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Over the last hundred years the history of capitalism hardly supports the idea of a dynamic equilibrium between democracy and capitalism. The unprecedented triumph of global capitalism and its stronger power of transformation are changing the nature of political community and its institutions, transforming the conditions of democratic politics and governance. The writings collected in this volume present leading statements of theories of democracy and capitalism in Italy starting from Vilfredo Pareto who firstly focused on the transformation of democracy into a plutocracy in which vested interests use the government as a tool for their own profit, until Norberto Bobbio who expressed a strong defence of democracy and a deep critique of capitalism. As Marx, Weber, and Schumpeter-from different perspectives-have pointed out capitalism rather then just an economic mode of organization, is a 'mentality', a 'social logic', a 'form of living', that influences and reshapes political structures, and culture. The globalized economic order is challenging the foundations and political principles upon which liberal democracy is based. Global markets have unleashed economic forces that are becoming too powerful for democratic institutions to control. Even if the formal elements of democracy still survive, the 'government by the people, for the people' is declining; elections, debates, parties, are evacuated, and bypassed by new, less accountable processes.
There has been a significant surge in recent Argentine cinema, with an explosion in the number of films made in the country since the mid-1990s. Many of these productions have been highly acclaimed by critics in Argentina and elsewhere. What makes this boom all the more extraordinary is its coinciding with a period of severe economic crisis and civil unrest in the nation. Offering the first in-depth English-language study of Argentine fiction films of the late twentieth century and early twenty-first, Joanna Page explains how these productions have registered Argentina’s experience of capitalism, neoliberalism, and economic crisis. In different ways, the films selected for discussion testify to the social consequences of growing unemployment, rising crime, marginalization, and the expansion of the informal economy. Page focuses particularly on films associated with New Argentine Cinema, but she also discusses highly experimental films and genre movies that borrow from the conventions of crime thrillers, Westerns, and film noir. She analyzes films that have received wide international recognition alongside others that have rarely been shown outside Argentina. What unites all the films she examines is their attention to shifts in subjectivity provoked by political or economic conditions and events. Page emphasizes the paradoxes arising from the circulation of Argentine films within the same global economy they so often critique, and she argues that while Argentine cinema has been intent on narrating the collapse of the nation-state, it has also contributed to the nation’s reconstruction. She brings the films into dialogue with a broader range of issues in contemporary film criticism, including the role of national and transnational film studies, theories of subjectivity and spectatorship, and the relationship between private and public spheres.

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