The commercial mainstream Hindi cinema known as Bollywood is seeing a exemplar shift in the ideologies that reign the business of creating narratives in the 21 st century. Topics include: the global albeit antagonistic nature of neoliberal culture the search for a new aesthetic and documentary language the contestation between labor and capital in cultural producion the political economy of hollywood, and questions of gender, sexuality, and the nation state in relation to neoliberalism. Taking a variety of approaches, ranging from political economy, ideological critique, the intersection of aesthetics and politics, social history and critical-cultural theory, this volume offers a fresh, broad-based Marxist analysis of contemporary film/media. The premise of this book is that the cultural and economic logic of neoliberalism, i.e., the radical financialization and market-driven calculations, of all facets of society are symptoms best understood by Marxist theory and its analysis of the central antagonisms and contradictions of capital. In essays encompassing the cinemas of Asia, Africa, Latin America, Europe, and the United States the authors outline how the culture and subjectivities engendered by neoliberalism have been variously performed, contested, and reinforced in these cinemas. In this edited volume, an international ensemble of scholars looks at neoliberalism, both as culture and political economy, in the various cinemas of the world. However, the current economic crisis and the subsequent Wall Street bailout in 2008 have brought about a worldwide skepticism regarding the last four decades of economic restructuring and the culture that has accompanied it. In so doing, they remind the viewer that although she may perceive female music video stars as objects of fantasy, as fantasies they are not always under her control.ĭescription In cinema studies today, rarely do we find a direct investigation into the culture of capitalism and how it has been refracted and fabricated in global cinema production under neoliberalism. These “errors” open up intervals of frustration-and potential critical reflection-in the playback and, by extension, in the temporal structures of fantasy.

Working inside the genre of corporate music video and the logic of the glitch, performers like Madonna and Lady Gaga make visible their ambivalent relationships to patriarchal, heterocentric video culture through simulated freezes and drop outs in the streaming image. Some female performers recognized the potential of this electronic disruption to interrupt the male gaze and the traditional objectification of the female body. During the ascension and commodification of Web 2.0, online music videos became host to a new kind of glitch: the digital stutter of insufficient buffering in Adobe Flash Player and other streaming media software. This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson.

Bless unleashed hiring workers quest