6/27/2023 0 Comments Epic theaterThe nature of the cultural commodities they offer (soap operas, variety shows, documentaries, advertisements, news programs, pop music shows, comedy series, feature films) and the framework they are offered in immeasurably adds to people's sense of themselves as consumers not producers. Mass media like cinema and television play a central role in this process. Consciousness of their role as active producers is suppressed. By making available an enormous range of commodities (washing machines, television sets, frozen food, long-playing records, pocket calculators, jogging suits, Kleenex, electric toothbrushes, package vacations, etc.) the mass of people are encouraged to regard themselves as passive consumers. It argues that capitalism's increased productive capacity over the past thirty years has led to the development of consumption as a major social process. The analysis draws on a well-known characterization of these as affluent societies. This political aesthetic emerges out of an analysis of the failure of revolutionary politics in the capitalist countries of Western Europe, the United States, and Japan in the period since the end of the Second World War. Such an art demands active and critical audiences, not the passive ones demanded by Realism. To do so it needs to produce an art that is self-reflexive and foregrounds form. As part of its struggle against the naturalization effect, Marxist art has to oppose Realism. The convention of Realism is the main instrument for performing this function. This aesthetic identifies art as a form of ideology whose principal function is to make the capitalist social formation seem natural. Epic theater and the principles of counter-cinema by Alan Lovell JUMP CUTĬopyright Jump Cut: A Review of Contemporary Media, 1982, 2005Ĭontemporary radical filmmakers and theorists have constructed a political aesthetic out of their response to the work (plays, films, theoretical and critical writings) of Bertolt Brecht and Jean-Luc Godard.
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