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Film and the Anarchist Imagination by Richard Porton
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In Film and the Anarchist Imaginationthe first comprehensive survey of anarchism in film, Richard Porton deconstructs such stereotypes while offering an authoritative account of films featuring anarchist characters and motifs. Paperbackpages. Published August 17th by Verso first published To see what your friends thought of this book, please sign up.
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Dec 16, Miquixote rated it it was ok Shelves: Here anarchism, and its heroes are portrayed in film Please note that this is not a book of anarchist films. You will notice that few films pass Porton’s approval. One finds out again how powerful propaganda is, and how out of touch it is from the historical reality of anarchism: Unique, I am not aware of any other book like this, despite its dryness.
This book is at that same time quite good, and also disappointing. Good in the sense that it covers a lot of material, particularly in regards to older films, which I haven’t come across.
So now I have a quite substantial list of interesting films to track down and watch for instance the first one I looked for is Rene Clair’s A Nous la Liberte, which I had not heard of before, but is a brilliant comedy-operetta about work refusal, factories, etc. Porton makes a number of interesting points abo This book is at that same time quite good, and also disappointing. Porton makes a number of interesting points about particular films, aesthetics, politics and their conjunction.
The main letdown is the book is not really about the anarchist imagination per se, as much as the role that anarchists have played in the popular imagination as embodied in the form of film. Bearded bombe throwers and the like although I suppose now that is being replaced by the image of the black pajama block.
Cine y anarquismo : la utopía anarquista en imágenes
This is not so surprising, although I suppose in am academic context since I think that Porton is the first to write about such that makes it a good contribution to knowledge. What would strike me as more interesting would be to explore the relation between anarchist approaches to representation, aesthetics and knowledge as they operate within film, and whether the form is conducive to the fostering of anarchistic imaginaries and relations.
In other words to take anarchism as an approach rather than an object of study, which is what I richwrd the book would be trying to do given the title. So overall it’s quite a good book, although I kept wishing that those moments would occur more frequently, that it would be a work anarchist imagination rather than on the imagination constructed of anarchism.
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