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Argued that in a capitalist society, there are 2 fundamental classes.
the Proletariat or workers and the bourgeoisie or the higher class -
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Oedipal triangles, castration complex. believed the mind was made up of many layers. dreams were a form of wish fulfillment. Very interesting take on the world, good way of analysising films as some films can apply to this theory in there own way, examples. Psycho (1956) and This means war (2012)
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Technology … aims to produce neither concepts nor images, nor the joy of understanding, but method, exploitation of the labor of others, capital.
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Introduced the concept of hegemony.
Hegemony is the process by which a power relationship is accepted, consented to and seen as natural or 'common sense' -
Perfect example for the Oedipal triangle theory
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argued that mainstream Hollywood film was the product of a male-dominated and controlled industry.
Made for men by men.
voyeurism, narcissism and scopophilia.
men gaze, women are there to be gazed at. -
the orient is the stage that the east is confined in. west believe they are superior to the east. because they didn't understand the eastern culture.
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Interpretation is a complex endeavor
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Suggests that gender is not the result of nature but is socially constructed. sees gender as performative ( possibly created the word) like performance but you are unaware of you doing it.
Coined the term GENDER TROUBLE which refers to any behaviour and representation that disrupts culturally accepted notions of gender. -
Benjamin wrote, in the effort to describe a theory of art that would be "useful for the formulation of revolutionary demands in the politics of art." 'the only way knowing a person is to love them without hope. “History is written by the victors.” - Walter Benjamin
History is written by the people or won not the people or lose.
In this time history can be written both winner and loser due to social media and technology. -
“Against the urgency of people dying in the streets, what in God's name is the point of cultural studies?...At that point, I think anybody who is into cultural studies seriously as an intellectual practice, must feel, on their pulse, its ephemerality, its insubstantiality, how little it registers, how little we've been able to change anything or get anybody to do anything. If you don't feel that as one tension in the work that you are doing, theory has let you off the hook.”
