Alex Tabarrok escribe en el Wall Street Journal sobre la relación amor-odio entre los artistas de Hollywood y los capitalistas que los financian.
Hollywood's anti-capitalism is not accidental. It stems from three sources: the rage of directors and screenwriters against their own capitalist backers, the difficulty of using a visual medium to depict the invisible hand, and an ethical framework which Hollywood shares with most of our culture that regards self-interest as inherently immoral or, at best, amoral. (...)
Painters don't resent the capitalists who sell them paint, because they don't need their backing. But filmmakers need capitalists for financial support, and so their resentment toward capitalists is especially strong. University of Illinois law professor and movie analyst Larry Ribstein has written a paper arguing that filmmakers enter "a Faustian deal" in order to produce their art. Filmmakers see themselves as selling a part of their artistic soul to make their movies, and naturally they rage against the devil doing the buying. It doesn't take a Freud to see that some of this rage comes pouring out on the screen.
Recomiendo leerlo entero. Como ejemplo de producto audivisual que describe bien el mercado (aunque no puede evitar las connotaciones negativas habituales) Tabarrok propone The Wire, una serie de cinco temporadas ("dos horas no son suficientes para explicar la red de interacciones que constituye un mercado") que gira en torno al mundo de la droga.