I’ve written before about William Connolly’s notion of the evangelical-capitalist resonance machine, a description of the cozy relationship that’s developed between the economic right and the social-moralistic right over the last couple of decades in the U.S. It’s not merely an alliance of converging interests, since the two groups’ interests don’t always align with each other at all; nor is it only the kind of discursive alliance that poststructuralist analysts like Laclau & Mouffe describe with their notion of hegemony as a process of co-articulation of interests between differently positioned subject-groups. For Connolly, there is also a micropolitical level of resonance that takes in affect, feeling, sensibility, ethos, and other things taking place in pre- and sub-rational dimensions of individual and collective life. (The updated version of Connolly’s piece is found in his book Capitalism and Christianity, American Style.)
Michael Moore’s Capitalism: A Love Story, which I just saw a few days ago, is a good example of the effort to forge a popular alternative to that. Moore tries to work on both the cognitive-discursive and the affective levels to, in effect, forge a kind of Christian-socialist-populist resonance machine — Christian in that it explicitly and repeatedly invokes the Jesus of the gospels (in a kind of reclaiming of the “what would Jesus do” discourse of the evangelicals), socialist in the small-s sense of valuing public control of our institutions, and populist in the way its critical barbs are aimed at, well, mostly bankers.
(On the Christian bit: see Moore’s interviews with Sean Hannity, rounds one and two, where the two tangle, sometimes in a friendly way, sometimes less so, over which of them carries Christianity in their heart (among other things). It makes for fascinating viewing…)
(And on the ‘socialism’: Every political-economic system in the developed world includes some mixture of small-s socialism and small-c capitalism, i.e., some combination of public and private ownership, management, and/or oversight of institutions, where “public”, in a democratic context, means by elected officials and “private” means by individuals or corporations pursuing their own goals. The difference is in how the lines are drawn between the two, with the U.S. erring on the side of minimizing the public role and most other countries seeking greater balance. Moore comes in somewhere in the middle of this spectrum, but what he explicitly advocates is not socialism but democracy — which is another word for public oversight with the details being determined according to what’s in the public interest, not in the interest of the wealthy few.)
As a result of its discursive-affective strategy (with part of the latter being citizen Moore’s persona) the film won’t convert the unconverted unless they’re already leaning in this direction. But he does present a handful of tasty informational morsels that will hopefully send some viewers to their computers — as they did me — to find out more about them. One of those interesting bits is the idea of “plutonomy,” which comes out of a piece of political analysis developed by a trio of Citigroup financial advisors in 2005, well before last year’s economic crash. Jodi Dean has helpfully posted the group’s report here, along with its follow-up, and I highly recommend reading them. “Plutonomy” is similar to “plutocracy” (rule by the wealthy) and “oligarchy” (rule by a dominant class), except that it is not the direct power of the wealthy as it is its economic force that drives things (thus the “-nomy”). Investopia defines plutonomy as