This article by Alan Woods looks at how the French Revolution affected British poets. It struck Britain like a thunderbolt affecting all layers of society and this was reflected in its artists and writers.

Wolfgang Amadeus Mozart is considered by many as the greatest musician of all time. He was revolutionary in more senses than one. One of his main achievements was in the field of opera. Before Mozart, opera was seen as an art form exclusively for the upper classes. This was true not only of those who went to see it, but also of its dramatis personae - the characters who were shown on the stage, and especially the protagonists. With The Marriage of Figaro (Le Nozze di Figaro in its original Italian title), all this changes. This is the story of a servant who stands up to his boss and outwits his master.

The neo-noir classic Chinatown was released 50 years ago. Despite the controversy surrounding its disgraced director, Roman Polanski, its complex themes and impeccable technical craftsmanship retain all of their impact today. The film is a product of a brief renaissance in 1960s-70s Hollywood, an era that hints at what can be achieved when artists are allowed to freely pursue their ambitions. This period also highlights the contradictions imposed on art by a society enslaved by the market, and poisoned by exploitation.

We publish here the editorial of issue 46 of In Defence of Marxism magazine, which looks at the relationship of culture, and art in particular, to the struggle for socialist revolution and human emancipation. In this editorial, Alan Woods dismantles the lazy caricature of Marxism as unconcerned with the rich cultural and artistic history of humanity. Issue 46 of In Defence of Marxism magazine is available now! Get your copy here.

Issue 46 of In Defence of Marxism, the quarterly theoretical journal of the Revolutionary Communist International is now available for purchase! Click here to get your copy. This issue deals with the very important question of the relationship of culture, and art in particular, to the struggle for socialist revolution and human freedom.

Konstantin Stanislavski is perhaps the greatest and most influential figure in the history of acting. His comprehensive system of training has dominated the world of theatre and film from the early 20th century until today.

Following the article on James Joyce’s Ulysses, published in issue 39 of In Defence of Marxism magazine, Hamid Alizadeh of the IDOM editorial board writes on Joyce’s Dubliners: a masterful critique of the paralysis, hypocrisy and alienation of Irish bourgeois society in the 20th century, which epitomised the ferment brewing in Ireland in the years prior to the Easter Rising of 1916.

Today, 8 November, marks 400 years since the publication of the first volume of Shakespeare’s collected plays, known as his “First Folio”. Published seven years after his death, the First Folio included 36 of his works – from “The Tempest” to “Macbeth” – many of which had never been published and would otherwise likely have been lost.

In this article, published in issue 39 of In Defence of Marxism magazine last autumn to celebrate the book’s centenary, John McInally looks at James Joyce’s revolutionary novel Ulysses, challenges the view that it is apolitical, and explains why it should be on your reading list.

The year is 2018. At the prestigious Christie’s fine art auction in New York City, a blurry portrait of a besuited gentleman hangs alongside an Andy Warhol print and a bronze sculpture by Roy Lichtenstein. It is titled: ‘Edmond de Belamy, from La Famille de Belamy’. An anonymous phone bidder purchases the portrait for a whopping $432,500, against an initial estimate of $7,000-$10,000. At the bottom of the frame, rather than a signature, there is a line of code. It was not produced by human hands, but by an artificial intelligence (AI).

The Godfather was released 50 years ago today. The film remains a masterpiece to this day, brilliantly depicting the ruthless logic of capitalism. But the third instalment of Coppola's trilogy reveals the suffocating effect of profit on cinema.

The Russian Revolution ushered in a flowering of creative expression in all the arts, but particularly cinema, which was advanced to new heights by the likes of Dziga Vertov and Sergei Eisenstein, who regarded film as a weapon of class struggle. Despite being cut short by the Stalinist degeneration of the regime, the legacy of October in the field of filmmaking continues to be felt to this day.

“Man does not live by politics alone – and [we must] never forget it in our propaganda, written or spoken,” wrote Trotsky in 1923. Marxism is often accused of being a lifeless ‘dogma,’ engaging purely in economic analysis. However, as Alan Woods explains in the #IMU22 session ‘Marxism and Art: Unshackling Culture from Capitalism,’ human lives would be meaningless without artistic expression. Rescuing culture and raising it to a higher level for future generations is an essential task of the class struggle.

We are delighted to be able to announce that the Iranian Exit Theatre Group based in Tehran has translated the article “Shostakovich, the musical conscience of the Russian Revolution” by Alan Woods into Farsi. This is an important and welcome development, which will make the really revolutionary content of Shostakovitch’s life and work known to a broader audience.

What does Marxism have to say about cinema? Quite a lot in fact. For over a century now cinema has existed as a primary tool of social communication within society: one aimed directly at the people rather than an elite, reaching audiences far beyond anything previously conceived. From this has flowed TV, video, DVD, streaming and more - all features of our daily lives.