Young black men in America have an identity ascribed to them that is a direct legacy of slavery.

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.

Young people now reside in a world in which there are few public spheres or social spaces autonomous from the reach of the market, warfare state, debtfare, and sprawling tentacles of what is ominously called the Department of Homeland Security.

And look, we have young people in this country who are thirty years old living with their parents. We have young people in this country who don't have jobs, who graduate from college and are fed the lie of meritocracy. "You get a degree, you get a job." That's not happening. We have young people who have become the Zero Generation: zero hope, zero employment, zero possibilities. Do we really believe that this young generation is going to stand by and not take note of an economic system that - however it calls itself - has completely betrayed them?

As modern society is formed against the backdrop of a permanent war zone, a carceral state and hyper-militarism, the social stature of the military and soldiers has risen.

Very little appears to escape the infantilizing and moral vacuity of the market.

The issue of who gets to define the future, own the nation's wealth, shape the parameters of the social state, control the globe's resources, and create a formative culture for producing engaged and socially responsible citizens is no longer a rhetorical issue, but offers up new categories for defining how matters of representations, education, economic justice, and politics are to be defined and fought over. At stake here is the need for both a language of critique and possibility.