Near the end of the Amherst Cofloquium on “Nietzsche Today: The Reception of his Work after 1968,” Geoff Waite challenged the underlying historical assumption: “Is 1968 chosen because it marks the approximate date of the publication of the first volume of the splendid critical edition of Nietzsche's work by Colli and Montinari, or rather the approximate date of the until recently wholly apolitical appropriation of Nietzsche by post-structuralism? Do we wish to allude to die year of the Zagreb meeting on (...) Nietzsche of “creative Marxists” trying, as they said, to locate “the theme of human freedom in Nietzsche,” or rather to the year that Jiirgen Habermas delivered himself of the opinion that “Nietzsche is no longer contagious?” For some of us, however, 1968 has to mean also and mainly May '68.”. (shrink)

Cimino's The Deer Hunter is a mass culture product that sells. It is a conventional, manipulative Hollywood movie that moves large U.S. audiences. In trying to identify the ideological function of this film, Leibowitz has compared The Deer Hunter to Nazi ideology or German Romantic nationalist aesthetics. This comparison, however, says little about the film itself. To invoke this German tradition is to do little more than to invoke the roots of the modern culture industry in general. The Nazis are (...) only unique in that they succeeded early in blending propaganda, violence, pornography, religion and a consumer mentality in a mechanism of cultural manipulation. (shrink)