Art, Literature and Culture from a Marxist Perspective by Tony McKenna

By Tony McKenna

Art, Literature and tradition from a Marxist Perspective presents a trip via the most salient and abiding circumstances of paintings, literature, television sequence and picture. The research levels from extra classical works reminiscent of the work of Van Gogh or the writing of Balzac and Brontë, all over to these at the leading edge of latest tradition together with HBO's Breaking Bad, Game of Thrones, Harry Potter, The starvation Games, The strolling Dead and the tune of Tupac Shakur.

The writer demonstrates, with a lucid and literary kind, how those works may be able to weave right into a myth cloth the elemental sorts of the old realities during which we're enmeshed. McKenna indicates how each one is stamped with that ancient necessity.

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Weis is a form without content, and so too are the extreme forms of financial capital which created the economic bubble, forms which are increasingly divorced from their content – that is, actual physical commodities such as houses. Instead, these forms – for example, insurance packages and loans on houses – become themselves further abstracted from the content: the physical commodity. Now we enter into an enflamed and surreal cycle of speculation where the investment involves the insurance on the insurance – or several subprime mortgages packaged together as a single entity and then resold.

In In Time Justin Timberlake’s character, Will Salas, is a factory worker, and in a deliciously Marxist flavoured take on alienated labour, Salas works in a factory forging the very manacles which allow for the transfer of time and thereby facilitate the exploitation of workers such as him. But in The Price of Life, the paradigm is very different. People are not born into social classes; rather, in a riff on the American dream, they are born into essential equality, and 7 Price of Life, Director Stephen Tolkin, ‘American PlayHouse’, PBS, 1987.

Com/opinion/2011/10/27/ 3 Ibid. 4 Ibid. 5 Ibid. In Time 27 The central figure of Philippe Weis, for instance, has acquired a life span of 10,000 years, but more than this, he is the owner of a monopoly chain of time banks which have sprung up in the ghettos and which lend time, at high interest rates, to those who are struggling to survive and have no other options. Weis is forever immortalised in the frame of a young man: his clothes are immaculately attired, and his mansion is resplendent and pristine.

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