The connection between Italian Futurism and fascism is well known. Alan Woods looks at the psychology of the Italian bourgeois and petit bourgeois intellectuals in the period before and during the First World War that gave rise to this singular phenomenon. It is an object lesson on how art and politics can become inextricably linked, and how this mixture arises from a definite social and class basis.

According to director Michael Moore, the film Bowling for Columbine paints a portrait of the United States, “a nation that seems hell-bent on killing first and asking questions later” at the beginning of the 21st century. Appealing to the likes of us, we thought, and this proved to be no false expectation. Apart from a film that grabs the spectator by the scruff of the neck, at times being tragic by the bare facts alone, Bowling for Columbine is above all a very humorous and enjoyable documentary about the American weapons industry, but also about the latter’s link with US foreign policy.

We publish here the transcript of a speech by Alan Woods on the subject of the relationship between Art and the Class Struggle. The speech was given at a Marxist Summer School in Barcelona (Spain), in July 2001.

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