Culture for All: Why Film Matters
Action films, horror films, romantic comedies, science fiction, documentaries–film plays a big part of our lives. Film matters, not only because it was the most popular cultural art form of the 20th century, but because film connects to so many areas of our lives in so many different ways. Not only in the way we visualise our lives, but the ways in which we understand and communicate them.
The struggle to decolonise the mind: Frantz Fanon and his Irish translator, Constance Farrington
Last month marked 70 years since the passing of psychiatrist, political radical, Marxist and philosopher of the Algerian Revolution, Frantz Fanon, at the young age of 36.
Streamers versus socialism
Dennis Broe reports on how the streaming services are attempting to subvert government-financed and often more progressive film and television production
Walter Scott and the historical novel
On his 250th anniversary, Jenny Farrell writes about Walter Scott and his historical novels, uncovering themes of class conflict, ethnic and nationalist struggles, and how the personal experiences of his characters link with broader historical upheavals.
The arts, trade unions, and working-class identity
Anthony D. Padgett reflects on the arts, trade unions, and working-class identity.
200 years young
Released last year but receiving as yet very little English-language press coverage, Der Junge Karl Marx is a nuanced and surprisingly accurate portrait of the revolutionary as a young man. That said, I cannot vouch for the chase scene. Regarding which, more anon.
John Brown as buffoon in ‘The Good Lord Bird’, vs. Brown as radical in ‘Underground’
Dennis Broe compares and contrasts two images of John Brown in recent TV series. Image above: John Brown at his zaniest, in The Good Lord Bird
Marx and the cinema
Dennis Broe traces the history of the representation of labour on screen, and finds inspiration for celebrating May Day and continuing Marx’s struggle against capitalism.
Dreaming of communism: News from Nowhere
There can be no denying that the content of News from Nowhere, the utopian romance penned by painter, poet and designer William Morris, was heavily indebted to the writings of Karl Marx. Morris was exploring these from the spring of 1882, the year before Marx died and the year of his own 48th birthday. He continued to read Marx, especially Capital, in its French edition, the first English edition being still a few years away.