The American film industry is one of the world’s greatest cultural forces, and it is also the driving force of the entertainment industry as an oppressive machine. First of all, film forcefully incorporates people into the system of commodity fetishism and consumerism. The cinema, especially the industrial cinema, has a strong relationship with the commodity. Films are themselves commodities and they also constantly put commodities on display. When watching movies people are bombarded with an endless stream of images of commodities. From expensive cars, to fancy clothing, to shining jewelry, everything passes the spectators field of view. This silently incites the desire for these products and the spectator unconsciously develops a taste for them. The continuous display of commodities is a great example of what Marcuse and Baudrillard would describe as the creation of a system of false needs. The products do not necessarily have a high value, but because they are shown at such a frequent rate they automatically become desirable. This also applies to trivial commodities like certain brands of beer. Additionally, the type of commodities displayed in movies often are high valued, like the previously mentioned expensive cars and fancy clothing. The fact that the main characters in movies often own high-value commodities enforces the idea that these commodities signify things like affluence, success, or prestige. This causes spectators to develop a (false) need for these product