and Gutierrez Al'a as well as shaped the critical and historical analysis of film in aesthetic, institutional,
the political system entrusted with implementing Marxist ideas and challenging the hegemony of capitalism, cinema became the main tool of social communication and a major cultural institution.
Marx and the Moving Image approaches cinema from a Marxist perspective. It argues that the supposed 'end of history', marked by the comprehensive triumph of capitalism and the 'end of cinema', calls for revisiting Marx's writings in order to analyse film theories, histories and practices.
- Introduction
- Marxism in Film History
- SCOTT FORSYTH
- Populism and the Postmodernist 'Thing'
- Marxism - Why it Failed and Why it is Still Needed
- Back to the Barricades?
From the sixties onwards, the study of media and culture has increasingly moved from the pages of journalism and fan mags into the expanding 'mass' universities of advanced capitalist countries. The new or para-disci- plines of film, communications and cultural studies, related but usually institutionally distinct, emerged from English and Sociolog...
But there are distinct features germane to the case of film studies and theory. For in this arena of modern culture, Marxism and socialist struggle are not newcomers; they are central to film history. The theory and practice of socialism have always catalysed important cultural production and Marxism has a rich and variegated aesthetic tradition, b...
It is the fate of this self-described advanced theory to co-exist, more or less happily, with older, humbler kinds of academic practices, as in other disciplines: authorial and generic criticism, localised historical research, phenomenological approaches, or even with schools of filmmaking and screenwriting. Despite considerable differences - betwe...
Of course, there is also a seemingly radical politics in much of the dominant academic work as well; it is, in fact, a strangely elitist brand of populism. In an anti-dialectical swing from absolutist condemnation of SCOlT FORSYTH 273 Hollywood and its audiences, film studies, particularly from the mid- eighties on, is more likely to celebrate Holl...
It is useful to underline how the 'radical' turn in much cultural theory and practice is distanced from most of the Marxist cultural - and cinematic - tradition's vital, if uneven, exploration of the power of the aesthetic, the social knowledge of narrative, the dialectic between producer and audience, the relationship of art and class struggle, ev...
The face of imperial culture - even in its powerful globalizing dominance, in its efforts to show us, to paraphrase Marx, 'a world in capital's own image' - is powerful, but also contradictory, belligerent but fearful, homogenising but unable to silence emerging and opposing voices, images and stories. It is within and out of such complexities and ...
- Scott Forsyth
- 1997
The greatest strength of American Marxist film criticism is its close relationship to specific political efforts and its breadth, especially in understanding imperialism, racism, and sexism. Three publica-tions, more accurately described as "radical" or "left" than Marxist, though.
It explores the work of some of the key theorists who have influenced our understanding of film, such as Adorno, Althusser, Benjamin, Brecht, Gramsci, Jameson and others. It shows how films must be situated in their social and historical contexts, whether Hollywood, Russian, Cuban, Chinese or North Korean cinema.
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Jul 28, 2015 · A different and contrasting approach uses Marxism for historical, aesthetic, and cultural analysis of film, television, and media ranging from case studies of individual works to issues that run through a variety of forms, such as gender or race images or narratives.
