Most psychiatrists assume that mental illnesses such as depression are caused by chemical imbalances in the brain, which can be treated by drugs. But most psychotherapy doesn't address the social causation of mental illness either.
Mark Fisher
The 21st century is oppressed by a crushing sense of finitude and exhaustion.
Identity politics is not politics at all, since it precisely negates the political as such by re-construing political positions in ethnic terms, subsuming 'ought' under 'is.'
The reality of nostalgia is nowhere better invoked than at the end of Tarkovsky's 'Solaris.' When the camera pans away from Kelvin embracing his father on the rain-soaked steps of his dacha, we realise that the scene is yet another of the simulations produced by the inscrutable planet.
What is remarkable about Joy Division is the way they are bereft of two of the mainstays of most other rock and pop: longing and supplication.
Nietzsche should not be taken seriously as a political theorist, at least not at the level of his positive prescriptions. But the Nietzsche who denounces the insipidity and mediocrity that result from democracy's levelling impulses could not be more acute.
Christopher Nolan's 'The Prestige' is an enthralling study of doubles, doubling and duplicity. Its twinned themes are obsession and the Secret: the Secret as objet-a, that which inspires, but which can never satisfy, obsession.
OK, so we all know that 'Borat' is humiliatingly, career-endingly unfunny (one trick too many for one-trick pony Sacha Double-Barelled) - but can anyone explain why the 'character' isn't roundly condemned for being as unacceptably racist as the one-dimensional stereotypes from 70s sitcoms such as 'Mind Your Language?'
Reality TV is flat with the anti-cultural imperatives of business: cheap to make, it does ideological work even when it is not giving guru status to dull business people. It fits in with capitalism's anti-mythic myth: the idea that we have liberated ourselves from the dangerous illusions allegedly propagated by art and politics.
Anti-capitalism is nothing new in Hollywood. From 'Wall-E' to 'Avatar,' corporations are routinely depicted as evil. The contradiction of corporate-funded films denouncing corporations is an irony capitalism cannot just absorb, but thrive on. Yet this anti-capitalism is only allowed within limits.
What needs to be kept in mind is both that capitalism is a hyper-abstract impersonal structure and that it would be nothing without our co-operation.
If it is true, for instance, that depression is constituted by low serotonin levels, what still needs to be explained is why particular individuals have low levels of serotonin. This requires a social and political explanation.
Like all of Moore's work, 'V for Vendetta' is considerably less than the sum of its parts.
The discussion of 'V for Vendetta' - on Pinocchio Theory in particular - has been far more interesting than the film deserved. Yes, there is a certain frission in seeing a major Hollywood movie refusing to unequivocally condemn terrorism, but the political analysis in the film (as in the original comic) is really rather threadbare.
The paradoxical War on Terror is based on a kind of willed stupidity; the willed stupidity of wishful thinking. Only the logic of dreamwork can suture 'War' with 'Terror' in this way, since terrorists were, by classical definition, those without 'legitimate authority' to wage war.
Is it possible to reproduce, later in life, the impact that books, records, and films have between the ages of fourteen and seventeen? The periods of my adult life that have been most miserable have been those in which I lost fidelity to what I discovered then.
Sinatra's melancholy was the melancholy of mass (old) media technology - the 'extimacy' of the records facilitated by the phonograph and the microphone, and expressing a peculiarly cosmopolitan and urban sadness.
Much of reality TV has been like the worst nightmares of Theodor Adorno and Jean Baudrillard come true, its seductive allure turning us into gossips in the global village.
We're invited to believe that the worst effects of Stalinism arose from its 'dogmatic' intransigence; but it is precisely because so much was left open to interpretation that its Terror was so pervasive.
Roxy Music' and 'For Your Pleasure,' those exercises in learning and unlearning of accent and manners, are Pop's equivalent of 'The Talented Mr Ripley.' The clothes , the bearing and the voice are faked, but not yet perfectly.
The sustaining fantasy of Nolan's Batman films - which does chime uncomfortably with Romney -is that the excesses of finance capital can be curbed by a combination of philanthropy, off-the-books violence and symbolism.
Abduction was what it felt like on first listening to Public Enemy. Like the post-punks, Public Enemy implicitly accepted the idea that a politics which came reassuringly dressed in established forms would be self-defeating.
Neoliberalism emerged by defining itself against what it labelled as an unrealistic and unsustainable programme of social welfare and public spending.
The moment that most fascinated me in Ursula Le Guin's 'The Lathe of Heaven' was its descriptions of times of transition from one reality to another.
When The Fall pummeled their way into my nervous system, circa 1983, it was as if a world that was familiar - and which I had thought too familiar, too quotidian to feature in rock - had returned, expressionistically transfigured, permanently altered.
Downloading and Web 2.0 have famously led to new ways of accessing culture. But these have tended to be parasitic on old media. The law of Web 2.0 is that everything comes back, whether it be adverts, public information films or long-forgotten TV serials: history happens first as tragedy, then as YouTube.
Capitalism can never pursue deterritorialization to the absolute. What deterritorialization there is within capitalism is always balanced by a compensatory lockdown onto nation, culture, and race. Hence the 'Steampunk' quality of capitalism, where the most ancient traditions can co-exist with the ultramodern.
The 1890s was perhaps the most Gothic decade ever: 'Dracula,' 'The Picture of Dorian Gray' and 'The Time Machine,' not to mention 'Heart of Darkness' and 'The Interpretation of Dreams,' were all written between 1890 and 1899.
What Public Enemy and Underground Resistance had in common was a rejection of the idea of music as entertainment.
Sometimes a disappearance can be more haunting than an apparition.
If, as is certainly the case, capitalism cannot do without nationality, that is precisely why accelerating and intensifying the deterritorializing, de-ethnicizing and anti-national impulses within (but inhibited by) capitalism constitutes an anti-capitalist strategy.
In hip-hop, as in neoliberalism, economics bullied politics out of the picture.
Children of Men' reinforces what few would doubt, but which British cinema would seldom lead you to suspect: the British landscape bristles with cinematic potential.
Just because something is current doesn't mean it is new.
The story of Basinski's 'Disintegration Loops' - tapes that destroyed themselves in the transfer to digital - is a parable (again almost too perfect) for the switch from the fragility of analogue to the infinite replicability of digital.
We all know that the 'reality' of reality TV is an artful construction, an effect not only of editing but of a Lorenzian rat-in-a-mirrored-labyrinth artificial environment which attenuates psychology into a series of territorial twitches.
Capitalism is what is left when beliefs have collapsed at the level of ritual or symbolic elaboration, and all that is left is the consumer-spectator, trudging through the ruins and the relics.
Little Axe's records are wracked with collective grief. Spectral harmonicas resemble howling wolves; echoes linger like wounds that will never heal; the voices of the living harmonise with the voices of the dead in songs thick with reproach, recrimination and the hunger for redemption.
Although it was published in 1977, "A Scanner Darkly's" mood is already postpunk.
Affective exploitation is crucial to late capitalism.
Postmodernism is, of course, the dead end from which hauntology starts - but one of its role is to denaturalise what postmodernism has taken for granted, to conceive of postmodernism as a condition in the sense of a sickness.
Some IMDB viewers complain that 'Beloved' should have been reclassifed as Horror... well, so should American history.
Identitarianism assumes that people are condemned to identify with the positive (ethnic/ gender/ nationalistic) predicates they possess, as if their subjectivity were exhausted by those properties. Exactly the opposite is the case: the authentic dimension of subjectivity consists not in any positive identity but in that which makes identifications.
There is no need to subject people in capitalism to additional suffering; the point is to get them to recognize that the suffering they are already undergoing is caused by capitalism.
The vast numbers of people who suffer some kind of mental illness under capitalism can either think, 'there is some failing with me, if only I could fit into this system better, if only I were working harder, if only I could enjoy these empty pleasures more, then things would be OK' or 'the problem is with the system that is making me ill.'
To be able to function in late capitalism without being a psychological wreck, it is necessary to accept the insane as standard.
In 'A Scanner Darkly,' as in 'The Spy Who Came in from the Cold,' all intersubjective relations devolve into webs of suspicion and betrayal.
In the classic 70s episodes, Columbo is rarely seen on his own. We typically do not see Columbo 'for himself,' only for the criminal, leaving the possibility that the entire Columbo persona - his shambling manner, his absent mindedness, even his references to his wife - may all be a performance designed to disarm the murderer.
What better example than the World Cup is there of the fact that individual people are irrelevant while impersonal structures are invariant?
De Palma's great theme, obsessively reiterated, is betrayal.
