Capitalist Critique: Exploring Citizen Kane and Midnight Cowboy Through Cinematic Geography
DOI:
https://doi.org/10.54097/ehss.v23i.14117Keywords:
Film studies, capitalism, poverty, cinematic geography.Abstract
This research underscores the importance of interdisciplinary approaches in film analysis. By juxtaposing films like Citizen Kane and Midnight Cowboy, it illuminates nuanced critiques of capitalism, revealing how different social classes perceive and interact with this economic system. This promotes a reconsideration of the influences of capitalism and symbolism in cinematic geography on a personal level. This essay analyzes these two films alongside several scholarly articles and studies that explore similar themes, offering fresh insights from renowned thinkers. Furthermore, this essay highlights the role of cinematic geography, indicating its potential to serve as a powerful tool for deeper film analysis. These insights offer a valuable lens through which individuals can reflect on their own experiences within capitalist societies.
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Orson Welles, director. Citizen Kane. RKO Radio Pictures Mercury Productions, 1941. 1 hr., 59 min. https://www.youtube.com/watch?v=o-kB0ij07E0.
John Schlesinger, director. Midnight Cowboy. Jerome Hellman Productions Mist Entertainment, 1969. 1 hr., 53 min. https://tubitv.com/movies/312187/midnight-cowboy?start=true&tracking=google-feed&utm_source=google-feed.
Clemson University. “Capitalism – the Unknown Ideal”. Retrieved on August 12, 2023, https://hobbs4.people.clemson.edu/Capitalism-The%20Unknown%20Ideal.pdf.
E. G. West. The Political Economy of Alienation: Karl Marx and Adam Smith. Oxford Economic Papers, 1969, 21 (1): 1-23.
Stuart C. Aitken, Deborah P. Dixon. Imagining Geographies of Film. Erdkunde, 2006, 60 (4): 326-336.
California State University, Northridge. “Ideology and Ideological State Apparatuses”. Retrieved on August 12, 2023, http://www.csun.edu/~snk1966/Lous%20Althusser%20Ideology%20and% 20Ideological%20State%20Apparatuses.pdf
Lawrence J. Clipper. Art and Nature in Welles' Xanadu. Film Criticism, 1981, 5 (3): 12-20.
Kevin Floyd. Closing the (Heterosexual) Frontier: Midnight Cowboy as National Allegory. Science & Society, 2001, 65 (1): 99-130.
Kathleen Vohs, Nicole Mead, Miranda Goode. The Psychological Consequences of Money. Science, 2006, 314 (5802): 1154-1156.
Chris Lukinbeal, Stefan Zimmermann. Film Geography: A New Subfield (Filmgeographie: ein neues Teilgebiet). Erdkunde, 2006, 60 (4): 315-325.
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