Cultural Subversion Quotes

I tell myself I use art to promote dissent, but maybe I am just using dissent to promote my art. I plead not guilty to selling out. But I plead it from a bigger house than I used to live in.

For cultural invasion to succeed, it is essential that those invaded become convinced of their intrinsic inferiority.

He is, I think, already pondering a magisterial project: that of buggering the English language, the ultimate revenge of the colonialised.

I did my Doctorate on the House Un-American Activities Committee's effect on the American theater.

Ever since Romanticism, an oppositional mode, artists have the right, and indeed the duty, to attack social convention. But it is ridiculous and in fact self-infantilizing for them to expect to be financially supported by the general public whom they are insulting.

First, you have stereotypes, and that will be the black drug dealer, the east Asian kung fu master, the Middle Eastern terrorist in 'True Lies.' Then you have stuff that takes place on culturally specific terrain, that engages with it, but actually subverts assumptions. 'Smashes' stereotypes. That's where I've come into the game.

The conquest of cultural power comes before political power and this is achieved through the concerted action of intellectual ‘organic’ call-outs. Infiltrated into all of the communication, expression, and academic media.

The time-honored role of the artist [is] to speak truth to power.

I don't want to speak for my movies; you could say my movies are just completely silly and dumb, but in the case of 'Idiocracy' and 'Borat,' without a doubt there is a really subversive and sophisticated assault on American culture.

I did exhibitions with the Surrealists (in Paris, in 1929) because their attitude revolted against 'art' and their attitude toward life itself was wise, as was Dada's.

The Nazis hated culture itself, because it is essentially international and therefore subversive of nationalism. What they called Nazi culture was a local, perverted, nationalistic cult, by which a few major artists and many minor ones were honored for their Germanness, not their talent.

Out of the closets and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief…. Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité, the sterile and assertive ego that imprisons us as it creates. Vive le vol-pure, shameless, total. We are not responsible. Steal anything in sight.

The idea is to make the script out of a political analysis and then to convey that - sometimes in poetry, sometimes science, sometimes all it takes is a film. The film itself is less and less spectacular because I think very strongly now the more spectacular you are, the more you are absorbed by the things you are trying to destroy.

All the world's a stage. P.T. Barnum: It becomes a circus. But circuses or street pageants or parades have always been useful in a society.They've always been useful as a way of critiquing power. The carnivalesque has always been useful as a way of the powerful being mocked in a public space.

Whoever desires to remain faithful to Jesus must communicate faith as he did, not by compelling assent but by presenting it as a true answer to basic thirst. Rather than looking back nostalgically on a time when Christians wielded more power, I suggest another approach: that we regard ourselves as subversives operating within the broader culture.

Identity politics includes the assertion of difference from ‘the West’, and the defenses against cultural invasions and ‘pollution’ by Western styles. The insistent emphasis on this theme is accompanied by its flagrant but largely unacknowledged subversion in everyday activity and styles, from dress, to food to music and entertainment, to media consumptions, to public spaces and general consumption patterns. While McDonald’s is boycotted because it is American, native fast food chains emerge which are direct imitations; the boycott of Coca Cola spawns Mecca Cola.

I don't want to speak for my movies; you could say my movies are just completely silly and dumb, but in the case of 'Idiocracy' and 'Borat,' without a doubt there is a really subversive and sophisticated assault on American culture. It's one thing to mess stuff up and break stuff, but [Borat] is really pointing out the ideology of America. It's one thing to break stuff and damage people's possessions, but when you start aiming at the ideology of America, that's dangerous comedy.

'Adbusters' is my favourite reading material, so as soon as you go there, the synapses start firing in a different way. You start taking on things that sometimes I feel are out of our control. That's what basically fuels my creative side.

Parody by itself is not subversive, and there must be a way to understand what makes certain kinds of parodic repetitions effectively disruptive, truly troubling, and which repetitions become domesticated and recirculated as instruments of cultural hegemony

When a man loses superiority, he loses potency. That's what all this talk about castrating women is about. Castrating women are those who refuse to pretend men are better than they are and better than women are. The simple truth - that men are only equal - can undermine a culture more devastatingly than any bomb. Subversion is telling the truth.

Political art - not always a contradiction in terms - can destroy institutions, or eat away at them.

We all need a splash of bad taste. No taste is what I am against.

It is not the office of art to spotlight alternatives, but to resist by its form alone the course of the world, which permanently puts a pistol to men's heads.

Literature is dangerous: it awakens a rebellious attitude in us.

Perversity is the muse of modern literature.