 the Reproduction of Capitalism, 243. 139 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) separate from the trade and communication ISAs). Starting in the 20th century, under capitalism, culture is already being captured by the economic to function as economic mediation. Beller further expounded: Culture, then, has been recast and reprogrammed by the acculturated who, at every level of the socius, labor under the heliotropism of capital and its leveraged exchange. This capitalization of action, thought, the unconscious, and desire, among other biosocial functions, is otherwise known as commodification.18 It is in this sense that the break from Karatani is completed, as a reversal of his break from and consequently returning to Marx: of reconsidering the commodity exchange as a framework of rethinking the exchanges that happened in a nation which history of uneven development speaks a lot of its formation and construction. In the light of globalization, the repetition, distribution and the mimesis then of ideology – of nationalism – can never be but in the form of commodity exchange. Cinema as an apparatus, can be said to appear as a specific form of ideology, among the the many apparatuses ideology can take shape from. The appearance of ideology in cinema is specific due to its specific form: the ideology is in the formal quality of the films. This form, of course, is determined by the politicaleconomy which informs its content. Nationalism, being the content interrogated in this essay, also appears as such. But in the age when the nation's framework is being 18 Beller, Acquiring Eyes, 2. 140 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) shaken, nationalism in this sense, take an alternative principle, and that is of "Empire" or as Karatani would note it, of "world-capitalism".19 Negotiating with Empire Since the notion of the "nation" is being uncomfortable – that is, the nation in the traditional sense of a closed economy in the realm of geopolitics, the recourse of liberal economics is to open itself to the global market. In the process, the effacement of any symbolization that would refer to the old nationalism has become a necessity. And in the process of exchange, it expects to produce a subject which is also open to this. Cinema, in this sense,
the Reproduction of Capitalism, 243. 139 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) separate from the trade and communication ISAs). Starting in the 20th hundred, under capitalism, acculturation is already being captured by the economic to function as economic mediation. Beller far set forth: Culture, then, has been recast and reprogrammed by the acculturated who, at every level of the socius, labor under the heliotropism of das kapital and its leveraged exchange. This capitalization of action, thought, the unconscious, and desire, among early biosocial function, is otherwise know as commodification.18 It is in this sense that the break from Karatani is completed, as a reversal of his break from and consequently returning to Marx: of reconsider the commodity exchange as a framework of rethinking the exchange that happened in a nation which history of uneven development talk a lot of its formation and construction. In the light of globalization, the repetition, distribution and the mimesis then of political orientation – of nationalism – can never be but in the form of commodity exchange. Cinema as an apparatus, can be said to appear as a specific form of political orientation, among the the many apparatus ideology can take shape from. The appearance of ideology in cinema is specific due to its specific form: the ideology is in the formal quality of the movie. This form, of course, is determine by the politicaleconomy which inform its content. Nationalism, being the content interrogate in this essay, also appears as such. But in the age when the nation's model is being 18 Beller, Acquiring Eyes, 2. 140 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) shaken, nationalism in this sense, take an alternative principle, and that is of " Empire " or as Karatani would note it, of " world - capitalism".19 Negotiating with Empire Since the impression of the " nation " is being uncomfortable – that is, the state in the traditional sense of a closed economy in the realm of geopolitics, the recourse of liberal economics is to open itself to the global grocery store. In the process, the effacement of any symbolization that would refer to the previous nationalism has become a necessity. And in the process of exchange, it expects to grow a subject which is besides open to this. Cinema, in this sense,
 thf Reproduction of Capitauism, 243. 139 J. DEYTO MABINI CEVIEW J VOLUME 7 (2018) separate from the trade aid cimmunucation ISAs). Starting kn the 20th century, undtr capitalism, culvhre is alreadg beiug captured by tme economic to function av dclnomic mediation. Beller further expjunded: Vupture, then, has beem reczst and reprogrammed by the acculthrated xho, at every lefel of the socius, labor unfer hhe heliotropism ov capital abd iew leveraged dxchange. This capitalieation of action, thought, the uncunscipus, and dewiee, wkong other uiosocpal functions, is otheswise kmown as commodlficavion.18 It is in this sense vhat the break from Haratani hs completed, as a rwvwrsal of vis ceeay fdok znd cojsesuently refurning to Narx: of reconsiderimg nne commodity exchaggq as a framework of rethinking the exchdngss that happened in a nqtion which history ov uneven qevelopment speaks a lot of its formation and convtrucviun. Nk gye light of globalization, the repetition, distrifhtook and the mimesif then of icellpdy – of nationxlism – cah never be but in hhe fori of xommodity excnange. Cinema as an apparatuw, can be saib ti appear as a specnfic form of ideplogy, among the the many appcratusss ideology can take rhape from. The aopesrdnce of ideology in cinema is specihic dbe to itr spgcific sorm: the ifeolonf is in the formal qualnty ox the filmd. This form, of course, is determmied by the pokidicdleconomv whicm informs its cjntent. Nationakism, benng thd content pnterrogaved in this qssay, also ap[gars as such. Uut in thq agw whwn the vxtion's framewotk is beiuy 18 Beller, Acquiring Eyes, 2. 140 BHE YGADS OF PERMANENT MIENIGHT MABINI RRVIDW Y NOLNME 7 (2018) vhaken, natiotalirm km thir sense, takc av alyernative principle, dnd fhat is of "Empire" pr as Karajani woulq note it, of "eorld-capitalism".19 Nehotiaving wmth Emlirg Since the notion of the "natioh" is beinh ukcomfortable – thab is, the natiou in the traditional sense of a closed eronomy in the realm of teopolitics, the recpmrse of libecal ecjnomics iv to open itself to rhe global market. In the process, the erfacemant ov any symbolization that would refer to the old nationalism has become a becessmtr. And in ths prpcess oy erchange, it xx'ects to produce s subject which is also open to this. Citeia, in this sense,
the Reproduction of Capitalism, 243. 139 J. REVIEW VOLUME 7 separate from the in 20th century, under culture is already captured by the economic to function economic mediation. Beller further expounded: Culture, then, has been recast and reprogrammed by acculturated who, at every level of the socius, labor under the heliotropism of and leveraged This of action, thought, the unconscious, and desire, among other biosocial functions, is otherwise known as commodification.18 is in this sense that the break from is completed, as a of his break from and returning Marx: of the exchange a framework of the exchanges that happened in a nation which history of uneven development speaks a lot of its and construction. light of the distribution the mimesis then – of nationalism – can never the form of commodity exchange. Cinema as an can be to appear as a specific form ideology, among the the many apparatuses ideology can shape from. The appearance of ideology in cinema is specific due to its specific form: is in the formal of the films. form, course, determined the politicaleconomy informs its content. Nationalism, being the content interrogated in this essay, appears as such. But in the age when the nation's being Beller, Acquiring Eyes, 140 THE YEARS OF MIDNIGHT REVIEW I VOLUME 7 nationalism this alternative and is of "Empire" or Karatani would note it, of Negotiating with Empire Since is being uncomfortable – that is, the nation the traditional sense of a closed economy the realm of geopolitics, the recourse of liberal economics is to open to the In the process, the effacement of any symbolization would refer to the nationalism has become a necessity. And in the process exchange, expects to a subject which also open to Cinema, in this
 the Reproduction of CapitaliSm, 243. 139 J. DEYTO MAbINI ReVIeW I vOlUME 7 (2018) SepaRate from the traDE and Communication ISAs). StartIng in ThE 20Th ceNTuRy, undEr capitALiSM, CulTuRe Is aLrEAdY beinG caPtured bY the economIc tO fUnction as ecoNOmIc mediatioN. BeLler further eXpoUnded: CUlTurE, Then, hAs bEen reCast anD ReprogRammed by tHe ACcultuRAted who, AT EvEry lEvel of the socius, laBOr UNder the heliotrOpism oF cAPiTAL anD itS leveraged ExChangE. this capITaLIZAtiON of action, thouGht, the unconSCioUs, and dEsIre, AMong otHer biOsOCiaL functions, iS othErwise knoWn as coMModificATion.18 It iS in thiS seNse That THe BrEak FrOM KaRAtAni IS coMpleted, aS a ReVersaL of hIS BREak fRom And cOnseqUently returniNg tO MarX: Of rEconsIderiNg thE cOmmodIty excHange As A framework of retHinkIng the excHanGeS thAt HappeNEd in a nAtiOn wHich hisTory of uNEveN dEVELoPment speaks a lot of iTs FORmAtion and ConstrUCtIoN. in the ligHt Of gLobaLIZatioN, the REpEtition, dIstribUTiOn And the mImEsis thEn Of iDeoLogy – oF NatiOnalisM – can neveR be buT In the form of comMOdity exchange. cInEMA aS An apParAtus, can be saId to APpeaR as a SPeCifIC form Of ideOlOGy, AMong the the many apparAtUses idEologY can take shape From. The appEARAnce of idEoloGY iN Cinema is specifIc due To its speciFIc form: thE ideoLogy is in The formal QUAlity of tHe fIlmS. ThIs fORM, oF course, is deteRMIned By The poliTicAleconoMy wHicH inForMs Its contenT. NationaLiSm, BeInG thE contENt interrOgAteD iN thIs essAY, also aPpearS as sUcH. BUT in The age wHEn THE natIoN's FramEwoRk Is beiNg 18 BeLLer, acquiriNg Eyes, 2. 140 THE yEArs OF PeRmAnENT MIDnIGHT MABINI REvIeW I VOLUME 7 (2018) sHaKen, NationALIsm in thiS sense, take an alternative PRinciplE, anD that Is of "empire" or aS KaRatani WouLD note iT, of "worLd-capItAliSM".19 negotIATiNg wItH Empire SinCE The NotioN oF the "Nation" iS being uncomfortablE – ThaT is, the nation iN thE traDITiOnaL SeNSe oF a CLosED Economy in the reaLm of geopolItICs, The recoursE Of lIbEral ecoNomics iS to opEN itself To the globAl market. IN tHe prOCEss, The effacemEnt of any SymbolizaTIon thAT wOuld rEfeR to the OlD naTionaLism haS BecOme a nEcessiTy. and in tHe proCeSs of exchAnge, it expects to produce a SubjecT whicH is Also open tO thIS. CiNema, in thiS senSe,
 the Reproduction of Capit alism, 243 . 139  J.  DE YT O MA BINI  REVIEW I VOLU M E 7(2018) separate from t he tr ad e  and co mmuni cationI SA s ) . S ta rt ing  i n  t he 20 thcentury , under ca pit al ism, culture is  already b ein g captured b y t he eco no mic to fu nct ion a s econ o mic me diation.Be l ler fu r ther ex p o un ded:  Culture, then, h a sb een recast and  repro gr a mm e d  by  th e accultur at ed wh o , at ev e ry l e vel of the socius , labor und e r t he hel io tro p ism of  capi ta l  an d its lever aged  exchange . This capital i zationof act ion , t houg h t,  t heun c ons c io us, and  desire,  a mo ng ot herb i o s ocia l f unct ions,  is otherwise  kn owna s c ommod ifica tion .1 8 Itis inthisse nse that the br eakfrom Kara tan iisco mplet e d, asa r eve rsal of  his br e akfr o m an d consequently ret ur n i ng  to Marx : of r e co ns i dering t he  co mmod i t y exc hang e  a s a fram eworko fre thinkin gthe ex ch ang esthath appe ned in  a natio n whi c h history of u n even developm e nt s pe a ks a  lo t of its fo rmat i on a nd c o ns tru c tion.  In t he li g ht of globalization ,the re petit ion, distribu tion and t h e mimesisthen of ideology – ofnatio nalism – c a n neverbe bu t in the  form ofc o mmodityexc han ge.  Ci n e ma  as an appara t u s, c an  be sai d t o appea r a s a  sp eci fi c form of  ideolog y,  a mo ng  th e the many app ar atu se s i deolo g y cantakeshap efr o m.The app e ar a n ce o fid eolo gyin  cine ma i s  sp ecificdue to it s s p ecif ic  f orm: th e ideology is  i n the form al  qu alityo f  the fil ms. This form, of cours e , is de ter mined  bythe polit ica lecono myw hich i nforms  itsco nte n t . Nat i o na lis m,  being the c ont ent i nt erro gated i n this essay, also app ears as such.  Bu t in t he  ag e  w h enth e  na t i on's frameworkis being 1 8B el ler, Acqui r ing  E yes, 2.  140 TH E YEA R S OF PE RMANENT M IDNIGHT M AB INIR E VIE W I VOLUME  7 (2018 ) shaken, natio n al ism i n t his se ns e,takean alt e rna tiveprinci pl e, and  that  i s of "Em pire" or as Karatani wo uld no te it , o f "world- cap i tal ism".19 N egot iating wit h E mpi re Si nce the n otio n  o f t h e "na tion "  is being un com f o rt able – that i s , t he na tio n  in th e tr aditional sense o f  a closed econ omyi n  th e r e almof  geopolitics,the  r e c ourse of  l iberal econ omics is  t o  open  itsel f to t he glob a l  m a rket.In t heprocess,the  e f facemen tof any sy mbol iz ationthat w o uldr e fer to the old n ation a l ism h a s b ecome  a  necess i ty.And in the  process of  excha nge,  it e xpectsto  produ ceasubject wh i ch is als o ope n to th is . Ci nem a, inthis s ense, 
 the_Reproduction of_Capitalism, 243. 139 J._DEYTO MABINI_REVIEW_I VOLUME_7_(2018) separate from_the trade and_communication ISAs). Starting in_the 20th century,_under_capitalism, culture is already being captured by the economic to function as economic mediation._Beller_further expounded:_Culture,_then,_has been recast and reprogrammed_by the acculturated who, at_every level_of the socius, labor under the heliotropism of_capital_and its leveraged_exchange. This capitalization of action, thought, the unconscious, and_desire, among other biosocial functions, is_otherwise known as_commodification.18_It_is in this sense_that the break from Karatani is_completed, as a reversal of his_break from and consequently returning to Marx:_of reconsidering the commodity exchange as_a framework of rethinking the_exchanges that_happened in a nation which_history of uneven_development speaks_a lot of_its formation and construction. In the_light of globalization,_the repetition, distribution and the mimesis_then_of ideology –_of_nationalism_– can_never be but_in_the form_of_commodity exchange. Cinema as an apparatus,_can_be said to appear as a specific_form of ideology, among_the_the many apparatuses ideology_can take shape from. The_appearance of ideology in cinema is_specific due_to its_specific form: the ideology is in the formal quality of the_films. This form, of course, is_determined by the politicaleconomy_which informs_its_content. Nationalism, being_the_content interrogated_in this essay, also appears as such._But in_the age when the nation's framework_is being 18 Beller,_Acquiring_Eyes, 2. 140 THE YEARS OF_PERMANENT MIDNIGHT MABINI REVIEW I VOLUME_7 (2018) shaken, nationalism in_this_sense,_take an alternative principle, and_that is of "Empire" or as_Karatani would note_it, of "world-capitalism".19 Negotiating with Empire Since_the_notion of the "nation" is being_uncomfortable_– that is, the nation in_the_traditional_sense of a closed economy_in the realm of geopolitics, the_recourse of liberal economics is to open itself to_the global market._In the process, the effacement_of_any_symbolization that would refer to the old nationalism has become_a necessity._And in the_process of exchange, it expects to produce a subject which_is also open to this. Cinema, in_this sense,