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Full Description
Uncovering Hollywood's perpetual longing for a lost industrial America
"We don't make things in America anymore": like clockwork, this refrain resurfaces in political discourse, a reflection of yearning for a bygone era of industrial productivity. In his latest work, Grant Farred uses the 1990 film Pretty Woman to expose and critique this lingering nostalgia for late-industrial capitalism.
Situating Pretty Woman alongside Reagan-era films including Wall Street, Farred examines the congealment of such a pervasive romanticized view of the United States as a fading industrial powerhouse. Drawing on an eclectic range of thinkers-from Raymond Williams and Slavoj Žižek to Mick Jagger-The Prettiest Woman offers a unique analysis of the ways Hollywood perpetuates the myth of a lost "productive America," highlighting the seductive power of this fantasy despite its disconnect from economic and political realities.
Contents
Like Clockwork: "Bring the Jobs Back to America"
She's a Pretty Woman
Nostalgia
A Hollywood Genealogy
Cold Calling Is a Mug's Game
Wall Street
You Are the Suit You Wear
Raymond Williams: A Brief Word
The Patient Is on Life Support but Is Not Yet Dead
The Baseness of/in the Superstructure
Working Women
Late Industrial Capitalism 1: "Making Things in America"
Late Industrial Capitalism 2: Nostalgia and Grievance
On Morality: A Brief Žižekian Word
It's Big in Japan
The Boro Aesthetic
Bastard 1
A New Economy of the Prostitute and Its Dangers
My Fair Lady, Beverly Hills Style
All a Pretty Prostitute Needs Is Her Own Dr. Henry Higgins
The Upside of Not Knowing Which Fork to Use
Who's Driving Edward Lewis?
Bastard 2: The Hostility of the Takeover
Oedipal Drama, Pretty Woman Style
Making and Unmaking in the Oedipal Family Drama
To Make Something
Father's Son, Mother's Son: The Enduring Phantasmatic Father
The Žižekian Ethics of Mick Jagger
"It Must Be Very Difficult to Let Go of Something So Beautiful"
To Steal, to Make of Steel
Acknowledgments
