The Fredric Jameson essay on Dog Day Afternoon is a good reading. But one has to wonder whether Dog Day Afternoon's faux-hybrid documentary representations have in their time encouraged 1970s versions of the 1950s nostalgia film; wonder whether Jameson's tracing of the politics of those representations, adequate when the eve of capitalism had not revealed itself as our eclipse, have in their turn led to imitations (or corruptions, rather) by critics who reaffirm and champion the garbage politics and aesthetics of contemporary Hollywood productions. Under a darkened sky, the most impoverished of politicizations is enough.
Reevaluated. Is this the quintessential representation of Generation X disaffection and alienation brought to fiction film? That was Generation X, the last generation to exist before capitalist realism took off (from the 1980s and onwards). And so here is Taipei in the 1990s: a capitalist global hub with its symbols of Budweiser, 7-Eleven, Coca-Cola, etc. And then there are three characters who live among the abandoned aspirations which were the metropolis: a young woman who sells real estate, a young man who peddles clothes on sidewalks, and another who sells commercial ossuaries. Vive L’Amour indeed, but rarely has love been found in this city.