Here we have the best Mark Fisher Quotes. Find the perfect quotation from our collection.
In a world of niches, we are enchained by our own consumer preferences.
Basic Instinct 2′ is an uneasy experience because, although it is hyper-reflexive to the point where it is hard to think of one character, one scene, one plot twist that isn’t a reference or an echo, there is nothing knowing about it. No matter how absurd the film gets, it refuses to raise its eyebrows.
Under neoliberal governance, workers have seen their wages stagnate and their working conditions and job security become more precarious.
Capitalism can never pursue deterritorialization to the absolute. What deterritorialization there is within capitalism is always balanced by a compensatory lockdown onto nation, culture, and race. Hence the ‘Steampunk’ quality of capitalism, where the most ancient traditions can co-exist with the ultramodern.
What needs to be kept in mind is both that capitalism is a hyper-abstract impersonal structure and that it would be nothing without our co-operation.
What is remarkable about Joy Division is the way they are bereft of two of the mainstays of most other rock and pop: longing and supplication.
Downloading and Web 2.0 have famously led to new ways of accessing culture. But these have tended to be parasitic on old media. The law of Web 2.0 is that everything comes back, whether it be adverts, public information films or long-forgotten TV serials: history happens first as tragedy, then as YouTube.
When The Fall pummeled their way into my nervous system, circa 1983, it was as if a world that was familiar – and which I had thought too familiar, too quotidian to feature in rock – had returned, expressionistically transfigured, permanently altered.
Now that we are used to globalisation it’s hard to imagine a time when the countries behind the iron curtain were largely obscured from the western gaze. The Soviet bloc was a genuine mystery. Such was the dehumanisation of the Soviets that Sting could wonder in song if ‘the Russians love their children too.’
I have taught Philosophy, Religious Studies, English Literature, Cultural Studies, Writing and Publishing Studies, Critical Thinking.
The most powerful love songs always turn on the discrepancy between the act of declaring love and the knowledge that the ostensible addressee is no longer there, was never there, and could never be there.
The paradoxical War on Terror is based on a kind of willed stupidity; the willed stupidity of wishful thinking. Only the logic of dreamwork can suture ‘War’ with ‘Terror’ in this way, since terrorists were, by classical definition, those without ‘legitimate authority‘ to wage war.
The 21st century is oppressed by a crushing sense of finitude and exhaustion.
Neoliberalism emerged by defining itself against what it labelled as an unrealistic and unsustainable programme of social welfare and public spending.
The sustaining fantasy of Nolan’s Batman films – which does chime uncomfortably with Romney -is that the excesses of finance capital can be curbed by a combination of philanthropy, off-the-books violence and symbolism.
Footballers‘ ‘lack of loyalty,’ for instance, is not an indication of players‘ moral delinquency. Instead, the capacity to move on quickly without forming lasting attachments is a skill that the contemporary capitalist world inculcates and relies upon.
Most psychiatrists assume that mental illnesses such as depression are caused by chemical imbalances in the brain, which can be treated by drugs. But most psychotherapy doesn’t address the social causation of mental illness either.
I’m not sure that Liberation Theology has ever satisfactorily resolved the tensions between Marxism‘s ‘social naturalism‘ (the claim that all beliefs have their origins in social practice) and religion‘s supernaturalism (the claims that its beliefs are underwritten by divine will).
In particularly acute cases of depression, it is recognized that no verbal or therapeutic intervention will reach the patient. The only effective remedy is to do things, even though the patient will, at that time, believe that any act is pointless and meaningless.
The arrival of ‘Star Wars’ signalled the full absorption of the former counterculture into a new mainstream.
Anti-capitalism is nothing new in Hollywood. From ‘Wall-E’ to ‘Avatar,’ corporations are routinely depicted as evil. The contradiction of corporate-funded films denouncing corporations is an irony capitalism cannot just absorb, but thrive on. Yet this anti-capitalism is only allowed within limits.
OK, so we all know that ‘Borat’ is humiliatingly, career-endingly unfunny (one trick too many for one-trick pony Sacha Double-Barelled) – but can anyone explain why the ‘character’ isn’t roundly condemned for being as unacceptably racist as the one-dimensional stereotypes from 70s sitcoms such as ‘Mind Your Language?’
There is no opposition between efficiency and justice; on the contrary, an institution run by those who actually do the work is likely to be more effective than one run by interchangeable exploiters who often lack any specific expertise in what they are supposedly managing.
What better example than the World Cup is there of the fact that individual people are irrelevant while impersonal structures are invariant?
Affective exploitation is crucial to late capitalism.
Sinatra‘s melancholy was the melancholy of mass (old) media technology – the ‘extimacy’ of the records facilitated by the phonograph and the microphone, and expressing a peculiarly cosmopolitan and urban sadness.
The first ‘Red Dawn’ was made at a time when Hollywood didn’t stint in its use of Russian stereotypes. Cold war capitalist ideology construed the Soviets as different for two reasons – not only did they belong to another political-economic system, they didn’t seem to possess the same emotions that ‘we’ do.
The point is always made that capitalism is efficient, people say ‘You might not like it, but it works.’ But Britain is not efficient.
In terms of the film itself, there was nothing much very new about ‘Star Wars.’ ‘Star Wars’ was a trailblazer for the kind of monumentalist pastiche which has become standard in a homogeneous Hollywood blockbuster culture that, perhaps more than any other film, ‘Star Wars’ played a role in inventing.
Columbo’s deliberately irritating questioning technique – ‘just one more thing’ – is designed to produce discomfort rather than to elicit information.