Introduction
Keyword(s):
In the second part of this book, the political aesthetics of negativity is worked through from a different perspective. In Fredric Jameson’s writings on film, which are based on an idiosyncratic synthesis of Hegelian Marxism and psychoanalysis, the absent cause of the Lacanian real is that of a social totality which has become inaccessible to the subject under the conditions of late capitalism. For Jameson, the problem of a political film aesthetic refers primarily to an epistemological problem of aesthetically sensualizing the incommensurability between subject and totality.