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Artists in the Audience

Cults, Camp, and American Film Criticism

Greg Taylor

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Princeton University Press img Link Publisher

Sozialwissenschaften, Recht, Wirtschaft / Medienwissenschaft

Beschreibung

Gone with the Wind an inspiration for the American avant-garde? Mickey Mouse a crucial source for the development of cutting-edge intellectual and aesthetic ideas? As Greg Taylor shows in this witty and provocative book, the idea is not so far-fetched. One of the first-ever studies of American film criticism, Artists in the Audience shows that film critics, beginning in the 1940s, turned to the movies as raw material to be molded into a more radical modernism than that offered by any other contemporary artists or thinkers. In doing so, they offered readers a vanguard alternative that reshaped postwar American culture: nonaesthetic mass culture reconceived and refashioned into rich, personally relevant art by the attuned, creative spectator.

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Schlagwörter

Highbrow, Cult following, Film Culture, Narcissism, Art for art's sake, High culture, Genre, Surrealism, Melodrama, ADAPT, Art critic, Fine art, Electra complex, Art, Narratology, Popular culture, The Cameraman, Art criticism, A Man to Remember, Aestheticism, Dumbing down, Marcel Duchamp, Aesthetic Theory, Kitsch, Art film, Subtext, Theodore Dreiser, popular art, Sensibility, Fandom, Auteur theory, Manny Farber, Theory of art, Cubism, Narrative, Anamorphosis, Middlebrow, Abstract expressionism, Acting, The Erotic, Iconoclasm, Footage, Parker Tyler, Work of art, Criticism, George Herriman, Male gaze, Extravaganza, Robert Aldrich, Counterculture, Art movement, Luc Moullet, Avant-garde, Dziga Vertov, Lionel Barrymore, Sophistication, Filmmaking, Ideology, Romanticism, Artistic merit, Cultural critic, Modernism, Pop art, Media culture, Postmodernism, Highbrow (Transformers), Spectacle, Film criticism, The Critic as Artist, Film theory