Magical Thinking, Fantastic Film, and the Illusions of Neoliberalism
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1 Magical Thinking, Fantastic Film, and the Illusions of Neoliberalism
2
3 Michael J. Blouin Magical Thinking, Fantastic Film, and the Illusions of Neoliberalism
4 Michael J. Blouin Humanities Program Milligan College, Tennessee, USA ISBN ISBN (ebook) DOI / Library of Congress Control Number: The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: Trigger Image / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc. New York
5 To my daughter, Emerson
6
7 ACKNOWLEDGMENTS I am indebted to a number of individuals for their tireless support during the completion of this project. My wife, Kate Emmerich, inspires me on a daily basis with her selfless advocacy for young women. Her commitment to the social work profession reminds me that meaningful community support remains possible, even in an age of endless privatization. She keeps my spirits high when doubt creeps in. Our daughter, Emerson, who sat on my lap for many hours of editing, brought me profound joy when the tragic weight of this subject matter seemed almost too much to bear. She sustains my hope for a better tomorrow. I could not have written this book without the support of my family. My mother, Melissa Perley, invested so much of her energy in reading me stories and encouraging me to pursue my passions. There were distinct moments during the writing of this book that I recalled her charitable work bringing four young sons to deliver milk to the local homeless shelter, for example, or inviting strangers to join our family for dinner. My three brothers, on the other hand, offered levity in times of frustration. My brother Ethan deserves special thanks for his aid in preparing technical aspects of this manuscript. I also draw energy from my colleagues in the Humanities program at Milligan College. The strength of their dedication to the ideals of service and to the value of the liberal arts continues to invigorate me. Darcie Delong and Samantha Baugus served crucial roles as research assistants. This book would not have made its way to completion without their hard work. vii
8 viii ACKNOWLEDGMENTS Finally, former mentors read and commented upon earlier drafts. They provided pointed criticism and undoubtedly brought clarity to my prose when it was at its murkiest. Scott Michaelsen helped me to recognize where cuts were needed; Ann Larabee and David Stowe provided keen insights; and Todd McGowan forced me to think more deeply in places (a task with which he has assisted me for over a decade now). In addition, Tony Magistrale and Gary Hoppenstand deserve my gratitude for cultivating in me a love of the fantastic. These individuals shaped the contours of the pages that follow. Where flaws remain, they are my own. I am also grateful to the editorial staff of Horror Studies (6.1, Spring 2015) for granting me permission to revisit an earlier version of the chapter on The Cabin in the Woods. Participating in the special edition of Horror Studies focusing upon Goddard s film provided me a space for important intellectual exchange, an experience that prompted a good deal of rethinking for the final version of the piece that appears in this book. Thanks specifically to Steven Bruhm, Ben Kooyman, and Christopher Lockett for their scholarly engagement. And, as always, I am grateful to the editorial staff at Palgrave Macmillan for their professionalism and patience. Reviewers provided astute feedback and elevated the project through their invaluable insights. As in other forms of collective action, scholarship is not solely about individual eruptions in established orders. Fred Block and Margaret Somers observe, The spiritual freedom enjoyed by the cloistered monk or the isolated hermit has ceased to be a meaningful marker of the free individual. We are social beings; we derive our meanings from our connections to other peoples, and we need to understand that genuine freedom comes from constructing human institutions that protect the rights of each and ever one of us. 1 It is a most human endeavor to celebrate communities built upon common ground and designated for mutual uplift. I am eternally grateful for my personal and professional community. This book would not be possible without it. NOTE 1. Block, Fred and Margaret Somers. The Power of Market Fundamentalism: Karl Polanyi s Critique (Cambridge, MA: Harvard University Press, 2014).
9 CONTENTS 1 Introduction: Neoliberal Fantasies 1 2 (Neo)liberalism and the Banal Apocalypse 19 3 Cinematic Enchantment and the Magic of the Market 51 4 Candyman and Neoliberal Racism 81 5 Climate Change and the Greenwashing of Hollywood Fantasies American Horror, Global Commons, and The Cabin in the Woods Biopolitics and Movies About Magic CODA: The Hunger Games, The Watchmen, and The Confused Critic 205 Bibliography 225 Index 239 ix
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11 LIST OF FIGURES Fig. 3.1 The spectator is compelled to gaze through Farber s eyes; in turn, she is implicated in the kind of planning that the logic of the film (and neoliberalism) derides 69 Fig. 4.1 Helen s ability to exchange subject-positions freely is captured in the identical lighting of her eyes and the eyes of Candyman 94 Fig. 4.2 Helen s ability to exchange subject-positions freely is captured in the identical lighting of her eyes and the eyes of Candyman 94 Fig. 5.1 The mutually defined look between Man and Nature embodied in these two shots illustrates the way in which cinema has come to supplant Nature and simulate its alternative gaze 124 Fig. 5.2 The mutually defined look between Man and Nature embodied in these two shots illustrates the way in which cinema has come to supplant Nature and simulate its alternative gaze 124 Fig. 6.1 The iconic hand of the Ancient Ones ruptures the spectator s experience in a manner that echoes Hardt and Negri s concept of a counter-empire: while the giant hand signals that she is a victim of neoliberal oppression, it also represents her own powerful hand, extended before her 153 Fig. 7.1 The content as well as the form of this sequence suggest Deleuzian schisms. The production/consumption of the film remains unstable and fragmentary; the spectator s desires, consequently, break free from prescription 194 xi
12 xii LIST OF FIGURES Fig. 7.2 The content as well as the form of this sequence suggest Deleuzian schisms. The production/consumption of the film remains unstable and fragmentary; the spectator s desires, consequently, break free from prescription 195 Fig. 7.3 The content as well as the form of this sequence suggest Deleuzian schisms. The production/consumption of the film remains unstable and fragmentary; the spectator s desires, consequently, break free from prescription 195
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