Mediating Neo-Feudalism

IF 0.2 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

POSTMODERN CULTURE Pub Date : 2021-11-04 DOI:10.1353/pmc.2021.0003

Travis Workman

引用次数: 0

Abstract

Abstract:This essay discusses contemporary film and media in relation to the political economic concept of neo-feudalism. Questioning the application of a science-fiction dialectics to these media and the tendency to see them as symptoms of the rise of neofascism, the essay rather connects their themes, narratives, and visual styles to Marxist (Dean) and classical (Hudson) discussions of capitalism's transition to neo-feudalism, as well as to the affect of ressentiment as a means of "governing by debt" (Lazzarato). It then turns to the films of Bong Joon-ho, including Parasite (2019) and Okja (2017), to show how they critique neo-feudalism while also remaining limited by ressentiment and individual acts of revenge. The final part reads the more complex treatments of identity and performance in Jordan Peele's Us (2019) and Boots Riley's Sorry to Bother You (2018) through the connections they make between neo-feudalism and racial capitalism (Robinson).

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调解新封建主义

摘要：本文从新封建主义政治经济观的角度探讨当代电影与传媒。文章质疑科幻辩证法在这些媒体中的应用，以及将其视为新法西斯主义兴起的症状的倾向，而是将它们的主题、叙事和视觉风格与马克思主义（迪恩）和古典主义（哈德逊）关于资本主义向新封建主义过渡的讨论联系起来，并与压迫作为“债务治理”手段的影响联系起来（拉扎拉托）。然后，它转向奉俊昊的电影，包括《寄生虫》（2019）和《Okja》（2017），以展示他们如何批判新封建主义，同时也受到压迫和个人复仇行为的限制。最后一部分阅读了Jordan Peele的《我们》（2019）和Boots Riley的《对不起打扰你》（2018）中对身份和表现的更复杂处理，通过它们在新封建主义和种族资本主义之间的联系（Robinson）。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

POSTMODERN CULTURE HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Founded in 1990 as a groundbreaking experiment in scholarly publishing on the Internet, Postmodern Culture has become a leading electronic journal of interdisciplinary thought on contemporary culture. PMC offers a forum for commentary, criticism, and theory on subjects ranging from identity politics to the economics of information.