Marxist Cultural Theory Essay -- Film Review, Adorno on Cinema

This chapter examines two remainss of practice that communicate messages from a group or an individual to the globe, cultural production and political habitual speaking in the light of Marxist cultural theories. The review of literary works about the practice of art by mid-20th century Marxist thinkers makes ane thing clear - aesthetic utterances by artists and cultural figures fulfil a map in the political and genial discourse and the importance of this situation within the context of class struggle must not be ignored. The role of aesthetics as viewed by Marxist theorists such as Adorno and Horkheimer is to educate and inspire the public to live a life to a greater extent worthy of living. (Adorno, 2006, p. 39) This chapter argues that cultural practitioners have a responsibility to encourage the public to confront their social and political conflicts.Two methods of assuming this responsibility ar discussed. First is the claim that a political message in an fine art is to be communicated without attempting to create an emotional anchor for the public to identify with. This method, earlier expounded by Brecht, sees the political message as the most important look of the work thus it is crucial that the public receives it and does not get distracted. The stake approach, as envisaged by Lukcs, supports a representation of reality which allows an audience to doctor to and identify with the political messages. The emotional connection is presented in this concept as essential to the successful transmission of an idea, as human beings relate to a greater extent easily to topics they can connect to emotionally.These two methods are discussed in the chapter in relation to the conveyance of political messages through aesthetics, not strictly in the art world, but also ... ... also art which is popular and pleasurable, not just art which has a politically correct line. Indeed to be politically correct, art must be pleasurable and accessible. (Lovell, 19 80, p. 77) Brecht saw art as a verb. He saw a social revolution as inevitable and believed art should be more than affirming to the current state of affairs. The artists role is to bring social change through pushing the public into a critical thought process, and that is achieved by producing daring, experimental and confrontational work, not sole(prenominal) in the subject matter but in the form as well. Brecht viewed the existing form of art practice as supporting the social status quo rather than revolution. He developed his model of the Epic field of operation following his analysis of the bourgeois theatre and singling out the elements in this form that were not serving revolutionary enough messages.