{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd","title":"Capitalist Realism - Is There no Alternative","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781846943171","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd","id":"5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd","uuid":"5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd","title":"Capitalist Realism - Is There no Alternative","normalized_title":"capitalistrealismistherenoalternative","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781846943171","isbns":["9781846943171"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":88,"navigation_url":"https://workshop.closeclaw.top/ai/book/5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd","title_url":"https://workshop.closeclaw.top/ai/title/Capitalist%20Realism%20-%20Is%20There%20no%20Alternative","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd","page_url":"https://workshop.closeclaw.top/api/ai/books/5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd/page","search_url":"https://workshop.closeclaw.top/api/ai/books/5fe617c9-3ac2-4244-b8a9-b4b324c0e2dd/search"},"page":{"printed_page":2,"pdf_page":17,"physical_index":17,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7cfc0199064614db3a91b32af2fe7f8937972c13c5c2e7c97f6bdde77e568c10"},"chapter":"资本主义现实主义","content":"如果你举行抗议，所有人都来了呢？\n\n在黑帮说唱和埃尔罗伊的案例中，资本主义现实主义采取了一种对资本最无情掠夺的超级认同的形式，但事实并非如此。事实上，资本主义现实主义远不排除某种程度的反资本主义。毕竟，正如齐泽克挑衅性地指出的那样，反资本主义在资本主义中广泛传播。一次又一次，好莱坞电影中的反派最终会变成“邪恶的公司”。这种反资本主义的姿态非但没有削弱资本主义现实主义，反而强化了它。以迪士尼/皮克斯的《机器人瓦力》(2008)为例。影片展示了一个被掠夺到人类无法再居住的地球。毫无疑问，消费资本主义和公司—一或者更确切地说，是一个大公司BuynLarge——对这种掠夺负有责任;而当我们最终看到被放逐在外世界的人类时，他们幼稚而肥胖，通过屏幕界面进行互动，坐在大型电动椅子上四处走动，从杯子里喝着不确定的泔水。我们在这里看到的是一种控制和交流的愿景，就像让·鲍德里亚所理解的那样，在这种愿景中，征服不再以从属于外在奇观的形式出现，而是邀请我们进行互动和参与。似乎电影观众本身就是这种讽刺的对象，这促使一些右翼观察家厌恶地退缩，谴责迪士尼皮克斯攻击自己的观众。但这种讽刺助长了而不是挑战了资本主义现实主义。像《机器人瓦力》这样的电影体现了罗伯特·法勒所说的“互动”:这部电影为我们展示了我们的反资本主义，允许我们继续消费而不受惩罚。资本主义意识形态的作用并不是制造一个\n\n资本主义现实主义\n\n2","previous_page":1,"next_page":3}