Our Brand is in Crisis: The Summer of the Requel

 

This summer, well at least July, is the summer of the requel, to use the term coined by the Scream films. Jurassic World: Rebirth, Superman, and Fantastic Four: First Steps are all in different ways attempts to do the work of both a sequel and a reboot. They are entries in a series that also attempts to reset it and restore it.There is a phoenix like quality to the modern intellectual property franchise; when an individual film crashes and burns, like Jurassic World: Dominion, Justice League, and F4ntastic Four (or whatever it was called), it only adds fuel to the fire, to a desire to get the film right next time. Of the three only Jurassic World is a straight up sequel, the two others, Superman and Fantastic Four are less sequels to the existing films of that series, but the stakes are even higher, they are an attempt to restore not just one entire series, but an entire cinematic universe, which is to say an entire brand.

Under New Management: Capitalism from Utopia to Dystopia

Inspired by this image, I am going with a giant donut theme for this post.

While I do not use the phrase much myself I have always been intrigued by the phrase "take as read" to refer to something that is assumed or taken as axiomatic rather than established. In academic contexts it can sometimes be useful to assume a particular interpretation rather than establish it, to lay out a baseline of understanding in order to move onto other things. In this particular case I am tempted to say, because I do not want to go into it here, that we can take as read that contemporary democratic society gets its image of the good life and its justification from capitalism. Capitalism provides us our image of "freedom, equality, and Bentham," to use Marx's phrase. Freedom is understood primarily as the freedom to purchase what we want; equality, understood as equality in the face of the same commodities, the McDonalds I eat is the same McDonalds that Donald Trump eats, and Bentham because we are all motivated by self interest. 

It's the Economy (of) Stupid: Or, Destroying the Economy to Save its Image

 

Cops in Chicago, defending private property while devaluing the brand. 

In some of the most rhetorically dense passages of Capital, passages that I have cited again and again, Marx puts forward the idea that the economy, or at least market relations produce their own image, their own spontaneous ideology. As Marx writes,

We Have Met the Barbarians and they are...: On Barbarian

 

Every mention of the film Barbarian carries with it the warning to not spoil anything, to experience it completely ignorant so as to be best frightened by its particular twists and turns. [Fair Warning: I will spoil everything here] For that reason it is not entirely clear if the title refers to anything. It could just be a vaguely menacing word. Many horror movies from the last few years seem to take their title from a series of such words, Insidious, Malignant, Terrifier, as if someone was just looking up “evil” or “scary” in a thesaurus. The opening scenes of the film, however, suggest that this title is not just a vaguely scary word, after all, it would be an odd choice suggesting that the we are running out of synonyms for scary, but that the film is very much about what it means to be a barbarian and what it means to be civilized. 

Shine On: We Are All in Room 237 Now

 

Danny Lloyd rocking the same haircut I had as a kid

Of all of the various concepts and neologisms that populate A Thousand Plateaus that of the "regime of signs" is one that never really caught on. It has not had the same effects as nomadology, rhizome, virtual, assemblage, body without organs, become etc., If I had to offer a quick explanation of  this it is perhaps because the idea of the sign, and of a regime of signs, still seems like a remnant of an earlier period, more structuralist than post-structuralist. It is for that reason that it has remained something of a B-side or a deep cut, taking a clue from Deleuze and Guattari's assertion that the book is more like album with different plateau songs than a linear progression. 

The Use and Abuse of Blockbusters for Life: Movies and Memes in the Age of Viral Collapse

Lately, I have been considering a hopelessly naive question, namely: What is popular culture for? Or, more to the point how does it function for us as culture, as a way to make sense of the world and express our desires. I have been prompted by this question by two unrelated events. First, I am currently preparing a Freshman Seminar on Politics and Culture which has me reviewing some of the classic arguments about the use and abuse of culture from Williams to Adorno and De Certeau. Second, and more immediately, when I am not working on this course or doing anything productive I am doing what nearly everyone is doing and that is trying to figure out what movie or TV show might pass the time of lockdown.

Anti-Racist Noir: On Odds Against Tomorrow

For Ted Stolze

A few weeks into the pandemic lockdown I went through a brief noir phase. It was somehow easier to watch films from a very different time than have the uncanny experience of watching people inhabit a world that looked like the present but was governed by very different social norms. Watching people walk around and go to bars and restaurants unmasked and unaware of social distancing was a bit too much, it was easier to watch people wear fedoras and ties, make calls from pay phones, and live on a diet of alcohol and coffee. A world long gone was easier to watch than a world that had just disappeared.

It's Competition All the Way Down: On the Spontaneous Anthropology of Contemporary Capitalism

As much as people love to cite that ubiquitous remark by Fredric Jameson about the end of the world and the end of capitalism. You know the one. There is another, less discussed line, that covers the same terrain of ideological struggle and the limits of the imagination that I prefer. It is, “The market is in human nature’ is the proposition that cannot be allowed to stand unchallenged; in my opinion, it is the most crucial terrain of ideological struggle in our time.”   

Halo's Return: Two Versions of the Religion of Capital

Image from They Live 

Sometimes students ask me if I think that Marx was wrong about anything. Marxists are supposedly not known for independent thought. I always have a quick and easy answer, the point of reference is not something deep in Volume Three, but in one of the most well known and most cited passages of all. I am referring to the following passage from The Communist Manifesto. 

Spectacular Compromise: Or, On the Accuracy of Broken Clocks

Much to my surprise I am going to begin this post with a citation of Ross Douthat. In a recent column titled "Woke Capital" Douthat argues that the current social consciousness of some corporations should be read along the lines of the the "Treaty of Detroit," in which the UAW agreed not to strike in exchange for benefits and cost of living increases. That Fordist compromise frames the basis by which we should understand the contemporary neoliberal compromise, a compromise not based on wages or productivity but image and identity. As Douthat writes, 

Dead Ideas Live On: On Elizabeth Anderson's Private Government

I decided to illustrate this post with images from

the Bowdoin College Museum's show on Soviet Art

Reading Elizabeth Anderson's Private Government: How Employers Rule Our Lives (and Why We Don't Talk About It) was an interested and somewhat bewildering experience. At first I thought that I agreed with everything she said, but only differed in how I would say it--a difference of philosophical style or orientation--but, the more I read, the more I thought that there might be some substance to this difference of style. 

A Universal History of Villainy: A Brief Remark on Spider-Man: Homecoming

In Jameson's essay on The Wire there is an interesting digression (and in Jameson it is mainly the digressions which are interesting) on the problem of evil in popular culture. Jameson takes up the question of evil, of villains, more broadly, reflecting on both their decline and centrality to popular culture. To quote a long passage, or at least the important parts:

Abstract Materialism: Sohn-Rethel and the Task of a Materialist Philosophy Today

This is the longer version of an old conference paper. It never quite became publishable; it is left here to the gnawing criticism of digital mice.

Materialism has always been the bastard stepson of philosophy. Its very position is paradoxical, if not impossible. It must use concepts and arguments to conceptualize and argue against the primacy of concepts and argument. This perennial problem is even worse today. If Marx was in some sense the most sophisticated materialist philosopher, elevating the material beyond the brute materiality of the body, to locate the material in the reality of production and the conflicted terrain of social relations, then one could argue that even this version of materialism is in jeopardy today. The economy, the last instance of materialist philosophy after Marx, can no longer be identified with the machines and noise of the factory, it has become digital, immaterial. What then remains of materialism when the economy has become ideal, determined more and more by the idealist category par excellence, speculation, and even labor has been declared immaterial, intersecting with beliefs and desires? At least the beginning of a response can be found in the seemingly paradoxical concept of “real abstraction.” This term, introduced by Marx, takes on a central importance in the work of Alfred Sohn-Rethel, where it is no longer a methodological necessity, but the cornerstone of a philosophy that seeks to understand the material basis of abstraction itself.

Affect and/or Emotions: Differentiation or Dialectic

Theories of affect tend to articulate the term affect in relation to some idea of emotion. Perhaps the locus classicus of this distinction is to be found in Brian Massumi's work on affect. As Massumi writes,

"An emotion is a subjective content, the sociolinguistic fixing of the quality of an experience, which is from that point onward defined as personal. Emotion is qualified intensity, the conventional consensual point of insertion of into intensity into semantically and semiotically formed progressions, into narrativizable action-reaction circuits, into function and meaning. It is owned and recognized. It is crucial to theorize the difference between affect and emotion."

The Present as Conspiracy: Vaughn and Martin's The Private Eye

Brian Vaughn and Marcos Martin's The Private Eye is a web only comic that has a critical view of the internet. Set in the not too distant future, in the year 2076, it takes place in a time in which values regarding privacy and anonymity have been completely transformed, or "revalorized"--to use Nietzsche's terminology. Privacy is held as a sacred right, so much so that everyone has a secret identity, or several, and masks to wear when they go out in public. A generalized secret identity might seem like a critical take on the conventions of the superhero comic, but Vaughn and Martin's critical target is less the conventions of their medium than those of our world. 

Hitchcock in the Age of Psychopharmacology and Finance: On Side Effects

Steven Soderbergh is a somewhat mercurial director. He more or less started "independent film" with Sex, Lies, and Videotape in 1989, but then went on to spend subsequent decades making everything from Julia Robert's star vehicles to a two part epic about Che Guevara. Soderbergh seemed to be at times deliberately avoiding the trappings of the auteur to cultivate the idea of a jack of all trades that shifted from the bloated star vehicles of Ocean's Eleven to the intentional obscurity of Bubble, adapting everything from Elmore Leonard to Franz Kafka in between.

Deviant Gesture Catalog: Between Mechanization and Spectacle

Lately I have been interested in the question of gesture. This interest is framed by two different lines of inquiry. The first, and dominant, one is in the transindividual dimension of gestures, or, perhaps gesture as a way of both illustrating and examining transindividuality. While gesture is not specifically named by Gilbert Simondon, the dominant theorist of transindividuality,  there is a great deal of interest in it by Paolo Virno, Bernard Stiegler, Yves Citton--although only the last specifically names it as such. The general problem is the same, however, gestures, habits, and comportments are both the constitution of collectives and individuals. Gestures mark one's historical moment, one's class, nation, and other groupings, but also define and delimite a singular way of inhabiting the world. 

Negative Prefiguration: Flexibility, Capitalism, Imagination

During my last few years of High School I worked at coffee shop, part time during the school year and full time during the summers. This job continued through the first few summers of college. My shifts were eight hours, from either six in the morning or three in the afternoon, with two fifteen minute breaks, and a half-hour lunch break. These shifts had the usual peaks and lulls that defined the food industry, mornings would begin with a rush of office workers ordering coffee and bran muffins and evenings would begin with people ordering coffee and desert before dissipating into a crowd of those too young to frequent bars as well as the late night writers, scribblers, and mumblers. 

Avenge Me: The Avengers and the Culture Industry

I did not think that I was going to write anything about The Avengers. This is partly because I am too busy writing, book writing, to really do much blogging, but also because I did not think anything of it. I enjoyed, but I did so in a kind of moment of absolute regression. The Hulk smashed things, Thor wielded his hammer, humorous quips were uttered, and things went boom. To quote Adorno, "It is no coincidence that cynical American film producers are heard to say that their pictures must take into consideration the level of eleven-year-olds. In doing so they would very much like to make adults into eleven-year-olds." On that level the film succeeded, I felt exactly like I did leafing through marvel comics at Comics Closet or reading comics in the back of the bus with Chip Carter. 

Finite Dialectics: Hegel in Balibar's Citoyen Sujet

As I have noted elsewhere, Balibar includes Hegel in his list of transindividual thinkers, but as such he is something of an exception to the list that also encompasses Spinoza, Marx, and Freud. The latter three are foundational to Balibar’s project, appearing as early as Lire le Capital, albeit some between the lines, and have been the subject of books and essays. Hegel has always been an outlier in this sequence, the enemy of Althusser’s early project and only occasionally showing up in later works. This has changed a bit as of late.