Work in Cinema: Labor and the Human Condition
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Cinema frequently depicts various types of work, but this representation is never straightforward. It depends on and reflects many factors, especially the place and time the film is made and the type of audience it addresses. Here, the contributors employ transnational and transhistorical perspectives to compare filmic depictions of work.
and Wilde 2011: 198–9). He argues that when capitalists see a reduction in their profits one way they try to counteract this is by making excessive investment in what he calls constant capital, such as technology, machines, and so on. However, as this capital is constant it does not add any new value to the production process which can be turned into surplus value, which is eventually realized in the form of profit. For Marx, only labor is the source of this surplus value but as it is expelled
lost,” which Bingham is because he has become the victim of the alienating, affective emotions that Alex has expended on him without even realizing it. The next shot has Bingham in a hotel room having a drink and staring aimlessly out of the window. The camera pulls back showing him framed in the window as a picture of an isolated self that before he was happy with, but now seems an alienated self who, as in Alex’s words, is “lost.” L a bor a nd A l ienation 45 Alex rings him the next day,
http://www.fiesp.com.br/siaesp/files/2012/08/Pesq_panorama_cinema_brasileiro.pdf. Accessed November 17, 2012. Tr au m a of Da e da l us 131 Nagib, Lúcia. 2006. A Utopia no Cinema Brasileiro. São Paulo: Cosac & Naify. ———. April 2004. “Is this really Brazil? The Dystopian City of The Trespasser.” New Cinemas: Journal of Contemporary Film 2, (1):17–28 (12). Negri, Antonio. 2011. Art and Multitude. Cambridge: Polity Press. Oricchio, Luiz Zanin. 2003. Cinema de Novo: Um balanço crítico da
protagonist of The Fly); they stop functioning as people who are involved in any sort of labor, and as a result come to very bloody and grand guignol ends. Although 2007’s Eastern Promises is highly distinctive in Cronenberg’s work, for showcasing the non-self-immolation of such a character, viewers are made to understand that this successful passing through the experience of frenetic brutalization exacts a certain cost. In Eastern Promises, Cronenberg has arrived at the same conclusion about the
in which case the title is literal. In this line of thought, it is important to look at the police station in the nearby town and the local pub, tucked away in the woods, both of which here, as in Damnation, are the principal loci of narrative activity. As the local center of law and order, the police station pertains mostly to the sociohistorical layer of meaning, enhanced by its surreal atmosphere. Prior to their returning to “the block,” Irimiás and Petrina are recruited as police informants