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Capital and popular cinemaThe dollars are coming!$
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Valentina Vitali

Print publication date: 2016

Print ISBN-13: 9780719099656

Published to Manchester Scholarship Online: September 2016

DOI: 10.7228/manchester/9780719099656.001.0001

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Conclusion

Conclusion

Chapter:
(p.158) Conclusion
Source:
Capital and popular cinema
Author(s):

Valentina Vitali

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719099656.003.0005

The invisibility of Bava’s and the Ramsay’s cinema in film historiography is a symptom of the marginality, in Italy and India at the time, of the kind of capital that sustained these films, just as the visibility of Méndez’ work in the history of Mexican cinema reflects the centrality of speculative capital in 1960s Mexico. Similar connections can be traced in other countries. The end of the Bretton Woods system in 1971 and the rise of financial capital marked also the end of Keynesian policies. New priorities began to be adopted that we now know, globally, as neoliberalism. The conclusion suggests that scholars are now rediscovering cheaply produced generic films because the marginal interests that formed these films’ conditions of possibility now confront us as a dominant force. Popular films staged the tensions brought about by its rise, and it may well be for this reason that they appear to us to be of great interest today.

Keywords:   historiography, film studies, neoliberalism, Japanese cinema, Spanish cinema

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