Strange labor, americanism and fordism: critical analysis of the filmic work to us freedom

Abstract

In the film A Nous la Liberte (1931) of the french filmmaker Rene Clair, Emile and Louis the characters are called “floaters,” as The Tramp in Chaplin’s Modern Times (1936), and therefore grow pre-modern values, freedom and fellowship. In that film, the director Clair exposes the logic of the society’s work and his estranged, which alienates the men of the true meaning of life, real freedom. This article proposes a critical analysis of the Clair ́s movie, in appropriating of the Tela Crítica methodology in order to utilize A Nous la Liberte (1931) has a tool for understanding and knowing Americanism and Fordism” (1934) from Antonio Gramsci, which becomes, therefore, our text for composing such a dynamic critical analysis as the work of Gramsci’s writing and the Clair ́s movie are contemporary. The critical appropriation (and understanding) of the film allows, in one hand, the apprehension of form and sense of cinematic works in question and on the other, contributes to the development of complex theoretical and categoral used by the subject as public-as-class. This means that the critical analysis of movies can contribute to the development of social sciences and to a perception of cinema beyond the screen because in the Lukacs ontological vision, art is an activity that for part of everyday life, then return to it, what it produces, this dialectical movement, a rise in the sensitive conscience of men.