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• W2158155430 abstract "Homeland’s Crisis of Middle-Class Transformation Stephen Shapiro (bio) Homeland’s first season has few economic, let alone specifically capitalist, elements within its frame. There are only a few money transfers and a fleeting third-party reference to the bad finances of Nicholas Brody’s family in his absence. Character motivation is overwhelmingly presented as driven by personal feelings about status and identity. Yet Homeland’s handling of its spy and conspiracy genre both represents and helps constitute its ideal audience’s realization and response to its own collective class emergency. This essay investigates the way Homeland uses a complex temporality to grapple with some essential contemporary questions: How does the American middle class in crisis engage with television to think about its mutable position within capitalist history? If a US bourgeoisie, loosely outlined as the target audience for subscription “quality” television, is experiencing a crisis of social reproduction, in which it can decreasingly afford the middle-class status markers of housing, education, and health care, what are the cultural forms it uses to respond to vanishing prosperity? Economists Gérard Duménil and Dominique Lévy see the twentieth century and onward as consisting of alternating capitalist crises wherein the professional-managerial, broadly middle classes align either with the upper class of haute capitalists against the working classes or the other way round. They suggest that we are in the midst of an ongoing realignment of class alliances wherein the (Western) middle classes might be in the process of shifting their allegiance away from the high capitalist class in favor of solidarity with those below.1 During profitability crises such as those that occurred in the 1890s and 1970s, Duménil and Lévy suggest, the middle class forms a rightward alliance with elites. The rise of neoliberalism from the 1970s, wherein profit is restored by unraveling New Deal social welfare programs, manifests this kind of shift rightward. Yet only so much value can be mined from this sort of reappropriation, and the middle class eventually find themselves the new targets for expropriation by haute capital as the costs of essential aspects of middle-class status rise beyond even their means. Consequently, a crisis of financial hegemony emerges as [End Page 152] the middle classes lose confidence in their leadership by elites and look for a leftward alliance with the working class, such as we’ve seen recently with Occupy and related movements. Such a transfer of allegiances requires the kind of cultural narrative and temporal perspective (more on that later) that Homeland provides. Georg Lukács has argued that during periods of middle-class society’s fragmentation, “a not inconsiderable portion of the bourgeoisie becomes ‘educated’ to the dehumanization of bourgeois society” and seeks out cultural works that emphasize themes of “disappointment and disillusionment,” often preferring “catastrophe” tales that depend on the “adventures of shadowy characters” and their stratagems of detection, conspiracy, and surveillance.2 His suggestion that doom-laden cultural forms are ways of thinking through crisis is a useful rejoinder to Mark Fisher’s claim that apocalyptic or terror tales proliferate now because it is easier to imagine the end of the world than an alternative to capitalism.3 Moreover, tales of nervy suspense, like Homeland’s, are not merely symptomatic of crisis, but are also the means through which its audiences formulate a tactical response to crisis as they gain knowledge both about the singular events of financial catastrophe (like the 2008 housing market crash) and about the repeating systemic features of long-wave accumulation cycles (like the overproduction of commodities, including credit ones) in which crises continually occur. One exciting feature of contemporary “quality” televisual narrative has been its efforts to take up Ernst Bloch’s suggestion that history is a “polyrhythmic and multi-spatial entity,” and thus think about simultaneous and nested valences of time, about the periodizable moment and long duration periodicity.4 The move to an investigation of periodicity is associated with the current wave of complex serial or long-form drama, the consumption of which is itself a marker of sophisticated middle-class taste. As bourgeois audiences hone their skills in recognizing the longer units of time implicit..." @default.
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• W2158155430 date "2015-01-01" @default.
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• W2158155430 title "Homeland’s Crisis of Middle-Class Transformation" @default.
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• W2158155430 doi "https://doi.org/10.1353/cj.2015.0051" @default.
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