... of mutuality and political contestation rather than a mystified object of horror and abjection. Copyright © 2020 Camera Obscura 2020 horror film apocalypse film African Americans and film deindustrialization the ruin post-Fordism the city Figure 1. Ruinscape. The Road (dir. John Hillcoat, US...

..., and individuated and internalized production, embodies key characteristics of our economic situation of post-­Fordism.36 The analyses that both Kracauer and Bookchin perform on these “inconspicuous surface level” cultural expressions afford a response to a capitalist totality that is incomprehensible...

... Art in a Global Context (Durham, NC: Duke University Press, 2011); Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (New York: Verso, 2012). 3. Ash Amin, ed., Post-­Fordism: A Reader (Oxford: Blackwell, 1995); Daniel Bell, The Coming of Post...

... hologram” and “miniature video-disc playerm set” (TR 110). On the other hand, these cultural “transitional objects”22 are especially overdetermined for the white “working” middle-class (of which, of course, Quaid is a representative) inasmuch as the rise of post-Fordism...

... Expedition (dir. Herbert Ponting, UK, 1912–13) and The Cheat (dir. Cecil B. DeMille, US, 1915).9 When years later in 1950 André Bazin recalled that Citi- zen Kane (dir. Orson Welles, US, 1941) “represented for that post- war period a little of what The Cheat represented for 1914–18,” he...