Goofy libertarianism is not attractive to creative types, as far as I can see. I mean, Red Dawn or The Fountainhead have their points, but I would not call them "great." Romanticism is much more appealling, see, e.g., GWTW. So is noir. Although originally a left or even commie creation, it can take a distinctly fascistic bent. Sam Fuller's great Pickup on South Street. Fritz Lang (himself a leftist's wonderful The Big Heat -- although that's more individualistic, maybe.
--- On Sun, 2/15/09, Matthias Wasser <matthias.wasser at gmail.com> wrote:
> From: Matthias Wasser <matthias.wasser at gmail.com>
> Subject: Re: [lbo-talk] 'great' 'conservative' movies
> To: lbo-talk at lbo-talk.org
> Date: Sunday, February 15, 2009, 9:33 PM
> >
> > That said, one of the remarkable things about
> aesthetics in the age of
> > neoliberalism is how often progressive politics goes
> hand in hand with
> > great art, whatever the genre: Hayao Miyazaki, Heiner
> Mueller, Mahasweti
> > Devi, Orhan Pamuk, etc.
> >
>
> Is that really a remarkable fact about our age? It was my
> recieved
> impression that artists' politics have tended
> progressive at least
> since this whole modernity thing got rolling - not that
> there haven't
> been plenty of brilliant conservative artists, too, but
> that's no less
> true today.
>
> Hmm. Maybe it is a little truer today, in that the death of
> romantic
> European conservatism ended a form of right politics for
> creative
> types (goofy libertarianism might provide the best
> substitute
> here...?)
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