Whenever a political aesthetics is to be determined, then alongside an over-evaluation of self-reflexivity, we can often observe a second, related reflex which takes it as self-evident that only those politically radical works of art should be treated whose modernist or avant-gardist autonomy is irreconcilable with the consumable commodity forms produced by capitalist mass culture. As I have already pointed out, 1970s film theory, in particular, constructed a monolithic Hollywood cinema whose ideological hegemony was to be opposed. If there is one theorist who can be used to counteract such anachronistic but still quite prevalent reflexes, then it is Fredric Jameson. Although he is a great advocate for all forms of European modernism, Jameson has always stressed the political forms articulated in Hollywood cinema. As Colin MacCabe pointed out in his introduction to Jameson’s book The Geopolitical Aesthetic, since apparatus theory’s over-evaluation of Godard, film theory has not advanced a single noteworthy attempt at a new political film aesthetics. That this is perhaps not entirely the case was demonstrated in the first part of the present book. Jameson, however, is indeed one of the few writers who has explicitly taken it upon himself to reformulate the relationship between film and politics, and, in doing so, to find a way out from the dogmatic dead-ends of 1970s theory.