In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary Cinema and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films.
Ewa Mazierska is Professor of Film Studies at the School of Humanities and Social Sciences at the University of Central Lancashire. She published over twenty monographs and edited collections on film and popular music. Mazierska (with Kristensen) has also organised two conferences entitled 'Marx at the Movies', once in 2012 and again in 2015, which were devoted to the interface between the moving image and Marxism. Lars Kristensen is Senior Lecturer in Media Arts, Aesthetics and Narration at the University of Skoevde, Sweden, where he teaches moving image theory to game developers. His research focuses on Russian and Eastern European filmmaking as well as bicycle cinema, post-critique and theories of game and play. His publications have appeared in Studies in Eastern European Cinema, Games and Culture, Journal of Gaming and Virtual Worlds and Thesis Eleven.
Contents Introduction Ewa Mazierska Part 1 Political Economy of Neoliberalism and Its Discontents Chapter 1 Team Loach and Sixteen Films: Authorship, Collaboration, Leadership (and Football) David Archibald Chapter 2 US Independent Cinema and the Capitalist Mode of Production: Complicating Discourses of Independence and Oppositionality Kevan Feshami Chapter 3 The Lure of Becoming Cinema: The Role of the Internet in Amateur and Independent Filmmaking William Brown Chapter 4 Svetlana Baskova's Response to Russian national neoliberalism in For Marx... Lars Kristensen Part 2 Neoliberal Winners and Losers Chapter 5 The Rise of the Entrepreneur in Jia Zhangke's Words of a Journey Corey Kai Nelson Schultz Chapter 6 Capitalist Realism in European Films about Debt Ewa Mazierska Chapter 7 Bypass, Obscure Forces and Ontological Anxiety Paul Dave Chapter 8 Aggressive Prosperity, Violent Austerity in Standing Aside, Watching Rosa Barotsi Chapter 9 Multiplexing Marx in Contemporary American Cinema Doru Pop Part 3 Love and Sexual Identities under Neoliberalism Chapter 10 Hedges of Manhattan: The Disquieting Charm of the Haute Bourgeoisie in Jonathan Demme's Rachel Getting Married Constantin Parvulescu Chapter 11 Corporations of Feelings: Romantic Comedy in the Age of Neoliberalism Elzbieta Ostrowska Chapter 12 Why Is Everyone Not Falling in Love? Love, Sex and Neoliberalism in Film Adaptations of Bret Eason Ellis Works Kamila Rymajdo Chapter 13 Cinema, Sex Tourism and Globalisation in American and European Cinema Martin O'Shaughnessy Chapter 14 Polymorphous Consumption: Eytan Fox's The Bubble as Gated Community Bruce Williams