They're rights that should be endemic to any democracy. The right to a free quality education, from elementary school right through higher education. The right to have a decent social wage. The right to a decent job. Political rights; the right to vote. These are all parts of the social contract, from the New Deal onwards, that never went far enough.

As a mode of public pedagogy, a state of permanent war needs willing subjects to abide by its values, ideology, and narratives of fear and violence. Such legitimation is largely provided through a market-driven culture addicted to the production of consumerism, militarism and organized violence, largely circulated through various registers of popular culture that extend from high fashion and Hollywood movies to the creation of violent video games and music concerts sponsored by the Pentagon.

Getting ahead cannot be the only motive that motivates people. You have to imagine what a good life is.

Cinema is consistently making a claim to particular memories, histories, ways of life, identities, and values that always presuppose some notion of difference, community, and the future. Given that films both reflect and shape public culture, they cannot be defined exclusively through a notion of artistic freedom and autonomy that removes them from any form of critical accountability.

Even the notion that, you know,[Bill] Clinton was the black president strikes me as the greatest irony of all times.

Modernity has reneged on its promise to young people to provide social mobility, stability and collective security. Long-term planning and the institutional structures that support them are now relegated to the imperatives of privatization, deregulation, flexibility and short-term profits.

How young people are represented betrays a great deal about what is increasingly new about the economic, social, cultural and political constitution of American society and its growing disinvestment in young people, the social state and democracy itself.