Poor but Sexy: Culture Clashes in Europe East and West (43 page)

Susan
Buck-Morss, Dreamworld and Catastrophe
(MIT Press, 2002) Jodi Dean,
The Communist Horizon
(Verso, 2012)

Tony Judt,
Ill Fares The Land
(Penguin, 2011)

Charity Scribner,
Requiem for Communism
(MIT Press, 2005)

David Bowie,
Diamond Dogs
(RCA, 1974),

Depeche Mode,
Construction Time Again
(Mute, 1983)

Deutsche Amerikanische Freundschaft,
Alles ist Gut
(Mute, 1981)

Joy Division,
Unknown Pleasures
(Factory, 1979)

Einsturzende Nuebauten, whole discography, especially
Kollaps
(ZickZack, 1981),
Silence is Sexy
(Mute, 2000)

Kapitan Nemo,
Kapitan Nemo
(Tonpress, 1986)

Krzysztof Komeda,
The Complete Recordings
(Polonia, 1996)

Andrzej Korzyński,
Possession
(Finders Keepers 2011)

Laibach,
Opus Dei
(Mute, 1987)

Maanam,
The Singles Collection
(InterSonus, 1991)

The Sex Pistols, ‘Holidays in the Sun’ (Virgin, 1977)

Izabela Trojanowska,
Iza
(Tonpress, 1981)

Ultravox!
Ha! Ha! Ha!
(Island, 1977)

Urszula,
Malinowy Król
, (Polton, 1985)

Vice Versa, ‘Stilyagi’ (Backstreet Backlash, 1980)

Visage,
Visage
(Polydor, 1980)

Wielkanoc,
Dziewczyny Karabiny
, (W Moich Ovzach Trasa W-Z, 2011)

Xex,
Group: Xex
(What’s that Music, 1980)

Zagubiona generacja
(Noise Pop, 1998)

Złote Przeboje Socjalizmu Cz. 1 (Golden Hits of Socialism)
(Polskie Nagrania, 2005)

4
(Ilya Krzhanovsky, 2006)

4 Months, 3 Weeks, 2 Days
(Christian Mungiu, 2007)

Academy of Mr. Kleks
(Krzysztof Gradowski, 1983)

Bildnis einer Trinkerin
(Ulrike Ottinger, 1979)

Born in 45
(Jürgen Böttcher, 1965)

Border Street
(Aleksander Ford, 1948)

Boys From Barska Street
(Aleksander Ford, 1953)

Christiane F – Wir Sind Kinder von Bahnhof Zoo
(Uli Edel, 1981)

Czarna seria
(Black series of Polish documentary) (J. Hoffmann, E. Skórzewski and others, 1954-59)

Daisies
(Vera Chytilova, 1966)

Decoder
(Mucha, 1984)

Dekalog
(Krzysztof Kieslowski, 1988)

Democracies
(Artur Żmijewski, 2008-ongoing)

Divided Heaven
(Konrad Wolf, 1964)

The Ear
(Karel Kachyna, 1969)

Eskimo Woman Is Cold
(Janos Xantus, 1983)

Ga Ga Glory to the Heroes
(Piotr Szulkin, 1985)

Goodbye, See You Tomorrow
(Janusz Morgenstern, 1961)

Generation
(Andrzej Wajda, 1954)

Hiroshima Mon Amour
(Alain Resnais, 1961)

Hot Summer
(Joachim Hassler, 1968)

In A Year of Thirteen Moons
(RW Fassbinder, 1978)

Innocent Sorcerers
(Andrzej Wajda, 1960)

It’s a Free World
(Ken Loach, 2006)

I was Nineteen
(Konrad Wolf, 1968)

Jowita
(Janusz Morgenstern, 1967)

Liquid Sky
(Slava Tsukerman, 1983)

Lift to the Scaffold
(Louis Malle, 1958)

Mad Men
(Matthew Weiner and others, 2007-present)
Man of Iron
(Andrzej Wajda, 1981)

Man of Marble
(Andrzej Wajda, 1976)

Mr Kleks in Space
(Krzysztoif Gradowski, 1988)

The Murderers are Among Us
(Wolfgang Staudte, 1945)
The Murder of Mister Devil
(Ester Krumbachova, 1970)
Nirvana
(Igor Voloshin, 2006)

O-Bi, O-Ba, end of Civilisation
(Piotr Szulkin, 1984)

One, Two, Three
(Billy Wilder, 1961)

The Party and the Guests
(Jan Nemec, 1966)

This Love Has To Be Killed
(Janusz Morgenstern, 1972)
Possession
(Andrzej Żuławski, 1980)

Privilege
(Peter Watkins, 1967)

The Rabbit Is Me
(Kurt Maetzig, 1965)

Rotation
(Wolfgang Staudte, 1948/49)

Solaris
(Andrey Tarkovsky, 1972)

Solo Sunny
(Konrad Wolf, 1979)

Single Woman
(Agnieszka Holland, 1981)

The Sopranos
(David Chase and others, 1999-2007)

Sunseekers
(Konrad Wolf, 1958/72)

Stalker
(Andrey Tarkovsky, 1979)

The Pictures Came From The Walls
(Jeremy Deller, 2009)
Third Part of the Night
(Andrzej Żuławski, 197)

Trace of Stones
(Frank Beyer, 1966)

Travels of Mr Kleks
(Krzysztof Gradowski, 1985)
War of the Worlds
(Piotr Szulkin, 1981)

The Wire
(David Simon and others, 2001-2005)

When I’m Dead and Pale
(Zivojin Pavlović, 1967)
Workers Leaving the Factory
(Harun Farocki, 1995)
You Are God
(Leszek Dawid, Poland, 2012)

Contemporary culture has eliminated both the concept of the public and the figure of the intellectual. Former public spaces – both physical and cultural – are now either derelict or colonized by advertising. A cretinous anti-intellectualism presides, cheerled by expensively educated hacks in the pay of multinational corporations who reassure their bored readers that there is no need to rouse themselves from their interpassive stupor. The informal censorship internalized and propagated by the cultural workers of late capitalism generates a banal conformity that the propaganda chiefs of Stalinism could only ever have dreamt of imposing. Zer0 Books knows that another kind of discourse – intellectual without being academic, popular without being populist – is not only possible: it is already flourishing, in the regions beyond the striplit malls of so-called mass media and the neurotically bureaucratic halls of the academy. Zer0 is committed to the idea of publishing as a making public of the intellectual. It is convinced that in the unthinking, blandly consensual culture in which we live, critical and engaged theoretical reflection is more important than ever before.