focus on economics and globalization:

 

    Collins, Jim (1993) “Genericity in the nineties” In Film Theory goes to the Movies.  Ed. Jim Collins et al.

Departs from Fredric Jameson’s view of postmodern culture as passive “pastiche” in presenting the intertextuality of film quotes, genres, and narrative conventions as the product of “knowing bricoleurs, who take pleasure in this and other forms of bricolage” (Storey, 2006, p. 139).

See also Collins’ notion of “sophisticated bricoleur” (Collins, 1992, p. 337)

“This foregrounded, hyperconscious intertextuality reflects changes in terms of adience competence and narrative technique, as well as a fundamental shift in what constitutes both entertainment and cultural literacy in [postmodern culture]” (Collins, 1993, p. 250)

    Brooker, Peter & Will Brooker (Eds.) (1997) Postmodern After-Images: A Reader in Film Television and video.

Building off of Jim Collins’ idea of “genericity” Brooker and Brooker argue that the intertextuality or bricolage of film enables an “active nostalgia” through an “aesthetic of recycling … an affirmative “bringing back to life” or “making new” (Brooker & Brooker, 1997, p. 56)

Instead of seeing this as Jameson’s idea of “pastiche” – a “blank parody” or “empty copy” – they see it as an active “rewriting” or “reviewing”  or “reconfiguration” of nostalgia (p. 7)

    Laclau, Ernesto & Mouffe, Chantal. (2001) Hegomony and Socialist Strategy, 2nd Ed.

Laclau & Mouffe  describe all individual and collective life activities (social relations, free time, education, sex, etc.) as involved in capitalist relations, yet this is not the end of ideology, instead “new struggles have expressed resistance against the new forms of subordination” (Laclau & Mouffe, 2001, p. 161). Laclau & Mouffe devote special attention to the expansion of mass media communication’s role in these new struggles.  (see also Storey, 2006, p. 141).