Alex Ling
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641130
- eISBN:
- 9780748652631
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641130.003.0012
- Subject:
- Philosophy, General
This concluding chapter sums up the key findings of this study on the relevance of Alain Badiou's philosophy for the analysis of cinema. It explains that of all the arts, cinema is without doubt the ...
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This concluding chapter sums up the key findings of this study on the relevance of Alain Badiou's philosophy for the analysis of cinema. It explains that of all the arts, cinema is without doubt the most universal, the most immediate and the most paradoxical, and argues that as a mass art, cinema speaks to humanity in a way that no other art is capable of. The chapter discusses Badiou's idea of cinema as an art that both thinks and rethinks, and suggests that this cinema has yet to appear.Less
This concluding chapter sums up the key findings of this study on the relevance of Alain Badiou's philosophy for the analysis of cinema. It explains that of all the arts, cinema is without doubt the most universal, the most immediate and the most paradoxical, and argues that as a mass art, cinema speaks to humanity in a way that no other art is capable of. The chapter discusses Badiou's idea of cinema as an art that both thinks and rethinks, and suggests that this cinema has yet to appear.
Alex Ling
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641130
- eISBN:
- 9780748652631
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641130.003.0007
- Subject:
- Philosophy, General
This chapter summarises the findings of the previous chapters into fifteen theses on impurification and cinema, listing the key characteristics of cinema as an art. It examines the disparate cinemas ...
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This chapter summarises the findings of the previous chapters into fifteen theses on impurification and cinema, listing the key characteristics of cinema as an art. It examines the disparate cinemas of Alfred Hitchcock and Jean-Luc Godard in terms of the peculiarly cinematic knot they tie between art and politics, and suggests that they both epitomise the idea of cinema being a mass art.Less
This chapter summarises the findings of the previous chapters into fifteen theses on impurification and cinema, listing the key characteristics of cinema as an art. It examines the disparate cinemas of Alfred Hitchcock and Jean-Luc Godard in terms of the peculiarly cinematic knot they tie between art and politics, and suggests that they both epitomise the idea of cinema being a mass art.
Nick Hayes
- Published in print:
- 1999
- Published Online:
- June 2013
- ISBN:
- 9780853237631
- eISBN:
- 9781846312489
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846312489.008
- Subject:
- History, British and Irish Modern History
This chapter analyses the program for factory concerts for workers initiated by the Council for the Encouragement of Music and the Arts (CEMA) in Great Britain during the war. The analysis indicates ...
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This chapter analyses the program for factory concerts for workers initiated by the Council for the Encouragement of Music and the Arts (CEMA) in Great Britain during the war. The analysis indicates that there is little evidence to support claims for the wartime emergence of a truly mass arts audience, that the diffusion of CEMA's product remained partial, and that the frequency of concerts remained low. This chapter argues that the idea of a war-enhanced cultural eclecticism, including a new audience for ‘good’ culture, was, and continues to be, widely exaggerated.Less
This chapter analyses the program for factory concerts for workers initiated by the Council for the Encouragement of Music and the Arts (CEMA) in Great Britain during the war. The analysis indicates that there is little evidence to support claims for the wartime emergence of a truly mass arts audience, that the diffusion of CEMA's product remained partial, and that the frequency of concerts remained low. This chapter argues that the idea of a war-enhanced cultural eclecticism, including a new audience for ‘good’ culture, was, and continues to be, widely exaggerated.
Ellen Willis
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816680795
- eISBN:
- 9781452949000
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816680795.003.0020
- Subject:
- Society and Culture, Cultural Studies
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably ...
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This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably more responsible than anyone else for obliterating the line between the avant-garde and mass art. As it happened, the shooting of Warhol had a political dimension, at least in Solanas’s mind. A couple of Warhol’s obituaries solemnly refer to Solanas as a member of a group called S.C.U.M., or Society for Cutting Up Men. Warhol, who once said “I like my paintings because anyone can do them,” died in 1987.Less
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably more responsible than anyone else for obliterating the line between the avant-garde and mass art. As it happened, the shooting of Warhol had a political dimension, at least in Solanas’s mind. A couple of Warhol’s obituaries solemnly refer to Solanas as a member of a group called S.C.U.M., or Society for Cutting Up Men. Warhol, who once said “I like my paintings because anyone can do them,” died in 1987.
Todd Berliner
- Published in print:
- 2017
- Published Online:
- April 2017
- ISBN:
- 9780190658748
- eISBN:
- 9780190658786
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190658748.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies, Criticism/Theory
Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The American film industry operates under the assumption that pleasurable aesthetic experiences, among ...
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Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The American film industry operates under the assumption that pleasurable aesthetic experiences, among large populations, translate into box office success. More than any other historical mode of art, Hollywood has systematized the delivery of aesthetic pleasure, packaging and selling it on a mass scale. If the Hollywood film industry succeeds in delivering aesthetic pleasure both routinely and, at times, in an outstanding way, then we should ultimately regard Hollywood cinema as an artistic achievement, not merely a commercial success. Hollywood Aesthetic accounts for the chief attraction of Hollywood cinema worldwide: its entertainment value. The book addresses four fundamental components of Hollywood’s aesthetic design: narrative, style, ideology, and genre. Grounded in film history and in the psychological and philosophical literature in aesthetics, the book explains: (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Offering a comprehensive appraisal of the capacity of Hollywood cinema to provide aesthetic pleasure, the book sets out to explain how Hollywood creates, for masses of people, some of their most exhilarating experiences of art.Less
Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The American film industry operates under the assumption that pleasurable aesthetic experiences, among large populations, translate into box office success. More than any other historical mode of art, Hollywood has systematized the delivery of aesthetic pleasure, packaging and selling it on a mass scale. If the Hollywood film industry succeeds in delivering aesthetic pleasure both routinely and, at times, in an outstanding way, then we should ultimately regard Hollywood cinema as an artistic achievement, not merely a commercial success. Hollywood Aesthetic accounts for the chief attraction of Hollywood cinema worldwide: its entertainment value. The book addresses four fundamental components of Hollywood’s aesthetic design: narrative, style, ideology, and genre. Grounded in film history and in the psychological and philosophical literature in aesthetics, the book explains: (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Offering a comprehensive appraisal of the capacity of Hollywood cinema to provide aesthetic pleasure, the book sets out to explain how Hollywood creates, for masses of people, some of their most exhilarating experiences of art.
