Tag Archives: star wars

Winter Anti-Reviews 2015-2016, pt 1

SW-THE-FORCE-AWAKENS

Star Wars: The Force Awakens –  Oedipal drama returns for millennials caught in the same cycle of struggles as their parents because they were unable to defeat capitalism in its previous incarnation due to incomplete development of the Force, i.e, class struggle. Syrian civil war reflected in the New Republic, First Order, Resistance triangle, such that militants, foreign agents, traitors, generals, pirates, and lovers have no clue what’s going on except they’ve seen it all before and it’s spectacular

Chi-Raq – Civil war as gun violence as male gang violence in black Chicago can only be stopped by female proletariat in their own self-abolition 

The Danish Girl – Mythical origin of trans identity as romantic tragedy for europeans losing their innocence in a world transitioning to capitalism

The Big Short – Marxist crisis theory as male hobby to make money 

Joy –  White female housewife crushed under the weight of patriarchy finally breaks on through to the freedom of entrepreneurial capitalism 

In the Heart of the Sea – Moby Dick without Loren Goldner is counter-revolutionary

Sisters –  Sex, drugs and party is not only for male dickwads but female cougars who feign transgression only to reassure traditional morality

Concussion – American football as capitalist sacrifice of flesh to the gods of war is confronted by medical ethics

The Hateful Eight – Politics as the necessary conversation between fractions of the proletariat with opposed interests can only end  in communism or violence 

The Revenant – America as the self-abolition of Man and Nature without the positive supersession into the Gemeinwesen

Point Break – Classic surf-noir film recycled for the eco-conscious cross-fit generation who dreams of having their cake and eating it too

Not so long ago, not so far away

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George Lucas’s enormously popular STAR WARS (1977) plugs into the central nervous system of its audience by mixing an American love of machinery with the heroic myths and dreams of western European civilization.[1] This technological fairy tale reflects in the symbolic language of its images the desires and ambiguities produced by living inside a machine-oriented technology, supported by anachronistic ideologies of individual heroism and metaphysical justification. STAR WARS embraces technology in order to enjoy the sensations of power and exhilaration it offers. Then it falls back on heroic individual action and the metaphysical, non-rational Force to solve the problem of eroded values and depersonalized experiences created by that technology. The film’s combination of traditional models of individual combat with the technology of electronic warfare re-romanticizes war, creating a new set of heroic images appropriate to a technological age and the kind of electronic warfare the United States waged in Vietnam. The meaning of STAR WARS and much of its appeal depend on the ways in which the striking special effects reinforce the fantasies and mythic echoes of the plot.

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