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Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist in The East

Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's... Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling’s Protagoni The E st in ast mónica martín in the e a st (2013), ac tor Brit Marling plays be argued, the film formally supports Jane’s Jane Owen, a young and ambitious private post-neoliberal eco-utopian turn, holding that intelligence operative who has infiltrated an green transformative agendas require the int - e underground environmentalist organization grating and nurturing methodological per - spec that threatens the interests of polluting c - orpo tives of ecology rather than utilitarian violence rations. As Sarah Moss—the drifter alter ego and counter-power dialectics. Jane plays to get access to the eco-activists’ hideout—the protagonist will embark on an Numbed by the Neoliberal Status Quo: eye-opening doppelganger experience that Jane, the Undercover Agent shakes her ideological principles. Her eco- utopian conversion can be read under the light The East sets out a dialectical opposition be - of the rising discredit of a “neoliberal ration - altween pro- and anti-establishment modes of ity” that economized existence and democracy living from its opening scene. The film starts (Brown 10)—a demystification of individualist, with a promotional video by The East that exploitative, and competitive “hunter” log - puts together http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist in The East

Journal of Film and Video , Volume 74 (1) – Apr 6, 2022

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling’s Protagoni The E st in ast mónica martín in the e a st (2013), ac tor Brit Marling plays be argued, the film formally supports Jane’s Jane Owen, a young and ambitious private post-neoliberal eco-utopian turn, holding that intelligence operative who has infiltrated an green transformative agendas require the int - e underground environmentalist organization grating and nurturing methodological per - spec that threatens the interests of polluting c - orpo tives of ecology rather than utilitarian violence rations. As Sarah Moss—the drifter alter ego and counter-power dialectics. Jane plays to get access to the eco-activists’ hideout—the protagonist will embark on an Numbed by the Neoliberal Status Quo: eye-opening doppelganger experience that Jane, the Undercover Agent shakes her ideological principles. Her eco- utopian conversion can be read under the light The East sets out a dialectical opposition be - of the rising discredit of a “neoliberal ration - altween pro- and anti-establishment modes of ity” that economized existence and democracy living from its opening scene. The film starts (Brown 10)—a demystification of individualist, with a promotional video by The East that exploitative, and competitive “hunter” log - puts together

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 6, 2022

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