ESCAPISM AS SOCIAL CONTROL: PART 3

Then we have Underground Exploitation.

These movies tend to be unregulated, unofficial, and unsanctioned. They exist in the vaccuum that opens up when social conditions become oppressive. Under mass State-sponsored censorship, there tends to be a specific list of Do's and Don'ts. Underground Exploitation movies occupy the space opened up by the Don'ts. Whatever is forbidden by the State, is likely to be found in some form somewhere in society. Because censorship always creates a demand. The demand just goes underground.

Underground Exploitation serves the function of rebellion. It represents people doing or seeing something against the explicit wishes of authority.

This may benefit a dictatorship in several ways: opportunity to implant pro-State propaganda in the guise of underground media, opportunity to catalog and monitor those resisting authority.

However, unlike High Moral Escapism, Underground Exploitation always presents a threat to the status-quo.

This is the space new ideas can catch fire in the imaginations of the ordinary masses. This is the space where revolutionary symbols, visions, and caricatures are cemented.

There is a catharsis for the repressed masses in seeing the artist vividly, at the possible height of social expression, tell the ruling class FUCK OFF MATE!

The opportunity to create & band together a movement that could one day topple the existing regime begins with underground media.

FAMOUS EXAMPLES:

1. John Wilke's radical British newspaper "The North Briton" under King George III's reign (18th Century).

2. Jan Peterson's novel, "Our Street: A Chronicle Written in the Heart of Fascist Germany" (1933).

3. Irving Klaw's (1955) "Teaserama" under the U.S.A.'s Motion Picture Production Code.

4. The Arpilleras patchwork pictures made by groups of women in Chile during the military dictatorship in Chile (1973 - 90).

5. Chinese artist / activist AI WEIWEI's photo series - Dropping a Han Dynasty Urn (1995).

6. The anti-Qaddafi revolutionary graffiti of (2012) Libya.

7. Pussy Riot's Church Performance under Putin's Russia (2012)

ESCAPISM AS SOCIAL CONTROL: PART 4

ESCAPISM AS SOCIAL CONTROL: PART 2