Under Lock & Key

The Avengers
2012

This movie is a revival of the Marvel comic characters that have been part of the media propaganda for generations. It was another case of white superheros saving the world from villains. What’s a little different in this movie is the pseryn calling the shots for the unit of superheroes, the Director, is Black.

The Director is the commander of The Avengers which is a group of six superheroes. The Director is advised by a shadowy group called “The Counsel.” The Counsel is a group whose faces are always in the shadows but they are men and wimmin who are dressed in business suits and so they obviously represent the ruling class from the boardroom.

The Superheroes include the Hulk, Captain Amerika, Thor, Stark, Black Widow and Hawkeye. These six Avengers are dispersed all over the world living their lives when these assassins are activated by the Amerikan government.

The premise is that aliens invade Amerika so the Avengers are called to save the country. Amerika is harnessing energy from space at a top secret laboratory called “joint dark energy” where a portal is created that opens into the other side of space. It is through this portal that Amerikans seek to exploit resources from space, but instead a white man known as Loki comes through the portal. (Loki by the way is a word from a First Nation language). Loki in this movie is the villain.

This film is set in New York City and has a lot of shooting and blowing up buildings in it. The one female superhero, Black Widow, is a spy of Russian descent now working for Amerika. She is of course highly sexualized and starts off in a skirt beating up a few men.

At one point Loki shape shifts into a viking-like persyn and has a crowd of people kneel in front of him while he declares rather arrogantly that humanity was “made to be ruled, in the end you will always kneel!” Loki is portrayed as an alien with a British accent who wants to rule Earth, but it turns out Loki and Thor are brothers, in a classic case of inter-imperialist rivalry fighting over resources that are not theirs.

The aliens invade Earth for a war that takes place in New York City that has the six Avengers fighting a whole army of space aliens with captain Amerika at the forefront. It’s interesting to see Captain Amerika brought back to the movies, originally Captain Amerika was a comic character used during World War II as a propaganda tool that showed Amerika saving the world. Created in 1940 the Captain America comic book initially had him fighting Hitler. More recently, starting in 2005, Marvel Comics has turned Captain Amerika and its other superheros to participating in Amerika’s modern wars. During this time Marvel Comics even created a series of comic books specially for U.$. soldiers in the Middle East, so the use of comic book characters for the advancement of imperialist interests is nothing new as this has been going on for decades.

At one point in the movie The Counsel asks the Director to nuke New York City, arguing that this is the only way to save earth, but the Director refuses and the battle continues. The battle has many “foreign” aircrafts flying into skyscrapers, an obvious allusion to the twin towers getting destroyed. The movie ends with a nuke being shot into New York City but it is intercepted by one of the superheroes named Stark who is also a millionaire who changes into a robotic superhero at will. Stark grabs the nuke and flies it into space, saving New York City. So it was finally delivered - a millionaire capitalist superhero saved the world, and so The Avengers plays out as a classic Amerikan propaganda film. One thing this movie did get right is there will be a final battle and Amerika will be one of the participants but the fighting army won’t come from outer space, rather the fighting army will be the oppressed on the ground and the result will be much different for the oppressor.

This movie claims to chronicle the decade-long hunt for Osama bin Laden after the September 2001 attack, culminating in his death in May 2011. This is a hollywood film, so we can’t expect an accurate documentary. But that doesn’t really matter since the movie will represent what Amerikans think of when they picture the CIA’s work in the Middle East. And what they get is a propaganda film glorifying Amerikan torture of prisoners, and depicting Pakistani people as violent and generally pretty stupid. From start to finish there is nothing of value in this movie, and a lot of harmful and misleading propaganda. The main message that revolutionaries should take from it revolves around government information gathering. From tracking phones to networks of people watching and following individuals, the government has extensive and sophisticated techniques at their disposal, and even the most cautious will have a very hard time avoiding even a small amount of government surveillance.

The plot focuses almost exclusively on a CIA agent, “Maya,” who devoted her career to finding clues to Osama bin Laden’s whereabouts. Early in the film there are a lot of graphic scenes of prisoners being tortured to get information, including waterboarding, beatings, cages, and food and sleep deprivation. Maya is bothered by the torture initially, but quickly adapts and joins in the interrogations. The movie is very pro-torture, showing critical information coming from every single tortured prisoner, ignoring the fact that so many prisoners held in Amerikan detention facilities after 9/11 were never charged, committed no crimes, and had no information. Throughout the film there are constant digs against Obama’s ban on torture as a method of extracting information in 2009. Ironically, in the movie the CIA still found Osama bin Laden, using no torture after the ban. But we’re left understanding that it would have been much easier if the CIA still had free reign with prisoners.

Although Zero Dark Thirty portrays Obama as soft on terror and a hindrance to the CIA’s work, we should not be fooled into thinking that the U.$. government has really ended the use of torture. While we have no clear information about what goes on in interrogation cells in other countries, we know that right here in U.$. prisons, torture is used daily. And this domestic torture is usually not even focused on getting information, it’s either sadistic entertainment for prison staff or punishment for political organizing. In one example of this, a USW comrade who wrote about Amerikan prison control units died shortly after his article was printed, under suspicious circumstances in Attica Correctional Facility.

Banning certain interrogation techniques, even if that ban is actually enforced in the Third World, is just an attempt to put makeup on the hideous face of imperialism. Even if no Amerikan citizen ever practices torture on Third World peoples (something we know isn’t true), the fact is that the United $tates prefers to pay proxies to carry out its dirty work anyway. Torture, military actions, rape, theft, etc., can all be done at a safe distance by paying neo-colonial armies and groups to work on behalf of the Amerikan government.

Whether actions are carried out by Navy SEALs, CIA agents, or proxy armies and individuals, Amerikan imperialism is working hard to keep the majority of the world’s people under control and available for exploitation. The death of bin Laden is portrayed as a big victory in Zero Dark Thirty, but for the majority of the world’s people this was just one more example of Amerikan militarism, a system that works against the material interests of most people in the world.

The Economics of Integrity
By Anna Bernasek
Harper Collins Publishers
NY (2010) 195pp

In the prologue we read: “my father, a native of Czechoslovakia, risked his life to escape from communism in 1949…”(p3) Here we go again with the vilifying of communism well past the “cold war.” The author even points to the subjectivism and individualism mentioned above, saying “This book pays tribute to the spirit of this nation, a spirit of optimism and idealism.”(p3) And no wonder, a nation that’s imperialist would send the message to its parasites that there would be food for all, just wait till we steal it from Third World, poor, semi-colonial nations!

One would expect that with economics in it, some portion of this book would discuss political economy. Not the case here, but with vulgar economics the author separates the political from the economy, when in fact the two are intertwined. Instead we are told “to be true to that spirit [optimism and idealism], my focus isn’t on what went wrong. I am not primarily concerned with scandals, fraud and cheating.”(p5) Again, “the economy isn’t some dirty game where all the players are only out for themselves, trying to make their names and their fortunes.”(p5) Wow! A guest commentator on CNN, CNBC spewing this bullshit, shouldn’t be a surprise anyway.

The author basically negates the whole point by saying she is not concerned on what went wrong. The problem is that the whole damn game (capitalism) is in for itself. With one company/corporation trying to maximize their profits how can they not be out for themselves? But with such phrases as “…integrity unlocks enormous opportunities for wealth creation…”(p5), and “It is shared assets that make us wealth.”(p13), or “for without integrity, the economy would not function”(p13), we shouldn’t expect much of an analysis.

The author goes on to propagate the notion that integrity prompts companies to profits, not exploitation. She gives examples like milk production, taking money out of an ATM, Toyota, LL Bean, and banks. Besides some interesting factoids about these corporations (Of the world’s official gold holdings (March 2009), Amerika holds 27%, Germany 11%, IMF 11% (p67). The top 3 brands and their wealth is as follows 1) Coca-cola - 66,667 (U$) 2) IMB-59,031(U$) 3) Microsoft -59,007(U$) (2008 brand values (millions)) (p124).), the book is a joke.

What the author fails to realize is that integrity does not create wealth in itself. Surplus value is the source of wealth. Not from First World world workers but from Third World proletarians who are paid less than the value of their labor for their productive work. Hopefully the author can come to grips with classes and national oppression more easily than pseudo vulgarist economy. What this simply amounts to is an apology for the loss the parasites in the U.$. felt during the 2008 meltdown.

This movie has no use besides its sound effects. Perhaps an E.T. can come and obliterate the bourgeoisie in Amerika. That’ll leave a power vacuum which we communists would be happy to fill. Another self promotion is what this movie is, as if Amerika has the solution to the world’s problems. As a pile of shit walking around telling everybody they stink, so too does Amerika ignore the fact that it’s the problem.

by Steig Larsson
Vintage Books 2005

I have been hearing the hoopla about The Girl with the Dragon Tattoo for a while now; it recently was made into a movie and so I thought I would try to find out a little about it. I learned that the author, Steig Larsson, was a leading expert on right-wing white extremist and Nazi organizations, and so I thought it would be interesting to see how much of his “expertise” spilled over into this “thriller.” Larsson died in 2004 but not before completing a trilogy of which The Girl with the Dragon Tattoo is the first book.

The story starts off with the character Mikael Blomkvist, a journalist who was convicted of libel after he wrote a story accusing a wealthy Swedish finance capitalist of corruption. Within the story one character is explaining the role of a certain investment group to Blomkvist called AIA which, after the Berlin Wall came down, was active in European capitalism and the character says: “Believe me, it was a capitalist’s wet dream. Russia and Eastern Europe may be the world’s biggest untapped markets after China. Industry had no problem joining hands with the government especially when the companies were required to put up only a token investment.”(p26)

Nations that were formerly socialist switched back to a profit-based system and opened up their markets to foreign investment. In the later stages of imperialism, where markets are saturated and there is too much capital to move around, this is in fact a “capitalist’s wet dream” and corporate power often merges with the state in a carpool lane down the road of exploitation. This wet dream is one the author seems to understand quite clearly.

The other main character in the book is a bisexual women named Lisbeth Salander who is a 20-something white punk rock type who is a hacker and gifted investigator.

Blomkvist is hired by one of the heads of a Swedish wealthy industrialist family, Vanger, who wants to know who murdered his niece, Harriet, who disappeared decades before. The catch is Blomkvist must live one year on the island from which Harriet disappeared and investigate. In return Blomkvist would not only receive millions of dollars for attempting to solve this mystery but the industrialist would also give Blomkvist information on the finance capitalist which had Blomkvist convicted of libel, thus getting his personal revenge and having the biggest story of the year.

Blomkvist soon learns Vanger’s brothers were both active in Swedish politics, one being a Swedish Nazi Party member and the other being a nationalist party member, while Vanger claims to have “no interest in politics.” Vanger went on to study economics ironically.

Sprinkled throughout the book is the underlying subjectivism I was looking for in Larsson’s writing, any “expert in Nazi extremist” groups would be expected to expose h ideas in a novel one way or another and Larsson does not leave us hanging.

He describes an angry email that Blomkvist received, stating: “I hope you suck cock in the slammer you fucking commie pig” (p190) and which Blomkvist saves in the “intelligent criticism” folder. A character named Lobach is described in Nazi Germany: “And Lobach knew how to land a contract, he was entertaining and good natured. The perfect Nazi.” (p197) It is obvious where the author’s line lies, for an “expert” on Nazism to describe a Nazi character as good natured in this book attempts to repackage these fascist scumbags as palatable to the reader, it’s classic propaganda in the form of a novel.

At one point the young punk rock woman is raped and forced to perform oral sex on her “guardian” who is court appointed to handle her finances. This trustee named Bjurman who rapes her is described as a member of Greenpeace, Amnesty International, and an advocate for political prisoners in the Third World. It’s interesting that throughout the book those who advocated progressive social causes are rapists and villains while Nazi’s are described as “entertaining and good natured.” It was this interweaving of the author’s line within a novel in classic propaganda spirit which I knew I would encounter in this book.

The main character Blomkvist serving two months in jail for the libel case but does not describe prison conditions nor relations in prison. His stint in prison was reduced to two pages and was described as mostly playing poker and lifting weights.

[spoiler alert] It turns out that the brother of the old man who initiated this investigation in the first place is a serial killer who has been killing wimmin for decades. And his father was a serial killer before him and taught him how to kill and dispose of bodies. Blomkvist discovers this and confronts the culprit, Martin, who places Blomkvist in a torture chamber in his basement. This reminded me of a Security Housing Unit cell: it had no window, it was cold and spartan and made of stone. It is Salander, The girl with the Dragon Tattoo, who saves Blomkvist from certain death in the torture chamber.

The book is drenched in sexual perversion with a womyn being brutally raped and sodomized by a man, a man brutally raped and sodomized by a womyn, a father raping his son and daughter, and this same father forcing his son to rape his sister. Such a book is common in capitalist society where everyone is sexualized and the consumer culture is fueled by porn and capitalist immorality.

In the end Blomkvist and Salander expose a finance capitalist who had his hand in everything from fraudulent loans to child porn. This billionaire, after being exposed, fled Sweden and was tracked down and murdered in Spain. After this story broke Blomkvist regained his journalist career. And to wrap things up nicely with a fictional bow, the old man Vanger found his niece Harriet living in Australia after running away decades before, fleeing rape.

Recently, Chicago rapper Lil Reese signed a $30 million contract with Def Jam to make music. A day or two later he brutally beat down a woman for verbally disrespecting him. Lil Reese is an affiliate of another Chicago rapper, Chief Keef, who has also been making a name for himself for being at the center of controversy around violence in hip hop. A recent episode of Nightline addressed the fact that at least 419 people have been killed in a dozen neighborhoods in Chicago in 2012, more than the number of U.$. troops killed in Afghanistan where resistance to the occupation continues to grow. The program centered around a sit-down of 38 members of lumpen organizations in Chicago organized by Cease Fire, a group discussed in ULK 25. It also featured a Chief Keef and Lil Reese video to criticize Keef’s anti-snitching stance. MTV.com reports that the participants almost unanimously agreed that it would practically take a miracle to stop the violence.

The misogynistic nature of rap music has been analyzed and explored thoroughly. This article is not meant to downplay the senseless violence against a humyn being, but the “powers that be” are using the incident with Lil Reese and programs like Nightline to formulate another sinister plot to target the oppressed nations in Amerika.

Chicago has had one of its most deadly years in terms of urban gun violence, and this has been attributed to Chicago street tribes and lumpen organizations. The Aurora, Colorado movie theater massacre perpetrated by a man who claimed to be “The Joker” does not generate the same fear or threat that young Blacks and Latinos in the hood with guns do. Why is that?

Imperialists are not worried about white males in Amerikkka with guns. It is the oppressed nations that pose the most realistic threat to the oppressive imperialistic regime. We have seen the toll that the so-called “war on drugs” has had on our Black and Latino nations. Genocide, social control, and mass incarceration of the lumpen underclass; it’s the Amerikan way! During the presidential debates both candidates agreed on keeping gun laws the same.

One of the most brutal social control programs is being formulated as we speak and it will be cloaked in a “war on gun violence.” In truth it will be a death blow to urban street tribes and lumpen organizations. President Obama and his Attorney General Eric Holder have pushed for one of the highest budgets for federal prisons and detention facilities that we have seen in years. The states are actually reducing their prison budgets because of the dismal economic conditions, but the feds are pumping up the volume! A whopping $9 billion dollars has been allocated for the U.$. Department of Injustice in 2013 for corrections, jails, and detention facilities. Of that, $6.9 billion has been allocated to the Federal Bureau of Prisons in 2013, an increase of about 4% in tight fiscal times.

There is a prison in Thomson, Illinois that had been tagged as the location where Guantanamo Bay detainees were supposed to be housed after President Obama closed the barbaric torture chamber in Cuba. However the Amerikan public balked! They said they did not want these “dangerous terrorists” housed on Amerikan soil. U.S. Attorney General Eric Holder still wants to purchase the prison in Thomson, Illinois and change it into a Super-Max just like the one in Florence, Colorado. 1,400 Ad-Seg/solitary confinement beds for “the worst of the worst” in Amerikkka. These beds will be for oppressed nations, just like the solitary confinement cells in prisons across the country.

MIM(Prisons) has reported extensively on the use of control units as a tool of social control. These torture units are used to target political organizers and leaders of oppressed nations who are seen as a particular threat to the imperialist system. We have been collecting statistics on these control units for years, because the isolation cells are often hidden within other prisons and no consistent information is kept on this pervasive torture within Amerika. We invite prisoners to write to us for a survey about control units in their state to contribute to this important documentation project.

For those facing violent conditions in Chicago or elsewhere who turn to despair, remember that there are many who come from the streets of that very city, from the Black Panthers to lumpen organizations, who have taken positive paths. If it weren’t for the interference of white media and the police, things would be different now. Ultimately solutions to those problems must come from the people involved who don’t want to be living like that, no matter how they brag about being tough in a rap. The way out may not be obvious, but things are always in a state of change. And when it comes to humyn society, it is up to humyns what that change looks like. Struggle ain’t easy, but it is the only way if you have ideals that contradict with the current society under imperialism.

The story line is mostly a joke as one would expect, since we all came for the crazy dance moves, right? The only semi-interesting line of dialogue in the whole film is when Emily challenges The Mob for not even saying anything in their art. This is particularly interesting juxtaposed to Sean’s line throughout the film that The Mob was created so that their voices could be heard in a city where they are “invisible.”

On the one hand, Emily’s challenge is a valid critique when the leaders of The Mob are clear that they are all about being financially successful through their art from the beginning to the very last line of the film. At the same time, it perpetuates the idea that there is art without a message, which just isn’t true.

This critique reflects back on the greater art form that is the film itself. This is apparently a popular genre now, building off the success of TV talent shows like American Idol, So You Think You Can Dance and America’s Got Talent. Many of the performers in the movie are recruited from these shows, and are real-world examples of the success that The Mob is working for. The Step Up series of movies is all about providing the audience with an adrenaline rush with ever-more intense dance moves, soundtracks and visual effects.

It seems that they were pushing up on their limits in creating more extreme dance performances, and they stepped into the realm of protest art for a minute to up the ante with this latest edition of Step Up. In this genre there is often a strong element of competition, which can provide a source of drama and maybe a fight or two to add to the excitement. But this version stepped it up by having a dance crew that went up against the system, sort of.

The Mob actually starts out as a highly trained flash mob, rather than protest art. Instead of using performance art to convey a specific message in a more impactful way, the flash mob is a modern phenomenon that focuses on transforming the moment with no long-term goals or message. Building on Guy Debord’s theory of the Society of the Spectacle, some think these disruptions of the spectacle that is the status quo is somehow a revolutionary act. Most just think it’s neat and fun. And ultimately that is what The Mob is about, despite their short venture into protesting the destruction of their hood.

In the end the movie abruptly brings you back to the main motivation being financial success, which could have been the producers poking a bit of fun at those who came to see the movie looking for a more subversive message. But at the same time it was true-to-life in the way that dance and music are used in advertising to sell an image of rebellion and being extreme to youth with money to spend. This movie is very much part of that. But that phenomenon is much bigger in the way that oppressed nation culture, especially in the form of hip hop, was taken and sold to white youth as a form of rebellion, then sanitized by the white tastes that then shaped the culture and sold it back to Black youth as something that was supposed to represent them.

It is this aspect of culture that is hinted at in the film when The Mob says they “are everyone” and that they represent the culture of the neighborhood that the developers will destroy with their plans. In reality, the culture presented by The Mob is a very globalized and technologically-centered culture that does not represent one place or one people, but does reflect material wealth, large amounts of leisure time and mobility that is inaccessible to the majority of the world’s people. The movie tries to pass this big-money pop culture off as a local scene threatened by big bad corporations. The timing and message was perhaps an attempt to play on the hype around the “99%” movement, who would see these rich kids as the poor.

But it would be wrong to say that the art and culture presented in movies like Step Up is “devoid of content,” as implied by Emily’s critique. There was a lot of sex and romance culture promotion in this movie, and in the dancing itself. There was a promotion of the art of dance as a big party. And there was the ever-present theme, dating back to Dirty Dancing (and probably before), of the need to break the rules to express yourself. But the source of conflict of this expression in Hollywood movies is usually centered around sexuality and romance. In Step Up: Revolution, fighting the redevelopment project becomes a cause that drives the dancers to break the rules. But even then, the message you are left with is that it is good to push the limits to be cutting edge in order to be successful at marketing yourself. The most radical action of The Mob is scarred as representing the low point and temporary breakup of the group, and it was the only time they actually got in trouble with law enforcement (who were unrealistically absent throughout the movie). It’s like the successful politician or non-profit organizer who got arrested once in college for the experience and now has some street cred as a result, but never really represented a challenge to the system. While the term “revolution” has been perpetually overused in marketing, in a way to dilute the power of the word, to use the word in reference to this sort of rebellious behavior is even more insidious. Those who feel like they are doing something radical, when in reality they are part of the system that revolution aims to overthrow, are all too common in the belly of the beast.

This movie takes certain elements of flash mobs and overlaps them with political action in a way to make them seem more radical and powerful than they are. Flash mobs as a phenomenon play into people’s desires to be a part of something bigger than themselves and are a combination of youthful rebellion and partying. While sometimes used for political messages as The Mob eventually does, they are generally post-modern forms of expression with no coherent goals or message. The Mob at least has the advantage over your standard flash mob for being well-rehearsed and planned out ahead of time by a dedicated organization, which allows them to easily focus their work on fighting the developers. While they had discipline and hard work, their class interests were what kept them focused on their financial success. The more common flash mob that brings together random people to a location for a party is representative of the same class interests. The post-modern art form takes group action, one of the most powerful tools we have, and makes it inherently individualistic and unconsolidated, making it a spectacle itself. It is much easier to mobilize a mass of petty bourgeois youth to create their own spectacle than it is to exert their power to challenge the system.

While we know this movie wasn’t trying to enter into serious political dialogue for solving the world’s problems, there are many people holding desires for a better world that end up putting their energy and enthusiasm into self-indulgent dead ends. While dance can be revolutionary, the revolution will not be a dance party. If changing the world was all fun and sexy, don’t you think it would have happened by now?

The story begins with Snow White as a small girl. Her mother falls ill and dies. Shortly thereafter the widower king is drawn into battle with a “dark and mysterious” army, whose warriors are made of obsidian or glass. The army is defeated and a prisoner, a beautiful womyn, is rescued. The king marries the prisoner the very next day, and she quickly is revealed to be an evil witch. The new queen kills the king, locks Snow White in a tower, and destroys the entire kingdom. How Snow White survived her decade of solitary confinement was not addressed in the film, but would have been interesting for us to analyze and likely criticize.

The queen was under a spell that kept her the fairest in the land, so long as she sucks the youth and beauty out of young wimmin to constantly replenish her powers. This beauty enables her to manipulate people who are distracted by her good looks, and to cast spells of her own. The spell can only be broken by “fairest blood,” and as Snow White comes of age in her prison tower, she becomes a threat to the queen’s powers. The magic mirror on the wall instructs the queen to eat Snow White’s heart so that she will become immortal.

The queen’s brother goes to retrieve Snow White for a meeting with the queen. Of course Snow White escapes, and through a course of events leads a revolution to take back the kingdom from the evil queen. It is Snow White’s “purity” and “innocence” (as well as a blessing from a forest creature straight out of Princess Mononoke) that give her magical powers to overcome the queen’s spells and tricks. A classic Jesus story, complete with a resurrection.

When the evil queen first took power, the subjects initially tried to resist her rule. They were defeated each time, and eventually everyone gave up, broke into sects, turned alcoholic, and warred with each other just trying to stay alive. An oracle dwarf identified Snow White as having a “destiny.” It was only the power of this destined leader that could bring everyone together and overcome the evil queen.

The take-home lessons from Snow White and the Huntsman are defeatist. “Find a good leader and follow them.” “People’s struggle isn’t winnable.” “There’s nothing you can do to challenge the all-powerful status quo.” These are typical messages to be expected from a mainstream Amerikkkan movie.

The only theme that was remotely interesting was the queen’s views on gender and beauty. She has been a victim of beauty for twenty lifetimes and has built up a lot of resentment toward men. This resentment comes up in her murder of the king, because she is distrustful of men, who will just throw her out when she ages. In a later scene, she is assessing two male prisoners who have just been captured, and one is young and handsome. Before killing him with her own fingers, she gives a monologue about how he would have been her ruin, but instead she will be his ruin. This is a good critique of the fetishization of youth and beauty and its contribution to a variety of mental health challenges people in our society must face. Had the queen not been valued by men only for her beauty, she may have been a more benevolent dictator, at least to the handsome young men who cross her path.

Snow White and the Huntsman doesn’t get my recommendation. We don’t need any more encouragement in our society to drink our sorrows about the status quo away, waiting for our own Snow White. And it’s unnecessary to wait, because your Snow White is you!

The Hunger Games
2012

Hunger Games is set in Panem, a society that, it is implied, rose from the postwar ashes of north America, and now consists of The Capitol and the 12 fenced off satellite Districts. Many of these Districts produce wealth for the Capitol while their people live in poverty. There is apparently no national oppression (most people are white), but class contradictions are sharp. The Hunger Games are annual fights to the death by two kids representing each of the Districts. In the wealthier districts, kids train for this and consider being picked a privilege. In the poorer districts families are forced to sell their kids into the hunger games in exchange for food required for bare survival.

Katniss Everdeen is from the mining District 12 where her father, and many other miners, lose their lives producing wealth they will never see. She volunteers to take her younger sister’s place for the annual hunger games match.

The Hunger Games are broadcast live as reality programming. The Games are meant to remind the people of the power of the government. This brutal form of reality entertainment serves to keep the people of the districts distracted and obedient. Out of 24 participants, only one child lives.

This movie is part one of a trilogy. The books get much deeper into the politics of oppression, even in the first volume. But as a broad representation of the first book, the movie gets at the general system and has a correct message of resistance. Katniss refuses to play the game the way the Capitol organizers intend, inadvertently earning the support and respect of other Districts and inspiring resistance against the Capitol.

In one scene she pauses to pay tribute to a fallen child from another district who was working with her. In the end [spoiler alert] Katniss commits the ultimate snub against the Games, refusing to play to the death. She manages to outsmart the organizers but all she wins is the right to go home a celebrity of dubious distinction for staying alive.

There are some good lessons from this Hunger Games movie. The importance of unity across oppressed people in the common cause against the oppressors is reinforced both in the individual alliances and the cross-district support of Katniss. The movie also demonstrates the brutality and distraction techniques of the ruling class and their willingness to stop at nothing to retain their power. There is an interesting subplot about the two main characters from District 12 pretending a love interest as a survival technique to get the support of “sponsors”: wealthy people who can pay to provide advantages to their favorite players. Using whatever means available for resistance is important for the oppressed, though the actual romance in the movie dilutes this message.

The movie is adapted from the first of a trilogy of books but some of the politics of the books are already quite muted in the movie and it will remain to be seen how well the sequels represent the struggles of the oppressed.

Set in the year 2161, In Time is a science fiction film portraying a world where people stop aging when they hit 25 years old. At that point they have one year of life in their bank, and living time has become the currency instead of money. When a person’s time runs out they die instantly, and so rich people have lots of time, while poor people live in ghettos, living day to day, barely earning enough to survive another 24 hours. Poor people literally have to rush around to earn enough time to survive, eat and pay their bills, while rich people can waste time relaxing or doing nothing, without fear of death.

This movie has a solid proletarian premise with the few rich bourgeois people living at the expense of the poor masses. “For a few immortals to live many people must die.” The movie’s hero, Will Salas, learns that there is plenty of time for everyone from a wealthy man who is ready to die and transfers all his remaining time to Will in order to commit suicide. Will decides to use this time to seek revenge and end the brutal rule of the time rich.

When Will buys his way into New Greenwich where the rich live entirely separate from the poor masses, he meets a young woman, Sylvia, who suggests that rich people don’t really live because they spend all their time trying to avoid accidental death. This is not a bad point to make: capitalism’s culture is bad for everyone, including the bourgeoisie. But the case of Sylvia is a pretty good example of what happens in real life: only a very few of the bourgeoisie will commit class suicide and join the proletarian cause and the youth are the most likely to do this.

Sylvia and Will set out to steal time from Sylvia’s father’s companies and redistribute the wealth to the poor people. They plan to distribute time in such large quantities so as to bring the entire system down. This is where the politics of the movie fall apart. Capitalism will not be ended with a quick massive redistribution of wealth liberated from the banks by a few focoist fighters.

The In Time world includes police who enforce the system. The Timekeepers work for the wealthy to ensure the poor never escape their oppression. But the Timekeepers seem to have very limited resources and staff so it’s not so difficult for two people to out run and out smart them. And except for one key Timekeeper, the others are happy enough to just give up and stop defending the rich. Under capitalism the ruling class understands the importance of militarism to maintain their position and they won’t trust enforcement to just a few cops.

In another interesting parallel, In Time includes a few characters who play the part of the lumpen, stealing time from the poor. At one point, the leader of this lumpen group explains that the Timekeepers leave them alone because they don’t try to steal from the rich.

History has plenty of examples of a few focoists setting out to take back wealth to help the people and ending up in prison or dead, often bringing more repression down on themselves and the masses. A quick action to liberate money from banks will not put an end to the system of imperialist repression. True and lasting liberation will only come from a protracted struggle organizing the oppressed masses to fight and overthrow the imperialist system.

The other major political flaw of In Time is the complete lack of any parallel to the national oppression that inevitably exists under imperialism. In the movie the oppressed and the wealthy are mostly white. There are a few Blacks and people who might be other nationalities among the oppressed, but they all are oppressed equally. National distinctions have disappeared and class oppression is all that exists. While this is a fine science fiction premise, we fear that the Amerikan petty bourgeois audience will see in this movie false parallels to life in the U.$. where workers actually have more in common with the time rich people than the poor in the movie. The reason for this, found in imperialism and the superexploitation of colonial people, doesn’t exist anywhere in this movie. And with an audience that likes to consider itself part of the 99% oppressed, this movie is going to reinforce this mistake of ignoring the global context of imperialism.