Word: proletariat
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Dates: during 1970-1979
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...Spanish Communist leader goes much further: he flatly rejects the Soviet Union as a model for Western European Communism, calling instead for a socialist but democratic Western Europe that is dominated by neither the Soviet Union nor the U.S. He examines the concept of the dictatorship of the proletariat and finds it undemocratic. In short, he gives the Soviets plenty to get angry about...
...certain skepticism about the sincerity of declarations of independence which coincide so precisely with electoral self-interest. One need not be a cynic to wonder at the decision of the French Communists, traditionally perhaps the most Stalinist party in Europe, to renounce the Soviet concept of dictatorship of the proletariat without a single dissenting vote among 1,700 delegates, as they did at their party congress in February 1976, when all previous party congresses had endorsed the same dictatorship of the proletariat by a similar unanimous vote of 1,700 to nothing...
...constitution contains a section defining Soviet foreign policy, which it says is in favor of peace and "broad international cooperation." The constitution also proclaims that a "fully developed socialist society has been built in the U.S.S.R.," the nation having graduated from the earlier "dictatorship of the proletariat...
...Fassbinder's love of camp as well. Mother K.'s daughter is seen almost exclusively through mirrors, applying lipstick, mascara, brushing her hair back in the mirror or a car floating eerily through blue space. Traditionally in cinema such mirror shots lay bare the unconscious bourgeois fantasies of the proletariat. Fassbinder understands this and makes exceptional use of the image to emphasize his belief that "All classes betray their own character and favor the next higher. That's why we can wait a very long time for a real revolution in this world...
...showing specifically how change can be effected. His politics must be uncompromising. Fassbinder, on the other hand, is only interested in citing in justices. He compromises his ideology in order to please a large audience. His mistake is in seeing film as a medium for reaching the middle-aged proletariat masses. Fassbinder expects these people to create their own radical realism. Ultimately he is too optimistic about the breadth of his viewing public and too pessimistic about revolutionary methods...