Home is Where the Capital is: The Culture of Real Estate in an Era of Control Societies

Hanan, Joshua S.

doi:10.1080/14791421003759166

Cited by 24 publications

(11 citation statements)

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“…In the space of this essay, I can only begin to weave together the biological and technical webs that might connect Colorado and Oregon to Laos and China, but I will end this section by highlighting the willful denial of complexity and complicity through the marketing of economic prosperity (cf, Hanan, 2010). Every element used in construction, every structure, every surface, has been classified and weighed for its economic value in producing marketable product for a niche market, and this tidiness sells.…”

Section: Captive Neighborhoodsmentioning

confidence: 99%

Wild Cosmopolitanism, Wily Oscillations in Artificial Neighborhoods

Ackerman

2020

Poroi

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Might it not be the contrast between the impassive stones and such disturbances, which convinces people that, after all, nothing has been lost, for walls and homes remain standing?-Maurice Halbwachs, On Collective Memory, 1925/1992 He then punched the stucco frame about the door to the sacristy. A piece of stucco fell off. "See?" he said. He punched it again, casually… "Look, this place is really old! At least a hundred years. These chunks come off easy!"-Alfredo at the church of La Manga, Chile as witnessed by Gastón Gordillo, Rubble, 2010 Cosmopolitanism has garnered renewed critical attention by questioning the disposition to travel without risk and full of entitlement in mind, body, and spirit to faraway places, and now to foreground struggles over ordinary existence within new arrangements of imperial power. For the cultural critic Paul Gilroy (2005), living equitably, respectfully, and clutching a "cosmopolitan hope" turns on the refutation of "state-centeredness and its attractive vernacular style" (p. 67). Vernacularity has itself been routinized and monetized and now a "vulgar" or "demotic cosmopolitanism becomes necessary to estrange oneself from dominant culture and history. Instead of resting easy with open information borders, global markets, and exported democracy, we must learn how to live with "exposure to others" and to push back against a "universalist rhetoric. (Gilroy, 2005, p. 59)

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Section: Captive Neighborhoodsmentioning

confidence: 99%

Wild Cosmopolitanism, Wily Oscillations in Artificial Neighborhoods

Ackerman

2020

Poroi

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“…. neoliberal housing policies and brought to completion the immanent link between homeownership, subjectivity, and exploitation” (Hanan 2010, 186–87; see also Béland 2007). As I have argued elsewhere, by looking into the homes of the people who sell homes, the original Arrested Development satirizes the financialized subjectivities on display in the dysfunctional lives of the Bluths and their real-estate company: “The Bluths’ model home metonymically echoes the unhealthy housing market: both the Bluth home and the housing bubble were deceptively constructed for maximum profit and both proved to be dangerously unsound” (Leyda 2016, 165).…”

Section: Situating Arrested Development In Pre- and Post-crisis Contextsmentioning

confidence: 99%

Financial Times: Economic and Industrial Temporalities in Netflix’s Arrested Development

Leyda

2017

Television & New Media

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Arrested Development occupies an important place in twenty-first-century American television culture, both because of its peculiar positioning as a "before" and "after" snapshot of the housing crisis, and because its experimental revival (Netflix's first) occasioned a similar set of obstacles to those that plagued the original series. As a representation of and an instance of the financialization of domestic space, this series about the failures of a wealthy family itself courts failure as a complex and innovative television narrative.

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“…In the years surrounding the financial crash of 2008, in which the inflation, devaluation and re-inflation of real estate figured prominently, real estate shows became a notable presence on lifestyle networks in North America, constituting part of what Joshua Hanan (2010) calls ‘the culture of real estate’ (p. 177; see also Bahney, 2004). Indeed, during this period, HGTV (Home and Garden Television) was credited with both inflating aspirations as a purveyor of ‘house porn’ and helping to moderate material desires in times of austerity (Rosenberg, 2008; Shimpach, 2012).…”

Section: Introductionmentioning

confidence: 99%

Property TV: Financialized femininity and new forms of domestic labour

Druick

2017

European Journal of Cultural Studies

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This article argues that melodrama plays an important role in shaping the ambivalent narratives of property TV. Using the HGTV Canada show Buy Herself as a case study, the article considers the rise of what amounts to a new women's genre as an attempt to frame and contain gendered experiences of the financialization of the domestic sphere. Positioning the show within neoliberalism's faux feminism and superficial discourse of diversity, the article posits that the focus on the melodramatic struggles of real estate buyers in the reality genre of property TV brings to the fore anxieties and contradictions incited by the neoliberal imperatives to reframe the domestic sphere as real estate investment and normalize debt.

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Home is Where the Capital is: The Culture of Real Estate in an Era of Control Societies

Cited by 24 publications

References 0 publications

Wild Cosmopolitanism, Wily Oscillations in Artificial Neighborhoods

Wild Cosmopolitanism, Wily Oscillations in Artificial Neighborhoods

Financial Times: Economic and Industrial Temporalities in Netflix’s Arrested Development

Property TV: Financialized femininity and new forms of domestic labour

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