Date: Tue, 12 Feb 2002 09:55:57 -0800 (PST)
Subject: Re: AUT: 70s movies (including Network)/New Right


I dont recall the soundtrack, so it may have been
Herbie Hancock.  However, it came out at a time that
corresponds more or less to the death of keynesianism
and when a there started to be a steady dose of
"middle class" rage in american media (I was very
young then but still remember)against welfare
recipients, etc.

In it, Bronson acts out this rage after his wife and
daughter are raped and killed.  Faced with police
bureacracy, he decides to take matters into his own
hands and blow away all of the "scum" (meaning anyone
who does not look middle-class).

There were all of these vigilante movies at that time,
like the "Dirty Harry" series starring the "real life"
reactionary, Clint Eastwood.

Thomas
--- Thiago Oppermann <topp8564-AT-mail.usyd.edu.au>
wrote:
> Is Death Wish the Bronson shoot-a-rama with a the
> Herbie Hancock soundtrack?
> If so, the soundtrack is awesome.
> 
> Thiago
> 
> 
> On 2/12/02 4:30 PM, "Thomas Seay"
> <entheogens-AT-yahoo.com> wrote:
> 
> > Interesting indeed.  However,  I am surprized they
> > didn't mention the ultimate middle-class backlash
> film
> > of the period:
> > "Death Wish".
> > 
> > Thomas
> > --- Michael Handelman <mhandelman1-AT-yahoo.com>
> wrote:
> >> I found this of interest:
> >> 
> >> 
> >
>
http://www.gseis.ucla.edu/courses/ed253a/MCkellner/HOLSOC.html
> >> 
> >> "During this period as well, the culture wars
> that
> >> had
> >> raged since the 1960s were reproduced in
> Hollywood
> >> films. As the 1970s progressed, conservative
> films
> >> were becoming more popular (e.g. Rocky, Star
> Wars,
> >> Close Encounters of the Third Kind, Superman, et
> al)
> >> indicating that conservative sentiments were
> growing
> >> in the public and that Hollywood was nurturing
> these
> >> political currents. Indeed, even liberal films
> >> ultimately helped advance the conservative cause.
> A
> >> cycle of liberal political conspiracy films (e.g.
> >> The
> >> Parallex View, All the President's Men, The
> Domino
> >> Principle, Winter Kills, and so on) vilified the
> >> state
> >> and thus played into the conservative/Reaganite
> >> argument that government was the source of much
> >> existing evil. Other films that took a
> perspective
> >> sympathetic to the working class and critical of
> >> business (Blue Collar, F.I.S.T., et tutti
> quanti),
> >> blaming corrupt unions for the working class'
> >> problems, while liberal films dealing with race
> >> (Claudine, A Piece of the Action, and the like)
> >> attacked welfare institutions and celebrated
> >> individual initiative and self-help -- precisely
> the
> >> Reaganite position. And even the most socially
> >> critical films (such as the Jane Fonda films,
> >> Network
> >> and other Sidney Lumet films, et al) posited
> >> individual solutions to social problems, thus
> also
> >> reinforcing the conservative appeal to
> individualism
> >> and attack on statism. Consequently, reading
> >> Hollywood
> >> films of the decade politically allowed one to
> >> anticipate the coming of Reagan and the New Right
> to
> >> power by demonstrating that conservative
> yearnings
> >> were ever more popular within the culture and
> that
> >> film and popular culture were helping to form an
> >> ideological matrix more hospitable to Reagan and
> >> conservatives than to embattled liberals (Kellner
> >> and
> >> Ryan 1988)."
> >> 
> >>
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> >> 
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> > 
> > 
> > ====> > "The tradition of all the dead generations
> > weighs like a nightmare on the brain of the
> living"
> > 
> > -Karl Marx
> > 
> > __________________________________________________
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> > 
> > 
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> 
> 
> 
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===="The tradition of all the dead generations
 weighs like a nightmare on the brain of the living"

-Karl Marx

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