When Capitalism Became a Shadow. Or Why Contemporary American Cinema Can Help Us Understand the Financial Crisis

Pietro Bianchi

Povzetek:

Kaj bi bila lahko podoba kapitalizma? Kako bi bila videti? Bi bilo v neposrednosti podobe možno zaobjeti tisto, kar definicija lahko zaobjame zgolj s pomočjo kompleksne mreže intelektualnih posredovanj v kritiko politične ekonomije: govorimo o izkoriščanju dela? Vse od časov, ko je Eisenstein razmišljal o filmski verziji Marxovega Kapitala, je bilo razmerje med filmom in reprezentacijo izkoriščanja dela problematično. O revolucijah in o raznih zgodovinskih trenutkih ljudskih vstaj je bila posneta vrsta filmov, le maloštevilni pa se ukvarjajo z ne-humanističnim portretiranjem izkoriščanja dela. Ta zagata, ki politični film preganja že od njegovih začetkov, se je še posebej zaostrila lansko leto, ko so številni filmi iz ZDA skušali reprezentirati enega najbolj pomembnih zgodovinskih dogodkov zadnjih let, finančni zlom iz leta 2008. Na kakšen način je mogoče abstraktnost zgodovinske krize prevesti v neposredno in takoj razumljivo reprezentacijo? Kako iz neoprijemljivega pojma kapitala izluščiti konkretnost in grobost socialnih konfliktov?

Abstract:

What would be the image of capitalism? How would it look like? Would it be possible to capture in the immediacy of an image what by the definition can be grasped only through a complex web of intellectual mediations given by the critique of political economy: that is, the exploitation of labor? Since the time when Eisenstein was trying to think about a cinematographic version of Karl Marx's Das Kapital, the relationship between cinema and the representation of labor exploitation has always been problematic. Many films were made about revolutions and historical moments of popular uprising, but only a few were made with the purpose of addressing a nonhumanistic portrait of labor exploitation. This problem that is haunting political ci­nema since its beginnings, came back to be strongly addressed in the last year when many films which came out in United States were trying to find a path of representation of the most important historical event of the latest years: the 2008 financial breakdown. How would it be possible to bring the abstractness of the economic crisis back to the roots of an immediate understandable representation? How would it be possible to make out of the aerial and intangible financial capital, the concreteness and the harshness of social conflicts?