Listing 1 - 8 of 8 |
Sort by
|
Choose an application
Political Economy Goes to the Movies provides an introduction to political economy using a wide range of popular films and documentaries as the objects of analysis. The work helps readers to understand and analyze the economic and related political, cultural, and ecological relationships depicted in selected films.
Choose an application
Choose an application
History in motion pictures --- Economics in motion pictures --- Motion pictures --- History --- Japan --- In motion pictures.
Choose an application
Choose an application
Since embarking on economic reforms in 1978, the People’s Republic of China has also undergone a sweeping cultural reorganization, from proletarian culture under Mao to middle-class consumer culture today. Under these circumstances, how has a Chinese middle class come into being, and how has consumerism become the dominant ideology of an avowedly socialist country? The Art of Useless offers an innovative way to understand China’s unprecedented political-economic, social, and cultural transformations, showing how consumer culture helps anticipate, produce, and shape a new middle-class subjectivity.Examining changing representations of the production and consumption of fashion in documentaries and films, Calvin Hui traces how culture contributes to China’s changing social relations through the cultivation of new identities and sensibilities. He explores the commodity chain of fashion on a transnational scale, from production to consumption to disposal, as well as media portrayals of the intersections of clothing with class, gender, and ethnicity. Hui illuminates key cinematic narratives, such as a factory worker’s desire for a high-quality suit in the 1960s, an intellectual’s longing for fashionable clothes in the 1980s, and a white-collar woman’s craving for brand-name commodities in the 2000s. He considers how documentary films depict the undersides of consumption—exploited laborers who fantasize about the products they manufacture as well as the accumulation of waste and its disposal—revealing how global capitalism renders migrant factory workers, scavengers, and garbage invisible.A highly interdisciplinary work that combines theoretical nuance with masterful close analyses, The Art of Useless is an innovative rethinking of the emergence of China’s middle-class consumer culture.
Consumption (Economics) --- Fashion --- Fashion in motion pictures. --- Consumption (Economics) in motion pictures. --- Documentary films --- Middle class --- Middle class in motion pictures. --- Social aspects --- History and criticism. --- China --- Economic conditions
Choose an application
After the First World War, the effects of financial crisis could be felt in all corners of the newly formed Weimar Republic. The newly interconnected world economy was barely understood and yet it was increasingly made visible in the films of the time. The complexities of this system were reflected on screen to both the everyday spectator as well as a new class of financial workers who looked to popular depictions of speculation and crisis to make sense of their own place on the shifting ground of modern life. Finance and the World Economy in Weimar Cinema turns to the many underexamined depictions of finance capital that appear in the films of 1920s Germany. The representation of finance capital in these films is essential to our understanding of the culture of the Weimar Republic - particularly in the relation between finance and ideas of gender, nation and modernity. As visual records, these films reveal the stock exchange as a key space of modernity and coincide with the abstraction of finance as a vast labour of representation in its own right. In so doing, they introduce core visual tropes that have become essential to our understanding of finance and capitalism throughout the twentieth century.
Film, Weimar Republic, Economy, Capitalism, Cultural Studies. --- Capitalism. --- Film history, theory or criticism. --- PERFORMING ARTS / Film / Genres / Historical. --- HISTORY / Europe / Germany. --- BUSINESS & ECONOMICS / Economic History. --- Finance. --- Film theory and criticism. --- Motion pictures --- Economics in motion pictures. --- History
Choose an application
Comme des sujets accros aux drogues, les sociétés pourraient-elles devenir elles-mêmes "addictes" ? C'est-à-dire pathologiquement dépendantes de la recherche compulsive de certains biens, en dépit de ses conséquences nocives pour l'ensemble de la collectivité ? Si l'on en croit une critique ravageuse qui traverse toutes les productions culturelles, et en particulier le cinéma, c'est bien ce qui arrive aux démocraties libérales contemporaines : optimisation extrème des activités, course à l'argent et au succès, surconsommation marchande, usage compulsif des technologies, épuisement des ressources naturelles, corruption de la démocratie... Loin de contredire le processus de rationalisation propre au capitalisme moderne, cette dérive addictive en serait plutôt la conséquence paradoxale, qui rend de plus en plus difficile la poursuite de fins rationnelles communes. Si les cibles de l'émancipation portent toujours sur les libertés et égalités de base, devenues de plus en plus précaires, elles s'étendent désormais aux moyens de protéger le désir intime des intrusions marchandes, technologiques ou sécuritaires, qui enserrent les habitants dans un réseau toujours plus dense de dépendances indésirables.
Consumption (Economics) --- Consumption (Economics) in motion pictures. --- Compulsive behavior --- Consumers --- Social aspects. --- Psychological aspects. --- Economic aspects. --- Attitudes. --- Capitalisme --- Cinéma --- Société de consommation --- Consommation --- Comportement compulsif --- Consommateurs --- Consumption (Economics) in motion pictures --- Aspect social --- Au cinéma --- Aspect psychologique --- Au cinéma --- Aspect économique --- Comportement --- Social aspects --- Psychological aspects --- Economic aspects --- Attitudes --- Consommation (Economie politique) --- Consommation (Economie politique) au cinéma --- Attitude (psychologie) --- Aspect social. --- Au cinéma. --- Aspect psychologique. --- Au cinéma. --- Aspect économique. --- Attitude. --- Cinéma --- Société de consommation --- Aspect économique.
Choose an application
In December of 1997, the International Monetary Fund announced the largest bailout package in its history, aimed at stabilizing the South Korean economy in response to a credit and currency crisis of the same year. Vicious Circuits examines what it terms "Korea's IMF Cinema," the decade of cinema following that crisis, in order to think through the transformations of global political economy at the end of the American century. It argues that one of the most dominant traits of the cinema that emerged after the worst economic crisis in the history of South Korea was its preoccupation with economic phenomena. As the quintessentially corporate art form—made as much in the boardroom as in the studio—film in this context became an ideal site for thinking through the global political economy in the transitional moment of American decline and Chinese ascension. With an explicit focus of state economic policy, IMF cinema did not just depict the economy; it also was this economy's material embodiment. That is, it both represented economic developments and was itself an important sector in which the same pressures and changes affecting the economy at large were at work. Joseph Jonghyun Jeon's window on Korea provides a peripheral but crucial perspective on the operations of late US hegemony and the contradictions that ultimately corrode it.
Economics in motion pictures. --- Motion pictures --- Motion picture industry --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- History. --- Korea (South) --- United States --- Civilization --- American influences. --- American studies. --- Asian Marxism. --- Asian studies. --- IMF Crisis. --- K-pop. --- Korea. --- US hegemony. --- cultures of economics. --- film. --- globalization.
Listing 1 - 8 of 8 |
Sort by
|