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Posts Tagged ‘Cultural Criticism’

New Book – “Hollywood in Crisis or: The Collapse of The Real”

Saturday, August 13th, 2016

Wheeler Winston Dixon has published a new book, Hollywood in Crisis or: The Collapse of the Real.

Hollywood in Crisis or: The Collapse of the Real examines late stage capitalism in films, detailing the Hollywood production process, and explores the benefits and downsides of social media in relationship to the cinema, outlining the collapse and transformation of the Hollywood movie machine in the twenty-first century, and the concomitant social collapse being felt in nearly every aspect of society.

Examining key works in contemporary cinema, analyzing Hollywood films and the current wave of independent cinema developed outside of the Hollywood system as well, Dixon illustrates how movies and television programs across these spaces have adopted, reflected, and generated a society in crisis, and with it, a crisis for the cinematic industry itself.

The book is available online now, by clicking here or on the image above; it will appear in print shortly.

Matthew Rosza on Fan Culture and Suicide Club

Wednesday, August 10th, 2016

Here’s a brilliant piece by Matthew Rosza from Salon on Comic-Con and fan based movie culture.

As Rosza writes, in part, “it’s easy to roll your eyes at the Suicide Squad petition. In case you’ve been lucky enough to miss the news, fans of the new movie Suicide Squad have created an online movement to shut down aggregation site Rotten Tomatoes for posting predominantly negative reviews of their beloved film. Cue the inevitable jokes about how nerds need to get a life.

Is it really that simple, though? Over the past few years, it’s become increasingly clear that fans of pop culture properties — whether movies, TV shows, books, video games, or anything else — don’t merely view them as forms of entertainment, or themselves as consumers of said media . . .

The underlying logic is fundamentally irrational: Because they’ve financially supported these industries their whole lives and received an embarrassing social stigma for doing so, these industries owe them. While being a fan gives you a legitimate emotional connection, the underlying relationship is still that of consumer with product.

Any loyalty that a fan feels is a personal choice about how to invest time and money; any choice made by a producer, from corporations to individuals, is done to promote their own self-interest. Because that involves appealing to as broad an audience as possible, this means ignoring some fans who insist on exclusivist attitudes.

What can be done about this? More than anything else, we need to change the conversation that we’re having about pop culture in general. For better or worse, the fact that an entire generation holds pop culture on such a pedestal means that the cultural has become political.

As a result, when a disproportionately large number of movies, TV shows, video games, and books feature white, straight and male characters at the expense of other groups, this is an inherently political act (deliberately or otherwise) and needs to be confronted . . . [and] conversely, it is terribly disheartening when the producers of entertainment refuse to recognize the cultural power they wield and utilize it in an inclusive way . . .

While it’s important  . . . to stand up to problematic trends and tropes in cultural products, we still need to remember that they are ultimately just that — products. There is a great deal to be said about a society that loves its popular culture so fervently that they will turn them into platforms on which greater social justice causes are fought.

For right now, though, it behooves all of us to take a step back and recognize that there is an air of entitlement which makes all of this possible, and none of us look good so long as it remains unaddressed.”

The Triumph of Human Empire by Rosalind Williams

Tuesday, November 18th, 2014

Here’s a brilliant book on the intersection of science and romantic culture.

As the publisher’s website for this book notes, “in the early 1600s, in a haunting tale titled New Atlantis, Sir Francis Bacon imagined the discovery of an uncharted island. This island was home to the descendants of the lost realm of Atlantis, who had organized themselves to seek ‘the knowledge of Causes, and secret motions of things; and the enlarging of the bounds of Human Empire, to the effecting of all things possible.’ Bacon’s make-believe island was not an empire in the usual sense, marked by territorial control; instead, it was the center of a vast general expansion of human knowledge and power.

Rosalind Williams uses Bacon’s island as a jumping-off point to explore the overarching historical event of our time: the rise and triumph of human empire, the apotheosis of the modern ambition to increase knowledge and power in order to achieve world domination. Confronting an intensely humanized world was a singular event of consciousness, which Williams explores through the lives and works of three writers of the late nineteenth century: Jules Verne, William Morris, and Robert Louis Stevenson.

As the century drew to a close, these writers were unhappy with the direction in which their world seemed to be headed and worried that organized humanity would use knowledge and power for unworthy ends. In response, Williams shows, each engaged in a lifelong quest to make a home in the midst of human empire, to transcend it, and most of all to understand it. They accomplished this first by taking to the water: in life and in art, the transition from land to water offered them release from the condition of human domination.

At the same time, each writer transformed his world by exploring the literary boundary between realism and romance. Williams shows how Verne, Morris, and Stevenson experimented with romance and fantasy and how these traditions allowed them to express their growing awareness of the need for a new relationship between humans and Earth.

The Triumph of Human Empire shows that for these writers and their readers romance was an exceptionally powerful way of grappling with the political, technical, and environmental situations of modernity. As environmental consciousness rises in our time, along with evidence that our seeming control over nature is pathological and unpredictable, Williams’s history is one that speaks very much to the present.”

This is an absolutely remarkable achievement, managing to effortlessly synthesize science and the arts – two supposedly polar pursuits in the modern era – and demonstrates that each cannot function without the other, and that all of us are interconnected by both areas, which are of equal importance in the creation and continuance of our shared cultural heritage.

I’m still digesting this marvelous work, which took the author fully 20 years to complete, with some interruptions, and I’m surprised that it hasn’t gotten more attention – but perhaps that’s because the text’s message of inclusiveness is not one that’s currently popular.

Williams argues convincingly, without being strident about it, that without the Romantic instinct we will never really fully comprehend our human condition, and at the same time, provides a thorough yet concise outline of the work of Robert Louis Stevenson, Jules Verne – who despite his futuristic fantasies was not all that taken with the notion of what was then considered “progress” in the industrial era – and the author William Morris, whose work clearly needs wider attention.

The result is a fascinating and altogether indispensable book, which I urge you to read at once.

Hoarders, Doomsday Preppers, and the Culture of Apocalypse

Tuesday, June 3rd, 2014

Gwendolyn Audrey Foster has a new book out July 10th, in a cutting edge series from Palgrave Pivot.

As the official website for the book notes, “the culture of twenty-first century America largely revolves around narcissistic death, violence, and visions of doom. As people are bombarded with amoral metanarratives that display an almost complete lack of empathy for others on television, in films, and on the internet, their insatiable appetite for excessive pain and routine death reflects an embrace of an endlessly warring culture. Foster explores this culture of the apocalypse, from hoarding and gluttony to visions of the post-apocalyptic world.”

“Gwendolyn Audrey Foster writes passionately about the debased media-scape of our death-worshipping culture. She probes into our collective fascination with an Earth without us, even as we continue activities that are sure to lead to yet more ecological devastation and mass extinction. Hoarders, Doomsday Preppers, and the Culture of Apocalypse is not a comforting book, but it is an eloquent call from a voice crying in the wilderness: a warning that we ignore at our peril.” – Steven Shaviro, DeRoy Professor, English, Wayne State University

“In this urgent and important book, Gwendolyn Audrey Foster exposes and explores the multiform obscenities – of violence, wealth, consumption, ownership, avarice, aggression, and more – that infect the politics, businesses, entertainments, and mentalities of today’s narcissistic, fear-peddling, death-celebrating culture, shining a laser-sharp spotlight on excesses of sexism, neo-liberalism, speciesism, capitalism, and nationalism in the contemporary media.” – David Sterritt, Columbia University

“In her newest book, Hoarders, Doomsday Preppers, and the Culture of Apocalypse, Gwendolyn Audrey Foster explores the excesses of late-capitalist American consumerism; her exploration of media representation of gluttony, hoarding, waste, and debt is compelling reading for anyone interested in contemporary popular culture.” – Patrice Petro, Professor, English, Film Studies, and Global Studies, University of Wisconsin-Milwaukee

“Gwendolyn Audrey Foster challenges us to confront the apocalyptic narratives of our time in her engaging and thought-provoking book. Through our desire for what she terms ‘apocotainment’ – the apocalypse as entertainment for the masses – we eagerly digest the mediatized horrors of our planet’s ecological destruction on screen as we continue to deny it as reality in our own front yards. Foster’s book is a wakeup call to take notice of the preciousness of our common humanity, before we confront the death of our planet in real life.” – Valérie K. Orlando, Professor, French and Francophone Literature and Film, University of Maryland

Click here, or on the image above, to go to the book’s official website.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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