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

This chapter examines two compliances of institutionalize that communicate messages from a group or an individual to the public, pagan production and policy-making public speaking in the light of Marxist cultural theories. The review of writings about the practice of nontextual matter by mid-20th century Marxist thinkers makes one thing crystalise - aesthetic utterances by artistic creationists and cultural figures fulfil a role in the political and neighborly discourse and the importance of this role within the scope 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 glorify the public to live a life more worthy of living. (Adorno, 2006, p. 39) This chapter argues that cultural practitioners have a responsibility to encourage the public to confront their friendly and political conflicts.Two methods of assuming this responsibility are discussed. First is the asseverate that a polit ical message in an artwork is to be communicated without attempting to wee an emotional anchor for the public to identify with. This method, primarily expounded by Brecht, sees the political message as the most important aspect of the work so it is crucial that the public receives it and does not get distracted. The second approach, as envisaged by Lukcs, supports a representation of reality which allows an audience to relate to and identify with the political messages. The emotional connection is presented in this concept as essential to the prospering transmission of an idea, as human beings relate more easily to topics they rump connect to emotionally.These two methods are discussed in the chapter in relation to the carry-over of political messages through aesthetics, not strictly in the art world, solely 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 a ccessible. (Lovell, 1980, 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 popular opinion process, and that is achieved by producing daring, experimental and confrontational work, not only in the musical theme matter but in the form as well. Brecht viewed the existing form of art practice as supporting the social status quo sort of than revolution. He developed his model of the Epic Theatre following his analytic thinking of the bourgeois theatre and singling out the elements in this form that were not overhaul revolutionary enough messages.