Drive in Cinema offers Žižek-influenced studies of films made by some of the most engaging and influential filmmakers of our time, from avant-garde directors Jean-Luc Godard, Werner Herzog, Alexander Kluge, Pier Paolo Pasolini and Věra Chytilová, to independent filmmakers William Klein, Oliver Ressler, Hal Hartley, Olivier Assayas, Vincent Gallo, Jim Jarmusch and Harmony Korine. These essays in critical cultural theory present interdisciplinary perspectives on the relations between art, film and politics. How does filmic symbolization mediate intersubjective social exchange? What are the possibilities for avant-gardism today and how does this correspond to what we know about cultural production after capitalism’s real subsumption of labour? How have various filmmakers communicated radical ideas through film as a popular medium? Drive in Cinema pursues Lacanian ethics to avenues beyond the academic obsession with cultural representation and cinematic technique. It will be of interest to anyone who is concerned with film’s potential as an emancipatory force.
The Neoliberal Undead describes the frightening world of class restoration, neoliberal austerity, ecological meltdown, and neo-imperialism a disaster capitalism that breeds mutant ideological justifications for itself and the inevitability of disorder, poverty and suffering. What role does culture play in this world of markets and how do new contestatory forms enable a leftist solidarity that can move cultural radicalism beyond the postmodern obsession with new subjectivities? Rather than become the symptoms of democratic materialism, signing up for endless culture wars, The Neoliberal Undead argues for a rethinking of radical cultural leftism against the terms of the dominant global situation. The relentless reduction of art criticism and art production under capitalist relations requires that the living separate themselves from the abstractions of globalization and reconnect with revolutionary theory.