By Paolo Godani

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50 Adorno Reframed It becomes an escapist compensation that, when wished for as escapism, responds to a deeply regressive longing for totality with authoritarian implications, suggesting a sort of individual who is oriented to social conformity rather than individual autonomy. At the same time, the individual who refuses to fit in becomes a rarity, because powerful forces conditioning the socialisation of conformist personalities are present in childhoods regulated by the combination of administered schooling and the culture industries.

The everyday, normal world of reified objectivity and instrumental manipulation, the result of scientific neutrality, supposedly expresses no subjectivity whatsoever. Yet it appears as startlingly distorted once the subjectivity that really animates it is expressed in its objective forms. Wiene’s set makes it appear as if all of a sudden the buildings of the real world announced visibly that they were the result of accepting domination as natural. The stylised characterisation of gesture and interaction of the actors, together with their disordered appearance, reflect human subjectivity in extremis, confronted by apparently overwhelming forces that seek to externally direct individuals and negate human freedom.

The fertility of Adorno’s philosophy for contemporary thinking is not restricted to his aesthetics, but embraces significant questions about the nature of modernity and rational justifications for hope. We must not imagine that locating Adorno in the context of interwar Expressionism and postwar Neo-Expressionism fatally dates his thinking. Adorno is right up-to-date in the context of postmodernism. In fact, in his critique of ‘Adorno as the Devil’, contemporary philosopher Jean-François Lyotard regards Adorno as his most serious opponent within the postmodern condition (Lyotard, 1974: 136).

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Deleuze by Paolo Godani
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