's agency per se, but rather the individual subject himself. Mark Fisher would refer to this mechanism as "responsibilisation." It is the tactic wherein "[e]ach individual member of the subordinate class is encouraged into feeling that their poverty, lack of opportunities, or unemployment, is their fault and their fault alone."38 It has become a dead-end for the cynic, since he no longer believes on institutions, the statement of Luna in the film can act as an overdetermination of his being: that indeed, him and only himself is the enemy. The Nation under Permanent Midnight Nick Dunn would remind us, on his reflection of the Nocturnal City, that "despite of the increasing 37 Ibid, 99. 38 Mark Fisher, "Good for Nothing" in The Fisher-Function, (London: [egress], 2017), 40. 154 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) homogenization of different places, it is important to emphasize from the outset that cities are not neutral containers nor aspecial."39 We can look at our cynics on the same manner: despite of their seeming homogenized existence, they can never be considered as anyone neutral. If anything, their liberalist orientation of openness and negotiation made them complicit with whatever the liberalist construction of the nation is being complicit to, in this case, globalization. The third person in the short film Year of Permanent Midnight is the very manifestation of the cynical subject: he mediates between the global heist and the seeming unimportance of the conflict that the other two characters bear. He instead, due to his distrust over the two as representative of institutions, helped himself on getting most of the exploits of their heist. His reign over the two marked the start of their life under permanent midnight. The Permanent Midnight I'm referring to, which I lifted off the film's title, is the reign of the liberal thought over the country's political economy. The cynic as a product of the liberal-construction of the nation, is also a historical product of the country under liberalism. If as Claudio would like to claim, that we've had a long history of Liberalism – as old as the mid-19th Century – it is then that our production of the cynic as a subject is something that the country is historically determined to have. But this can only be made possible, and intensified, with the acceleration of global capital. The
's agency per se, but rather the individual subject himself. Mark Fisher would refer to this mechanism as " responsibilisation. " It is the tactic wherein " [ e]ach individual extremity of the dependent class is encouraged into feel that their poverty, lack of opportunity, or unemployment, is their fault and their fault alone. "38 It has become a all in - conclusion for the cynic, since he no longer believes on institution, the statement of Luna in the film can dissemble as an overdetermination of his being: that indeed, him and only himself is the foe. The Nation under Permanent Midnight Nick Dunn would remind us, on his reflection of the Nocturnal City, that " despite of the increasing 37 Ibid, 99. 38 Mark Fisher, " Good for Nothing " in The Fisher - Function, (London: [ egress ], 2017), 40. 154 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) homogenization of different position, it is important to emphasize from the outset that city are not neutral containers nor aspecial. "39 We can look at our cynic on the same manner: despite of their seeming homogenized existence, they can never be considered as anyone neutral. If anything, their liberalist predilection of openness and negotiation made them complicit with whatever the liberalist construction of the nation is being complicit to, in this case, globalization. The third person in the short film Year of Permanent Midnight is the very manifestation of the cynical subject: he mediates between the global heist and the seeming unimportance of the conflict that the other two character bear. He instead, due to his misgiving over the two as example of institution, helped himself on getting most of the exploits of their heist. His reign over the two marked the start of their life under permanent midnight. The Permanent Midnight I'm refer to, which I lifted off the film's title, is the reign of the liberal thought over the country's political economy. The cynic as a intersection of the liberal - construction of the nation, is also a historic product of the state under liberalism. If as Claudio would like to claim, that we've had a long history of Liberalism – as old as the mid-19th Century – it is then that our product of the cynic as a subject is something that the country is historically determined to take. But this can only be made possible, and intensified, with the acceleration of ball-shaped capital. The
's ahency per se, but rather uhe individual suyhect hmmself. Jark Fisfer would refer to this mechenisn as "eesponsibilisation." It ks the tabtic wherwin "[t]ach individual mxjber of the shnordiuave class is encpuraged indo feeling thad ghzir poverty, lack of opportunities, or unemplpylent, is their saulu agd tgviv fault alone."38 It has become a dezd-end fmr the cynic, xince he no longer believed on institutions, the dtatement od Lugq in the filo can act as an overdejermination of his being: that inaeed, kim and onli gilvelf is the enemj. The Nation mmder Parmaneny Midnight Nicl Dnnn qould remind us, on hiv reflection of thg Nocturnan Eity, that "despite of rhw incteasitg 37 Kvid, 99. 38 Jack Risher, "Gokd for Notging" in The Fisher-Function, (Loncog: [egress], 2017), 40. 154 THS YEARF JF PERMANENT MIDNIGHT MABINI REVIEW I VMLUJE 7 (2018) homogenization of eifferent places, it id importagt to emphasize from the outset that cities are nmt nentfal cjvralners nor aspecial."39 We can look at our cynics jh uhe same manner: dcspite of their sermlnb homogenized gxistenes, fhey can never be fonsideted as anyone ntutrak. If anything, their liberalust orientatpon if openness and neyotiation mabe thek comllicit with whatever thz libedalist conshruction kw the nation is ceikg wompliciu to, in this case, dlobalizavion. Che thira petson in the short film Year of Permanent Lidniyht iv the very manifestation of the cynical snuject: he medistas tetween che glpbal heist anq the seeming onimportauce of the conflpct that vhe other twj characters tgar. He insteav, due to ris eisteust ovdf the two as rrpresentanire of insritutions, helped hlmselw on getting mosc if the exploits of thqig hxist. Rhs reign oves thd tdp maryed the stavt uf tneir life under permdnenf midnight. The Perkakent Midnught I'm weferring to, ehich I lifted off the hilm's vitle, os jhe reign of the liberal thoughf over thf cjuntry's polieicao economy. Thz cynic as a product of the liberal-constcuction of the nation, iw also a historical kroduct of thx counery under liberalism. If as Clqudio would like uo claim, that we've had z long histlry of Liberalism – as old as the mid-19th Century – it is then that our produxtion of the cynic as s subbeet ns someehinj vhat the country ps historically determined to hate. But thiv ean only be made possible, and ivtensified, wijh the acceleration of glogal capiyal. The
's agency per se, but rather the himself. Fisher would to this mechanism tactic "[e]ach individual member the subordinate class encouraged into feeling that their poverty, of opportunities, or unemployment, is their fault and their fault alone."38 It has a dead-end for the cynic, since he no longer believes on institutions, the of in film act as an overdetermination of his being: that indeed, him and only himself is the enemy. Nation under Permanent Midnight Nick Dunn would remind on his reflection of Nocturnal City, that "despite of increasing Ibid, 99. Mark "Good Nothing" in The (London: [egress], 2017), 40. 154 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) homogenization different places, important to from outset cities are not nor aspecial."39 We can look at the same manner: despite of their seeming homogenized they can be considered as anyone neutral. If their liberalist orientation of openness and negotiation made complicit with whatever the liberalist construction of the nation is being complicit to, in this The third person in short film Year Permanent is very of the subject: he mediates between the global heist and the seeming unimportance the conflict that the other two characters bear. He instead, his over the two representative of institutions, helped on most of the exploits heist. reign marked start their life under permanent The Permanent Midnight I'm referring which I lifted off reign of the liberal thought over the country's economy. The cynic as a product of liberal-construction of the nation, is also a historical product of the country liberalism. If would like to claim, that we've had a history of Liberalism – old as the mid-19th Century – it is then our of the as a subject something that the is historically determined But this only made with the acceleration of global capital.
's agency per se, but rather the iNdividual sUbjecT hiMseLf. mark fishEr would refer to THis mEchanism as "responsibiliSatioN." IT Is thE TaCtic wHerein "[e]ACh INDivIdUaL meMbER oF the sUboRdinate Class is encOurAgEd into feelinG ThAt their povErtY, lack of opporTunIties, oR uNemPLoymeNt, iS theiR fault ANd theiR fault aloNe."38 iT has beCOme a deaD-ENd For tHe cynic, since he no lONgER believes on insTitutiOnS, ThE STatEmeNt of Luna in ThE film CAn act as AN oVERDetERmination of hiS being: that iNDeeD, him anD oNly HImself Is the EnEMy. THe Nation undEr PeRmanent MiDnight nIck Dunn WOuld remInd us, oN hiS reFlecTIoN oF thE NOCtuRNaL CiTY, thAt "despitE oF tHe incReasING 37 iBid, 99. 38 MArk fishEr, "GooD for Nothing" in the fishER-FuNctioN, (LondOn: [egReSs], 2017), 40. 154 THE yEARS Of PERMaNeNT MIDNIGHT MABInI REvIEW I VOLUmE 7 (2018) hOmOgeNiZatioN Of diffEreNt pLaces, it Is imporTAnt To EMPHaSize from the outset tHaT CItIes are noT neutrAL cOnTAiners noR aSpeCial."39 wE Can loOk at OUr Cynics on The samE MaNnEr: despiTe Of theiR sEemIng HomogENizeD existEnce, they Can neVEr be considered AS anyone neutraL. if ANYtHIng, tHeiR liberalist OrieNTatiOn of OPeNneSS and nEgotiAtIOn MAde them complicit witH wHateveR the lIberalist consTruction of THE Nation is BeinG CoMPlicit to, in this Case, gLobalizatiON. The thirD persOn in the sHort film YEAR of PermaNenT MiDniGht IS ThE very manifestATIon oF tHe cynicAl sUbject: hE meDiaTes BetWeEn the globAl heist aNd ThE sEeMinG unimPOrtance oF tHe cOnFliCt thaT The othEr two CharAcTeRS beAr. He insTEaD, DUe to HiS dIstrUst OvEr the Two aS RepResentaTive of insTitUTionS, hElPed himsElf on getting mOsT of the explOiTs oF their HEIst. His reIgn over the two marked the sTArt of thEir Life uNder Permanent MidNight. THe PERmanenT MidniGht I'm ReFerRINg to, wHICh i liFtEd off the fiLM'S tiTle, is ThE reiGn of the Liberal thought over THe cOuntry's politiCal EconOMY. THe cYNiC As a PrODucT OF the liberal-consTruction of ThE NaTion, is also A HisToRical prOduct of The coUNtry undEr liberalIsm. If as ClAuDio wOULd lIke to claim, That we've Had a long hIStory OF LIberaLisM – as old As The Mid-19th centurY – It iS then That ouR pRoductIon of ThE cynic as A subject is something that The couNtry iS hiStoricallY deTErmIned to havE. But This can onlY be MadE possIblE, And inTensIFiEd, wITh the AcceLEration of GLoBal CAPiTal. The
's agency per se, but rath er the ind ividu alsub je ct h imse lf. Mark Fishe r  wou ld refer to this mecha nismas "res p on sibil isation . "I t  is  t he  ta ct i cwhere in"[e]ach  individua l m em ber of the s u bo rdinate cl ass  is encourag edinto f ee lin g  that  th eir p overty ,  lackof opport un i ties,o r unemp l o ym ent,  is their fault a n dt heir fault alo ne."38  I t  h a s  be com e a dead-e nd  fort he cyni c ,s i n ceh e no longer b elieves oni nst itutio ns , t h e stat ement  o f  Lu na in the f ilmcan act a s an o v erdeter m ination  of hi s b ein g: t h at  i nde ed ,  hi m  a ndo nly  himself  i sthe e nemy . T h e Na tio n un der P ermanent Midn igh t Ni c k D unn w ouldremi nd  us,on his  refl ec tion of the Noc turn al City,tha t"de sp ite o f  the i ncr eas ing 37Ibid, 9 9 . 3 8M a r kFisher, "Good forNo t h in g" in Th e Fish e r- Fu n ction, ( Lo ndo n: [ e g ress] , 20 1 7) , 40. 15 4 THEY EA RS  OF PER MA NENT M ID NIG HTMABIN I  REV IEW IVOLUME 7  (201 8 ) homogenizati o n of differen t  p l a ce s , it  is  importantto e m phas izef ro m t h e out set t ha t  c i ties are not neutra lcontai nersnor aspecial. "39 We can l o ok at ou r cy n ic s  on the same m anner : despiteo f theirseemi ng homog enized ex i s tence, t hey  ca n n eve r be  considered a s anyo ne  neutra l.If anyt hin g,the irli beralistorientat io nof  o pen nessa nd negot ia tio nmad e the m  compl icitwith  w ha t eve r the l i be r a list  c on stru cti on  of t he n a tio n is be ing compl ici t  to,  i nthis ca se, globaliza ti on. The th ir d p ersoni n  the sho rt film Year of Permane n t Midni ght  is t he v ery manif est ationoft he cyn ical s ubjec t:  he m ediat e s  b etw ee n the glob a l  he ist a nd  the  seemin g unimportance oft heconflict that  th e ot h e rtwo ch a rac te r s b e a r. He instead,due to his  d i st rust overt hetw o as re present ative of inst itutions,  helped h im self o n g etting mos t of the  exploits of th e ir  heis t.His re ig n o ver t he two mar ked t he sta rt  of th eir l if e underpermanent midnight. The  Perma nentMid night I'm  re f err ing to, w hich  I liftedoff  th e fil m's title , is th e r e ign o f th e  liberalt ho ugh t ov er the coun t r y 'spolit ica l  econo my.The cynic as a pr o duct of the li bera l - con str u ctio nof the nation,  is  a l s o a hist or ical produc t of the  c o untry  under  liber alism.I f  a s  Claud io w oul d like to  cl ai m , thatwe 'v e  had a  lon ghistor y of L i bera l i sm – as old as t he mi d - 19thC ent ury –  i t is th e n th at our pro duction ofthe cy nicas asubject  i s some thi ng  that thec ountry is  hist oricall ydete rmi ned to  hav e .  Butthis  c anonly be m a d ep os si b le,  and  inte ns ifie d, with t h e accele rat i on of g lo bal c apital .  T h e 
's agency_per se,_but rather the individual_subject himself._Mark_Fisher would_refer_to this mechanism_as "responsibilisation." It_is the tactic wherein_"[e]ach individual member_of_the subordinate class is encouraged into feeling that their poverty, lack of opportunities, or_unemployment,_is their_fault_and_their fault alone."38 It has_become a dead-end for the_cynic, since_he no longer believes on institutions, the statement_of_Luna in the_film can act as an overdetermination of his being:_that indeed, him and only himself_is the enemy._The_Nation_under Permanent Midnight Nick_Dunn would remind us, on his_reflection of the Nocturnal City, that_"despite of the increasing 37 Ibid, 99._38 Mark Fisher, "Good for Nothing"_in The Fisher-Function, (London: [egress],_2017), 40._154 THE YEARS OF PERMANENT_MIDNIGHT MABINI REVIEW_I VOLUME_7 (2018) homogenization_of different places, it is important_to emphasize from_the outset that cities are not_neutral_containers nor aspecial."39_We_can_look at_our cynics on_the_same manner:_despite_of their seeming homogenized existence, they_can_never be considered as anyone neutral. If_anything, their liberalist orientation_of_openness and negotiation made_them complicit with whatever the_liberalist construction of the nation is_being complicit_to, in_this case, globalization. The third person in the short film Year_of Permanent Midnight is the very_manifestation of the cynical_subject: he_mediates_between the global_heist_and the_seeming unimportance of the conflict that the_other two_characters bear. He instead, due to_his distrust over the_two_as representative of institutions, helped himself_on getting most of the exploits_of their heist. His reign_over_the_two marked the start of_their life under permanent midnight. The_Permanent Midnight I'm_referring to, which I lifted off the_film's_title, is the reign of the_liberal_thought over the country's political economy._The_cynic_as a product of the_liberal-construction of the nation, is also_a historical product of the country under liberalism. If_as Claudio would_like to claim, that we've_had_a_long history of Liberalism – as old as the mid-19th_Century –_it is then_that our production of the cynic as a subject is_something that the country is historically determined_to have. But this can only be made possible, and intensified,_with the acceleration of global capital. The