Bøker av Mike Wayne

Marxism and Film share at least one thing in common: they are both interested in the masses.From the introductionFilm remains one of the most dominant cultural forms in the world today. Crossing classes and cultures, it permeates many aspects of our consciousness. In film, perhaps more than any other medium, we can read the politics of time and place, past and present. The history of Marxism has intersected with film in many ways and this book is a timely reminder of the fruits of that intersection, in film theory and film practice. Marxist film theory returns to film studies some of the key concepts which make possible a truly radical, political understanding of the medium and its place both within capitalism and against it. This book shows how questions of ideology, technology and industry must be situated in relation to class - a category which academia is distinctly uncomfortable with. It explores the work of some of the key theorists who have influenced our understanding of film, such as Adorno, Althusser, Benjamin, Brecht, Gramsci, Jameson and others. It shows how films must be situated in their social and historical contexts, whether Hollywood, Russian, Cuban, Chinese or North Korean cinema. The authors explore the political contradictions and tensions within dominant cinema and discuss how Marxist filmmakers have pushed the medium in new and exciting directions.

Clear and concise student guide that shows how Marxist theory can illuminate media studies.

How England's political cultures are being eroded by neoliberalism

This is an accessible guide to key Marxist concepts and how to apply them to contemporary cultural analysis.*BR**BR*Drawing on Marx, Lukacs, Gramsci, Habermas, Jameson and others, the book retools and redeems key concepts such as class, the mode of production, culture industries, the state, base-superstructure, ideology, hegemony, knowledge and social interests, and commodity fetishism. It also includes analysis of film, television, the internet and print media. Using case studies including Disney, Big Brother to the spirits and spectres in such films as The Others, The Devil's Backbone and Dark City, it illuminates the fetishisms of culture and society under capital.*BR**BR*Exploring the relevance of each concept to understanding the media, Wayne explains why Marxism is an important critical methodology for the media student to engage with. He foregrounds the theoretical and political shifts that have led to its marginalisation in recent years, and highlights how and why these trends are changing as once more, people return to Marx and Marxism to understand the world around them.

Third Cinema is a cinema committed to social and cultural emancipation. In this book, Mike Wayne argues that Third Cinema is absolutely central to key debates concerning contemporary film practices and cultures.*BR**BR*As a body of films, Third Cinema expands our horizons of the medium and its possibilities. Wayne develops Third Cinema theory by exploring its dialectical relations with First Cinema (dominant,commercial) and Second Cinema (arthouse, auteur). Discussing an eclectic range of films, from Evita to Dollar Mambo, The Big Lebowski to The Journey, Amistad to Camp de Thiaroye, Political Film explores the affinities and crucial political differences between First and Third Cinema. *BR**BR*Third Cinema's relationship with Second Cinema is explored via the cinematic figure of the bandit (Bandit Queen, The General, Eskiya). The continuities and differences with European precursors such as Eisenstein, Vertov, Lukacs, Brecht and Walter Benjamin are also assessed. The book is a polemical call for a film criticism that is politically engaged with the life of the masses.