This essay develops from the hypothesis that the relationship between Marx and cinema is mediated by a shared investment in the revolutionary subject, a collective being capable of abolishing capitalism, insofar as its liberation necessitates total demolition of the standing social order, from which an egalitarian organization of society might then develop. Beginning in Russia after 1917, when cinema was used as a material force to organize workers and peasants, the essay’s first half tracks the way that a cinematic emphasis on the industrial proletariat has been replaced, or superseded, by an emphasis on what Marx and Engels described as a relative surplus population. The essay’s second half illustrates this shift with reference to two popular films, released into the apparent fall of American economic hegemony, approaching them as ensigns of an economy in terminal crisis wherein revolutionary subjectivities might be forged out of the otherwise disaggregate members of the surplus population.

Our introduction is written in three parts. In the first section, we provide an overview of how late twentieth-century Marxist theory understood the development of bourgeoning non-class-based social movements, and grappled with the problem of a capitalism that was simultaneously expanding its reach and declining in profitability. In the second section, we turn to the state of literary study after the 2008 financial crisis. We argue that the aftermath of the economic downturn has altered the coordinates for both the multiculturalism of late twentieth-century literary study, and the forms of Marxist literary criticism that subsisted alongside it. We argue that this situation demands a reading of Marx that goes beyond critiques of commodity fetishism and false consciousness, drawn from the first chapter of Capital, Volume 1, to embrace the whole arc of Marx’s argument in that work. In the final section, we preview the essays collected in the volume.