Art for the workers explores the mythology and reality of post-revolutionary proletarian art in Russia as well as its expression in the festive decorations of Petrograd between 1917 and 1920. It covers this brief period chronologically, and so permits a close inspection of the development of artistic policies in Russia under the Provisional Government followed by the Bolsheviks. Specifically, this book focuses on the pre-and post-revolutionary debate about the nature of proletarian art and its role in the new Socialist society, particularly focusing on festive decorations, parades and mass performances as expressions of proletarian art and forms of propaganda.
In 1936, director John Ford claimed to be making movies for “a new kind of public” that wanted more honest pictures. Graham Cassano’s
A New Kind of Public: Community, solidarity, and political economy in New Deal cinema, 1935-1948 argues that this new kind of public was forged in the fires of class struggle and economic calamity. Those struggles appeared in Hollywood productions, as the movies themselves tried to explain the causes and consequence of the Great Depression. Using the tools of critical Marxism and cultural theory, Cassano surveys Hollywood’s political economic explanations and finds a field of symbolic struggle in which radical visions of solidarity and conflict competed with the dominant class ideology for the loyalty of this new audience.
Postmodern Pirates offers a comprehensive analysis of Disney’s
Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in
Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.