Marxism In Office Space

The 1999 film, Office Space is contingent with both Marxist and Weberian theories in regards to the institution of work. In modern America, the general consensus regarding work is that it is a necessary evil—an obligation. Under the guidance of American capitalist ideology, the institution of work is not only a civic duty but a responsibility that society owes itself. Concepts from Weber’s The Protestant Ethic and the Spirit of Capitalism have a constant presence in Mike Judge’s film. As such, the main characters react to their alienation and exploitation with micro-level Marxist acts of revolution. This is quite obviously a Marxist and Weberian comedy and there are many ways to analyze the influential concepts of both theorists in the film,
The system buys his workplace loyalty at some point, socializing him to the corporate culture. Meanwhile his co-workers, Michael and Samir (and various others) are set to be terminated. Luckily, Peter’s loyalty remains with his co-workers, giving way to class consciousness. This is when the use of gangster rap begins to reach its influential height in the film. 90s West Coast gangster rap has its roots in a specific counterculture; one that is far removed from mainstream American ideology. It is essentially the polar opposite of the film’s suit-and-tie bureaucratic office setting. The main characters (middle-class, suburban-raised, mostly Caucasian) would never comfortably step foot in the West Coast setting where the soul of this music is produced. This fact only stresses the comical juxtaposition. But it is more than comical commentary. It’s social and in this case revolutionary. The gangster rap soundtrack is used whenever the three main characters are enacting their plans against the system that dehumanizes, infantilizes and alienates them. In this context, the music insists upon the dismantlement of an alienating capitalist work ethic. If one listens closely to the lyrics of the songs used in these various key scenes, they will discover a sharp correlation and a
This is a victory track to Peter. The lyrics deconstruct the idea of the typical gangster or hustler and redefines it. The song then applies these negative stereotypes of a gangster to those in power of America. It is quite literally a satire that illustrates how those in power of this capitalist work force are the real destructive gangsters. It coalesces with the montage perfectly in that it establishes a new way of being a “gangster” that does not involve all of the negative attributes; it is an alteration of the work environment and the institution of work altogether, at least in the context of the film. Another iconic scene uses Ice Cube’s “Down For Whatever” in which the three main characters exchange the virus-filled computer disc that will finally enact their plan to drain money from their company’s account. Much like the song, this scene, while comical implies that the three characters have established a bond in making a revolutionary move against the system. In this action, they have more or less sealed that they too are “down for whatever” as it regards actualizing some