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25 Remote Warehouse Film and Television- History and Criticism

Other titles in the Princeton Studies in Cultural Sociology series:

Hollywood Highbrow: From Entertainment to Art (Princeton Studies in Cultural Sociology)

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Hollywood Highbrow: From Entertainment to Art (Princeton Studies in Cultural Sociology) Cover

 

Synopses & Reviews

Publisher Comments:

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.

Synopsis:

"Hollywood Highbrow is a fine account of the process by which Americans came to view film as an art form. The book will be of great interest both to historians of film and to sociologists interested in how certain cultural products become respected and prestigious. Shyon Baumann is the first to address these issues broadly for the case of American film. He writes engagingly and the book is a good read."--Paul J. DiMaggio, Princeton University

Synopsis:

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.

About the Author

Shyon Baumann is assistant professor of sociology at the University of Toronto.

Table of Contents

List of Figures ix

List of Tables xi

Acknowledgments xiii

CHAPTER 1: Introduction: Drawing the Boundaries of Art 1

The Central Argument 3

How Do We Know What Art Is? 4

American Film History 7

The Social Construction of Art 12

The Creation of Artistic Status: Opportunity, Institutions, and Ideology 14

Outline of the Chapters 18

CHAPTER 2: The Changing Opportunity Space: Developments in the Wider Social Context 21

The First World War and Urban-American Life: Two Disparate Influences on Film Attendance in Europe and the United States 23

Post-World War II Changes in the Size and Composition of American Film Audiences 32

Summary 51

CHAPTER 3: Change from Within: New Production and Consumption Practices 53

Film Festivals 54

Self-Promotion of Directors 59

Ties to Academia 66

United States, England, Germany, Italy, and France: Changes in the Industrial and Social History of Film 76

Purification through Venue: From Nickelodeons to Art Houses 88

Prestige Productions 92

The Ebb of Censorship and the Coming of Art 97

The Crisis of the 1960s Forced Hollywood down New Paths 105

Summary 108

CHAPTER 4: The Intellectualization of Film 111

Early U.S. Film Discourse 113

The Intellectualization of Film Reviews: 1925-1985 117

Film Reviews Approach Book Reviews: A Comparison with Literature 133

1960s Advertisements Incorporate Film Review 137

Foreign Film: A Pathway to High Art for Hollywood 148

Cultural Hierarchy, the Relevance of Critics, and the Status of Film as Art 155

Summary 159

CHAPTER 5: Mechanisms for Cultural Valuation 161

Why a Middlebrow Art? 163

Film Consumption as Cultural Capital 169

An Emphasis on Intellectualizing Discourse 171

Integration of Factors 173

The Study of Cultural Hierarchy 174

Notes 179

References 203

Index 217

Product Details

ISBN:
9780691125275
Author:
Baumann, Shyon
Publisher:
Princeton University Press
Location:
Princeton
Subject:
Motion pictures
Subject:
Aesthetics
Subject:
Popular Culture - General
Subject:
Film & Video - History & Criticism
Subject:
Film - History & Criticism
Subject:
Sociology
Subject:
Film Studies
Subject:
Motion pictures -- United States -- History.
Subject:
Motion pictures -- Aesthetics.
Subject:
Film and Television-History and Criticism
Copyright:
Series:
Princeton Studies in Cultural Sociology
Publication Date:
September 2007
Binding:
HARDCOVER
Grade Level:
College/higher education:
Language:
English
Illustrations:
2 halftones. 12 line illus. 16 tables.
Pages:
248
Dimensions:
9 x 6 in

Related Subjects

Arts and Entertainment » Film and Television » History and Criticism
Humanities » Philosophy » General

Hollywood Highbrow: From Entertainment to Art (Princeton Studies in Cultural Sociology) New Hardcover
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Product details 248 pages Princeton University Press - English 9780691125275 Reviews:
"Synopsis" by , "Hollywood Highbrow is a fine account of the process by which Americans came to view film as an art form. The book will be of great interest both to historians of film and to sociologists interested in how certain cultural products become respected and prestigious. Shyon Baumann is the first to address these issues broadly for the case of American film. He writes engagingly and the book is a good read."--Paul J. DiMaggio, Princeton University
"Synopsis" by , 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.

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