Regular readers of this blog know that I take seriously the idea that representations of the economy are regularly produced and disseminated in many different forms and social sites. They are generated, of course, within the discipline of economics as well as by official (degreed) economists in think tanks, financial institutions, the media, and elsewhere. But, I argue, economic representations are also created and circulate outside economics—in a kind of Bakhtinian carnival—in academic departments other than economics (from anthropology to cultural studies) and outside the academy itself (in painting, film, graffiti, music, cartoons, and so on).
Some of these alternative economic representations I’m aware of. But there are many others I’m not. One of them showed up in a recent piece on “Feeling Let Down and Left Behind, With Little Hope for Better,” on the role of an e-cigarette shop in Wilkes County, North Carolina.
Lonnie Ramsay, 45, walked in looking for help. He described a nasty falling-out with his girlfriend and said he just wanted to get home to a nearby city. But he only had $25 to his name. He said he had been making $10 an hour at a factory.
One Friday afternoon someone brought a pair of virtual reality goggles hooked up to a laptop to the shop. Mr. Foster exhaled a cloud that smelled like a Popsicle. He said he had been reading up on the idea, explored in the “Zeitgeist” movie, of a “resource-based economy” — a system in which, he said, “There’s no money and everything is controlled by computers and resources are equally distributed and there’s no ownership or anything like that.”
“The system we have now is going to collapse,” he said. “And technology, the automation process, is going to keep taking over and over.”
That, he said, would free up people to do what they wanted.
Chris Lentz, 36, a worker for a utility company in a pair of mud-caked boots, frowned and asked, “If people were just given everything they ever needed, then what’s the point of going to work?”
And so it went: the thick, sweet haze; the frustrations, diversions and digital toys; and the sense, in this jagged, hyperconnected moment, that everything is possible, or nothing is.
The essay itself is a representation of the economy—of an America riddled with economic anxieties, based on the “Fear that an honest, 40-hour working-class job can no longer pay the bills.”
And then, in the midst of that representation, there’s another: a reference to the Zeitgeist film series, especially (I am guessing by the quotations) the second film, Zeitgeist: Addendum from 2008. It was produced and directed by Peter Joseph, as a sequel to the 2007 film, Zeitgeist: The Movie. (There’s a third installment, Zeitgeist: Moving Forward, which premiered in 2011.)
What I find interesting about the film is less the conspiracy-driven analysis of the monetary system and the Federal Reserve (although there’s a certain validity to the idea that people are forced to have the freedom to sell their ability to work in order to pay off their debt) than the argument that capitalism perpetuates the conditions it claims to address and that it’s possible to imagine a different economy, one that puts environmental friendliness, sustainability, and abundance as fundamental economic and social goals. Zeitgeist offers a particular representation of the economy as it is and how it can be made better, in a manner that runs directly counter to the representations offered by most official economists in the United States.
That and the fact that the film has been viewed on Youtube over half a million times.