By Robert Latham
From the novels of Anne Rice to The misplaced Boys, from The Terminator to cyberpunk technological know-how fiction, vampires and cyborgs became strikingly noticeable figures inside American pop culture, specially early life tradition. In eating formative years, Rob Latham explains why, exhibiting how fiction, movie, and different media installation those ambiguous monsters to embrace and paintings during the implications of a capitalist approach during which adolescence either devour and are consumed.Inspired through Marx's use of the cyborg vampire as a metaphor for the objectification of actual hard work within the manufacturing facility, Latham exhibits how modern pictures of vampires and cyborgs light up the contradictory methods of empowerment and exploitation that represent the youth-consumer procedure. whereas the vampire is a voracious buyer pushed by way of a starvation for perpetual early life, the cyborg has included the machineries of intake into its personal flesh. robust fusions of expertise and hope, those paired photographs signify the types of exertions and relaxation that American society has staked out for modern youth.A startling examine early life in our time, eating early life will curiosity an individual fascinated by movie, tv, and pop culture.
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Extra info for Consuming Youth: Vampires, Cyborgs, and the Culture of Consumption
But instead of going on to show how production and consumption are in fact articulated at speciﬁc historical moments or under speciﬁc conditions, Fiske entirely dissevers the two spheres: production is the site of economic calculation, driven by the proﬁt-seeking motives of capitalists, while consumption is the space where cultural meanings are created by consumers for themselves. The two have rather little to do with each other, beyond the former providing the raw material—the commodities—that the latter appropriates and subverts.
179). This is the dialectical paradox at the heart of Fordist consumer culture: its capacity to unleash the most powerful, exhilarating desires, and its inability ﬁnally to satisfy the epochal hungers it has itself invoked. The cynical blandishments of the Way Out Corporation thus express, in negative form, the utopian impulse that the consumerist paradise of Mallworld both enshrines and entombs. Mallworld is an important text for my argument not only because of its dialectical critique of consumption and its prominent deployment of vampires (and cyborgs), but also because of its explicit linking of consumption, as an ethical norm and an ensemble of practices, speciﬁcally with youth and youth culture.
I close the chapter with readings of the ﬁlm The Hunger (1983), Rice’s best-selling novel The Vampire Lestat (1985), and Poppy Z. Brite’s novel Lost Souls (1992) in relation to the cultural discourses surrounding the MTV Network as an orchestrator of youth-consumer practices and lifestyles during the 1980s and 1990s. All three of these texts powerfully mobilize homoerotic imagery, yet the cultural implications of this process differ on the basis of the new class alignments each attempts to negotiate.