Performative Representation of Working-Class Laborers: They Work Hard
for the Money is a transdisciplinary anthology intersecting art theory
praxis, comparative literature, film & media studies, performance art,
ethnic studies, gender studies, age & aging, geography, and labor
studies. The book investigates and analyzes artwork created by artists or
collectives working within the dialogue of Postmodernism and current
global arts production. The focus on performative aspect of labor
as art and affect becomes more sensate and less about the exploited body
of labourers, liberating the representation of waged bodies and
further diversifying the field of Working-Class Studies.
Table of Content
1. Introduction.- 2. Performative Representations of Working Class Labour as Language Games - Jennifer Vanderpool.- 3. “Just coal seams and heartbroken miners” – Poetic Representations of the 1984/85 Miners’ Strike in (Post-) Industrial South Yorkshire - Ryan Bramley.- 4. The Feminine Mystique and Reproduction Work: Anarchiving Labour Representation at EYE Film Museum - Paula Albuquerque.- 5. Have You Ever Heard of Surplus Value? The Hard Work of Representing Sex Work - PJ Starr.- 6. Precarious, Heroes and The Art of Cleaning: Reading “Cleaning Women.” - Annika Olsson.- 7. ‘Raising the Red Rag’ – Recontextualizing Working Class Women’s Labour through Nightcleaners (1975) and ’36 to ’77 (1978) – Colin Gardner.- 8. The opposite of looking is not invisibility. The opposite of yellow is not gold - Hu’o’ng Ngô & Hông-Ȃn Tru’o’ng.- 9. You Don’t Have to Believe Me - Farrah Karapetian.- 10. Real Work: Affective Labour and Reality Television. – Alexis Hudgins.- 11. Political Remix Video and the Working Class: Broadcasting Voices of Resistance - Diran Lyons.- 12. Puffins, Porgs, Labour, and Lightsabers: Production and Consumption of Cultural Space on the Skellig Coast of Ireland - Jake Rowlett.
About the author
Jennifer Vanderpool holds a Ph.D. in Art Critical Practices in Trauma Studies from UC Santa Barbara. Her work has been awarded funding from DéPOT in partnership with the Social Science and Humanities Research Council of Canada, Andy Warhol Foundation for the Visual Arts, US-UK Fulbright Commission, Los Angeles Department of Cultural Affairs, Ohio Arts Council, Kunstrådet: Danish Arts Council, Kulturrådet: Swedish Arts Council, and Malmö Stad.
Colin Gardner is a Distinguished Professor Emeritus at UC Santa Barbara. His publications include Chaoid Cinem
a: Deleuze and Guattari and the Topological Vector of Silence (2021), exploring the use of silences and sonic drop-outs in sound films. This builds upon his previous book, Beckett, Deleuze and the Televisual Event: Peephole Art (Palgrave Macmillan, 2012). He co-edited Deleuze and the Animal and Ecosophical Aesthetics: Art Ethics and Ecology with Patricia Mac Cormack.
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