Word: capitalists
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...past abstractions and judge: whose freedom should be attacked, whose should be upheld." It insists that we are all part of a class war where the correct class is always correct because it is the working class and the incorrect class is always incorrect because it is the capitalist class. Students should join with workers to destroy every expression of "U. S. imperialism...
...therefore, devoid of any right to free speech. This makes sense. But let us look at what this logic drives us to. All classes PLP tells us, seek to protect their power-their freedom if you will. Therefore, if we are to be branded as a separate class, the capitalist class, all those of us who support freedom (our version) must defend ourselves when our freedoms are attacked. Since our class is the class in power in America, it doesn't make sense for these "revolutionaries" to bombard us with paper balls and marshmallows-they should have used REAL instruments...
...spokesmen of imperialism and repression, were marshmallow revolutionaries. They each wanted to be two people at once: one a real revolutionary throwing things, the other a petit bourgeois doing nothing. When the repression comes in the form of our "pig police," these "revolutionaries" would not have to face "capitalist justice." After all, who can charge assault and battery when hit by a marshmallow...
...contend with the threat of political censorship and retribution-the film has not yet been allowed public exhibition in Argentina and private attempts are dangerous-they also had to deal with the high production costs of using film as the medium of their essay in the situation of a capitalist economy. They worked as cheaply as possible,using the most crude 16mm Bolex available, without sinc-sound or motorized drive (making their longest possible takes about 30 seconds). And to raise the money they worked in the daytime making commercials (many of which are exploited contemptuously in the film...
...Contradictions and Friends: Solanas designed the length and structure of his film with an eye to resisting its being co-opted into the alienated conditions of the "entertainment" industry when distributed in capitalist countries. He intended the breaks in the film to provide the necessary opportunity for debate and analysis by the audience, not to create bite-sized chunks for exhibitors to exploit most effectively for high grosses. Unfortunately the Orson Welles-in collaboration with the distributor, Cinema of the Third World-has chosen to observe only an "intermission" between Parts II and III and to charge audiences twice...