GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
The Way
BBC iplayer
“I’M mad as hell and I’m not going to take this any more,” about-to-be-fired news anchor Howard Beale screams in a television rant, urging everyone to go to the window and yell the same thing.
This scene from the film Network, much honoured and claimed to be prescient, in fact represents simply mindless ungrounded fear, vaguely articulated, not drawn from the specific material aspects of people’s lives and thus open to a kind of manipulation that can easily be converted into simple resentment and will become the basis of today’s populism.
Unfortunately, just such ungrounded impulses, after 45 years of devastation wrought by Reagan/Thatcher et al’s austerity and neoliberalism, are the basis of the BBC series The Way. It is a by-product of documentary film-maker Adam Curtis, who helped conceptualise the three-part series, who contributes not inconsiderable strengths (such as tracing advertising industry manipulation in The Century of the Self) but also glaring weaknesses (evidenced in the more recent anti-revolutionary, rabid anti-populism of Can’t Get You Out of My Head).
SETH SANDRONSKY recommends a production that looks back at the political Tinseltown in the mid-1970s when US cinema ‘didn’t pander to trends’
DENNIS BROE observes how cutbacks, mergers and AI create content detached from both reality and history itself
DENNIS BROE enjoys the political edge of a series that unmasks British imperialism, resonates with the present and has been buried by Disney
This plundering of the archive tells us little about reality, and more about the class bias of the BBC, muses DENNIS BROE



