By Maple Razsa
Bastards of Utopia, the better half to a function documentary movie of an identical identify, explores the reports and political mind's eye of younger radical activists within the former Yugoslavia, members in what they name alterglobalization or "globalization from below." Ethnographer Maple Razsa follows person activists from the transnational protests opposed to globalization of the early 2000s throughout the Occupy encampments. His portrayal of activism is either empathetic and unflinching―an engaged, dependent meditation at the fight to re-imagine leftist politics and the facility of a country's adolescence.
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Extra resources for Bastards of Utopia: Living Radical Politics after Socialism
They note Lefebvre’s differentiation of urbanization from other ways of describing advanced western 33 Re-imagining the City Figure 1: St Pauli, Hamburg, one of several houses squatted by artists. Image: M. Miles. 34 Art and Culture societies such as the leisure society or the information society; and agree with him that urbanization is characterized by a diversity of lifestyles, publics and cultural models. Schaefer and Stevens write: ‘The decisive point for us is that the city is appropriated space, that the process of urbanization describes a process of appropriation’ (Park Fiction 2006).
In the world of globalization, emerging élites are identified by consumption, often with cultural connotations. Bauman writes: ‘The way present-day society shapes its members is dictated … by the duty to play the role of the consumer’ (1998: 80), adding, ‘Everybody may be cast into the mode of the consumer … may wish to be a consumer … But not everybody can be a consumer’ (1998: 85). I would suggest, similarly, not every city has the potential to be a cultural city, or node of cultural production and reception in the way that cities such as Paris, Munich or Vienna were from the 1880s to the 1930s.
The St Pauli district of Hamburg includes a section of waterfront and the red-light district (a popular tourist destination). The area could be called an arts district, populated by artists and bohemians, many squatting in nineteenth-century apartment blocks owned by the city and vacated during a previous economic decline. St Pauli was scripted for improvement, but the process was interrupted by a decline in the property market. Many of the apartments in a new, high-rent block remain unlet. But the gentrifying script was always uncertain.