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Is NYPD Blue a less valid form of artistic expression than a Shakespearean drama? Who is to judge and by what standards?In this new edition of Herbert Gans's brilliantly conceived and clearly argued landmark work, he builds on his critique of the universality of high cultural standards. While conceding that popular and high culture have converged to some extent over the twenty-five years since he wrote the book, Gans holds that the choices of typical Ivy League graduates, not to mention Ph.D.'s in literature, are still very different from those of high school graduates, as are the movie houses, television channels, museums, and other cultural institutions they frequent.This new edition benefits greatly from Gans's discussion of the ”politicization” of culture over the last quarter-century. Popular Culture and High Culture is a must read for anyone interested in the vicissitudes of taste in American society.

Book by Varnedoe, Kirk, Gopnik, Adam

Book By Varnedoe, Kirk N Adam Gopnik

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Excerpt from the Foreword: "High and Low: Modern Art and Popular Culture" continues a tradition that has been important to The Museum of Modern Art throughout its history: thematic exhibitions that examine the fundamental premises of modern art, and link the innovations of its pioneers to the explorations of younger, contemporary artists. This kind of exhibition is particularly demanding, and the present project, so ambitious and heterogeneous in its scope, was only made possible by the dedication of an extraordinary number of individuals and institutions. Excerpt from the Introduction: Our goal is to examine the transformations through which modern painters and sculptors have made new poetic languages by reimagining the possibilities in forms of popular culture; and, as a corollary, to acknowledge the way those adaptations in modern art have found their way back into the common currency of public visual prose. To demonstrate that process, we will focus on aspects of style, including small items like sans-serif typefaces or Benday dots, and broader strategies such as gigantism or the mind-arresting transformation of objects.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Excerpt from the Foreword: "High and Low: Modern Art and Popular Culture" continues a tradition that has been important to The Museum of Modern Art throughout its history: thematic exhibitions that examine the fundamental premises of modern art, and link the innovations of its pioneers to the explorations of younger, contemporary artists. This kind of exhibition is particularly demanding, and the present project, so ambitious and heterogeneous in its scope, was only made possible by the dedication of an extraordinary number of individuals and institutions. Excerpt from the Introduction: Our goal is to examine the transformations through which modern painters and sculptors have made new poetic languages by reimagining the possibilities in forms of popular culture; and, as a corollary, to acknowledge the way those adaptations in modern art have found their way back into the common currency of public visual prose. To demonstrate that process, we will focus on aspects of style, including small items like sans-serif typefaces or Benday dots, and broader strategies such as gigantism or the mind-arresting transformation of objects.

The Grateful Dead and Philosophy contains essays from 20 professional philosophers whose love of the Dead's music and scene have led them to reflect on different philosophical questions that have arisen from the enigma that is the Grateful Dead. Coming at the Dead from a variety of perspectives, ancient and modern, Eastern and Western, this book considers how the group fits into the broader trends of American thought running through pragmatism and the Beat poets. There's a pertinent analysis of how the parking lot scene with its tie-dyed t-shirt and veggie burrito vendors was both a rejection and embrace of capitalism, and much more. The lyrics of the Grateful Dead’s many songs are also the basis for several essays considering questions of fate and freedom, the nature-nurture debate, and gamblers’ ethics.

The Man in the High Castle is an Amazon TV show, based on the Philip K. Dick novel, about an "alternate present" (beginning in the 1960s) in which Germany and Japan won World War II, with the former Western US occupied by Japan, the former Eastern U.S. occupied by Nazi Germany, and a small "neutral zone" between them. A theme of the story is that in this alternative world there is eager speculation, fueled by the illicit newsreel, The Grasshopper Lies Heavy, about how the world would have been different if America had won the war.In The Man in the High Castle and Philosophy, twenty-two professional thinkers look at philosophical issues raised by this ongoing enterprise in "alternative history." One question is whether it really made a profound difference that the Allies won the war, and exactly what differences in everyday life we may expect to arise from an apparent historical turning point. Could it be that some dramatic historical events have only superficial consequences, while some unnoticed occurrences lead to catastrophic results?Another topic is the quest for truth in a world of government misinformation, and how dissenting organizations can make headway.

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Moves from Beethoven to Buffy to examine the blurred nexus of elite and popular culture in the twenty-first century.What happens when Theodor Adorno, the champion of high, classical artists such as Beethoven, comes into contact with the music of Chuck Berry, the de facto king of rock ’n’ roll? In a series of readings and meditations, Robert Miklitsch investigates the postmodern nexus between elite and popular culture as it occurs in the audiovisual fields of film, music, and television―ranging from Gershwin to gangsta rap, Tarantino to Tongues Untied, Tony Soprano to Buffy the Vampire Slayer, Miklitsch argues that the aim of critical theory in the new century will be to describe and explain these commodities in ever greater phenomenological detail without losing touch with those evaluative criteria that have historically sustained both Kulturkritik and classical aesthetics.

From the 1950s onward, Americans were quite receptive to a view of World War II similar to the view held by many Germans and military personnel on how the war was fought on the Eastern Front in Russia. Through a network of formerly high-ranking Wehrmacht and Bundeswehr officers who had served on the Eastern Front, Germans were able to shape American opinions into an interpretation of World War II that left the Wehrmacht with a "clean" reputation in World War II history. A broad subculture of German military enthusiasts continues to romanticize the German army to this day.

The motto “Eugenics is the self-direction of human evolution” was part of the logo of the Second International Congress of Eugenics, held in 1921. However, by the 1930s, the disturbing legacy of this motto had started to reveal itself in the construction of national identities in countries throughout the world. Popular Eugenics is a fascinating look at how such tendencies emerged within the rhetoric, ideology, and visual aesthetics of U.S. mass culture during the 1930s, offering detailed analysis of the way that eugenics appeared within popular culture and images of modernity, particularly during the Depression era. The essays in this generously illustrated collection demonstrate how, after the scientific foundations of the eugenics movement had been weakened in the 1930s, eugenic beliefs spread into the popular media, including newspapers, movies, museum exhibits, plays, and novels, and even fashion shows and comic strips.Popular Eugenics shows that eugenic thought persisted in science and culture as well as in social policy and goes a long way toward explaining the durability of eugenic thinking and its effects on social policy in the United States.  Popular Eugenics will be of interest to scholars and students in a broad range of disciplines, especially American literature and history, popular culture, media studies, and the history of science.

Mirror on America meets students where they are right now. Whether they have lived in America all their lives or have only just arrived, they can consider themselves experts in pop culture. After all, they participate in it every day. Brief, current essays and images on topics like hip-hop, our online lives, and, of course, vampires and zombies spark discussion and critical thinking. And because critical thinking should lead to solid writing, the book€™s editorial apparatus gives students clear instruction and support for every step of the reading and writing process. Always engaging and always accessible, Mirror on America reflects the interests of students and the instructors who want them to become confident writers.

The "American hunk" is a cultural icon: the image of the chiseled, well-built male body has been promoted and exploited for commercial use for over 125 years, whether in movies, magazines, advertisements, or on consumer products, not only in America but throughout the world.American Hunks is a fascinating collection of images (many in full color) depicting the muscular American male as documented in popular culture from 1860 to 1970. The book, divided into specific historic eras, includes such personalities as bodybuilder Charles Atlas; pioneer weightlifter Eugene Sandow; movie stars like Steve "Hercules" Reeves and Johnny "Tarzan" Weismuller; and publications such as the 1920s-era magazine Physical Culture and the 1950s-era comic book Mr. Muscles. It also touches on the use of masculine, homoerotic imagery to sell political and military might (including American recruitment posters and Nazi propaganda from the 1936 Olympics), and how companies have used buff, near-naked men to sell products from laundry detergent to sacks of flour since the 1920s. The introduction by David L. Chapman offers insightful information on individual images, while the essay by Brett Josef Grubisic places the work in its proper historical context.David L. Chapman has written many books on male photography and bodybuilding, including Comin' at Ya!: The Homoerotic 3-D Photographs of Denny Denfield.Brett Josef Grubisic is author of the novel The Age of Cities and editor of Contra/Diction: New Queer Fiction.

Contending that a mythology of race consisting of themes of sex and savagery exists in the United States and is perpetuated in popular culture, Frankie Y. Bailey identifies stereotypical images of blacks in crime and detective fiction and probes the implied values and collective fantasies found there. Out of the Woodpile is the first sociohistorical study of the evolution of black detectives and other African American characters in genre fiction. The volume's three divisions reflect the evolution of the status of African Americans in American society.The three chapters of the first section, From Slaves to Servants, begin with a survey of the works of Poe and Twain in antebellum America, then discuss the depiction of blacks and other natives in British crime and detective fiction in the days of the British Empire, and lastly focus on American classics of the pre-World War II period. In Urban Blues, Bailey continues her investigation of black stock characters by zeroing in on the denizens of the Black Metropolis and their Black Rage. Assimilating, the final section, contains chapters that scrutinize The Detectives, Black Lives: Post-War/Post Revolution, and the roles assigned to Black Women. The results of survey questions carried in The Third Degree, the newsletter of the Mystery Writers of America, as well as the views of fourteen crime writers on the creation of black characters in genre fiction are followed by the Directory, which includes a sampling of cases featuring black characters, a list of black detectives, relevant works of fiction, film, television, and more. The volume's informed analyses will be important reading for students and scholars in the fields of popular culture, American popular fiction, genre fiction, crime and detective fiction, and black and ethnic studies. It is also a timely resource for courses dealing with race relations and blacks in American literature or society.

From the perspective of the 1990s, it is possible to see the road to the Bonn Republic and West Germany's "social market economy" as the "correct" postwar German path. But unified Germany continues to confront enormous problems of social inequality and widespread resistance to the acceptance of a truly multi-cultural society. By exploring how West Germans confronted--or failed to confront--similar problems in the early history of the Federal Republic, this collection makes a crucial contribution to understanding the present. Moving beyond accounts of high politics and international relations, the essays brought together here focus on the intersections between the politics of daily life and the politics of the nation-state. Building on the approaches of women's history, social history, and cultural studies, they emphasize that the process of defining West Germany in the 1950s took place not only in the geopolitical arena of the Cold War but also in dance halls and at the movies, in worker-training programs, and in patterns of consumption. West Germany under Construction not only expands our understanding of the early formation of West German society, it also outlines ways to continue the excavation of that past. It will be mandatory reading for students and scholars alike. Robert G. Moeller is Professor of History, University of California, Irvine.

Book is in NEW condition. 0.93

Television, Tabloids, and Tears was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions."I am Biberkopf," Rainer Werner Fassbinder declared, aligning himself with the protagonist of his widely seen television adaptation of Berlin Alexanderplatz. The statement provoked an unprecedented national debate about what constituted an acceptable German artist and who has the power to determine art. More than any recent German director, Fassbinder embodied this debate, and Jane Shattuc shows us how much this can tell us, not just about the man and his work, but also about the state of "culture" in Germany.It is fascinating in itself that Fassbinder, a highly controversial public figure, was chosen to direct Berlin Alexanderplatz, Germany's longest, costliest, and most widely viewed television drama. Shattuc exposes the dichotomy of institutional support for this project versus the scandalous controversial reputation of Fassbinder as a gay man who flaunted his sexuality and involvement with drugs.Fassbinder built his reputation on two separate images of the director-the faithful adapter and the underground star; with Berlin Alexanderplatz these two identities came together explosively. Tracing the two artistic paths that led Fassbinder to this moment, Shattuc offers us a look at cultural class divisions in Germany. Her account of Fassbinder's history as an Autor reveals both the triumph and the failure of bourgeois cultural domination in postwar West Germany.

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