Film, theater and song in community
Defining community as “people with common interests” does not reflect competing interests, individual’s joys, group conflicts, social contradictions and ideological differences, all of which characterize the complexities of a society. Nor does it posit the juxtaposition of elements conducive to change. “Art is always and everywhere,” wrote Karl Marx, “the secret confession, and at the same time, the immortal movement of its time.” Art forms divide into two main categories: one communicating viscerally through the senses, the other adding language with visceral impressions. Emotional response and literal perception take hold. Film, theater, song and literature, all word inclusive, are more explicit in addressing the social content of the human condition. Literature as an art relies strictly on language, expanding horizons and painting with words. This is not to deny the effectiveness of all forms of art which in varied degrees stimulate sensual and cerebral response. As a professor of Marxist Political and Economic Science for over 50 years, we have learned that the objective in all art forms to advocate social change must contain substantive argument buttress by personal and emotional identification. Of course Bernard Shaw, the English playwright, leads our list of social advocates that includes scores of national theaters with particular prominence in Japan, South Africa, India, Brazil, etc. “Through the movies,” wrote Leo Rosten, “a Frenchman remarked, the United States had affected the cultural colonization of the world.” This very year, a two part film on Che Guevera won first prize at the Cannes Film Festival, yet cannot find a USA distributor. In the McCarthy period (1950’s) the “ Hollywood Ten” were banned, yet one of them earned an Oscar under a sydunym. Since the 1960’s films have emerged developing a new type of social criticism that reflects cultural Marxism in the model of the German Frankfurt School. Imagine today a leftist agit-prop theatrical company isolating itself with socialist slogans in the midst of Obama campaign supporters. The USA far-right would savor such historical “confusionism” and the failure to join in pressing foe the restoration of democracy and the New Deal Social Security System.
For fifty years, Sidney J. Gluck has pursued concurrent careers in business, education, the arts and public interest advocacy. He was educated in Business Administration, Political Economy and Philosophy and Textile Technology, Design and Art. He formed Malibu Textiles after WWII in which he served as an innovator developing nylon parachute fabric, glass fiber fire-retardant wall-coverings for battleships, glass fiber and epoxy molded for bulletproof vests (now used in small craft) and coated glass fiber screening to replace copper. As a specialist in elastic fabrics, he created the nylon/antron/spandex generic used in swimwear. He holds several patents. As a consultant, he served Canadian Celanese, Burlington - Textiles Morelos de Cuernavaca, Darlington Fabrics London-based Staflex International (fusible interlinings, as President/CEO, established US branch) and Kravet Fabrics, decoratives for home and institutions. Was a member of the American Association of Textile Colorists and Chemists (AATCC). He is a retired member of the Social Science Faculty of the New School for Social Research and has also taught at Parsons School of Design, Fashion Institute of Technology and the New York School of Interior Design. Currently President of the Sholom Aleichem Memorial Foundation; a member of the Eastern Economic Association (EEA) and Co-Chairman of the US-China Society of Friends. He hosts a public access TV show in New York on Pacific Rim News Review in its seventh year. In 2001/2002 Mr. Gluck promulgated a New Energy Policy for the USA advocating safe and renewable energy sources to replace deleterious oil and coal fossil fuels. It is now circulating worldwide.