Blog

With the death of Jean-Luc Godard on the 13th September at the age of 91, cinema lost one of its most important and consistently radical practitioners. Here, Andrew Key looks at his formally innovative late work, including Histoire(s) du cinéma, his monumental eight-part 266-minute experimental video series made between 1988 and 1998.

Jean-Luc Godard, the pioneering director who died on the 13th September at the age of 91, began his career with a pioneering series of films, a magnificent run that included the masterpieces À bout de souffle, Vivre sa Vie, Bande à part, Pierrot le Fou, Masculin Féminin and Week-end. Jared Marcel Pollen charts Godard's early career, and the intersection of literature and cinema in it.

A note from our art director, Melissa Weiss, on the cover design process for Cannibal Capitalism

The most powerful person is he who is able to do least himself and burden others most with the things for which he lends his name and pockets the credit.

Solidarity was once intended to make the talk of brotherhood real, by lifting it out of generality, where it was an ideology, and reserving it for the particular, the Party, as the sole representative in an antagonistic world of generality.

The revolutionary communist, Esther Cooper Jackson, died last month at 105 years old. In this piece, Jodi Dean and Charisse Burden-Stelly, editors of Organize, Fight, Win, remember her radical legacy and reflect on a lifetime dedicated to socialism and Black liberation.

The American poet and essayist Adrienne Rich was renowned in her lifetime as an eloquent and militant feminist writer. Less often discussed today is the depth of her engagement with Marx and Marxism. Here, Ciarán O’Rourke analyses Rich's anticapitalist vision.

All collaboration, all the human worth of social mixing and par­ticipation, merely masks a tacit acceptance of inhumanity. It is the sufferings of men that should be shared: the smallest step towards their pleasures is one towards the hardening of their pains.

In the latest issue: Cédric Durand responds to Evgeny Morozov, Benjamin Kunkel on radical literary criticism and more!

The internet is replete with images of commodities in the process of destruction. From the homes sucked into rising tides to stuffed toys crushed between the teeth of an hydraulic press, what does such an apocolyptic sublime tell us about the relationship between the image and contemporary capitalism?

The culture industry not so much adapts to the reactions of its customers as it counter­feits them. It drills them in their attitudes by behaving as if it were itself a customer.