By Greg Taylor
Gone with the Wind an notion for the yankee avant-garde? Mickey Mouse a very important resource for the advance of state of the art highbrow and aesthetic principles? As Greg Taylor indicates during this witty and provocative booklet, the assumption isn't so far-fetched. one of many first-ever reviews of yankee movie feedback, Artists within the Audience exhibits that movie critics, starting within the Forties, became to the films as uncooked fabric to be molded right into a extra radical modernism than that provided by means of the other modern artists or thinkers. In doing so, they provided readers a leading edge substitute that reshaped postwar American tradition: nonaesthetic mass tradition reconceived and refashioned into wealthy, in my opinion proper paintings via the attuned, inventive spectator.
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Additional info for Artists in the Audience: Cults, Camp, and American Film Criticism.
During the whole of the operation just MOVIES TO THE RESCUE 25 described, the chariot (formed of rods of emancipated metal) recites, as we have seen, its litanies . . while at the same time performing a to-and-fro motion along its gutter. (1991, 128) Such a clearly creative, poetic critical approach to surrealist art could be readily accepted because such works seemed to openly invite participatory input, even interpretive reverie; as James John Sweeney remarked about Tanguy, “he sets the stage and we dream onto it” (1991, 48).
I daresay there is some good (perhaps not art) even in the run-of-the-mill Hollywood output; how much more so in these authentically produced, deftly acted, and altogether competent films? (Max Bart)1 M ANNY FARBER may have read Mr. Bart’s letter to the editor of the Nation with some confusion. Was he being accused of having too much taste, or not enough? It was not the first time Farber had been assailed in print. One disgruntled New Republic reader had charged him with harboring the absolute standards of a ranting “old Granny” (Kelly 1943, 121).
But . . the very boundaries of an art produce its most basic advantages. In the movies the basic advantage is the movement of visual images, which the cameras, players and technicians make possible. . In the peculiar quality of each image, and the movement created by their succession, exists the particular expression of each artist, the human breath and thumbprint Mr. Rice says isn’t there. . Mr. Rice is looking at one art through the eyes of another, or he would not be blind to a real spontaneity peculiar to movies, the lack of which he insists on.
Artists in the Audience: Cults, Camp, and American Film Criticism. by Greg Taylor