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Hollywood Highbrow
Author | : Shyon Baumann |
Publisher | : Princeton University Press |
Total Pages | : 242 |
Release | : 2018-06-05 |
Genre | : Performing Arts |
ISBN | : 0691187282 |
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
San Francisco's literary frontier
Author | : Franklin Dickerson Walker |
Publisher | : |
Total Pages | : 400 |
Release | : 1943 |
Genre | : American literature |
ISBN | : |
History of Santa Clara County, California
Author | : Eugene Taylor Sawyer |
Publisher | : |
Total Pages | : 1904 |
Release | : 1922 |
Genre | : California |
ISBN | : |
Kwan-yin
Author | : Stella Benson |
Publisher | : DigiCat |
Total Pages | : 18 |
Release | : 2022-06-02 |
Genre | : Drama |
ISBN | : |
"Kwan-yin" by Stella Benson is an intense one-act play presenting two acolytes and four priests worshiping before an altar of the Goddess Of Mercy. Do they, however, hear her voice when she answers? Or are they too preoccupied with their very own sound? Excerpt: "A woman's voice again sings, unheeded, from behind the veil of smoke. Wherefore plead with death? Who shall soften the terrible heart of death? All, in urgent but slow unison: Kwan-yin. Kwan-yin. Kwan-yin. Kwan-yin. The golden face of Kwan-yin above the altar changes suddenly and terribly, and becomes like a masque of fear. The lanterns flare spasmodically. The voice can now be identified as Kwan-yin's, but still the priests stand unhearing with their heads bowed, and still the passionless bell rings. Kwan-yin, in a screaming voice: Ah, be still, be still.... I am Kwan-yin. I am Mercy. Mercy is defeated. Mercy who battled not, is defeated. She is a captive bound to the chariot of pain. Sorrow has set his foot upon her neck. Sin has mocked her. Turn away thine eyes from Mercy, From poor Mercy. Woo her no more. Cry upon her no more."