Wasson_Studying_Movies_at_the_Museum
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Wasson_Studying_Movies_at_the_Museum
232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumblisher-authenticated version IS available through Duke University Press.https://www.dukeupress.edu/lnventing-Fllm-StudiesStudying Movies at the Museum: The Museum of Modern Art and Cinema's Changing ObjectHaidee WassonIn 1935, the Museum of Modern Art. New York (MoMA) announced its intention to col Wasson_Studying_Movies_at_the_Museumlect and exhibit not just modem paintings and sculptures but also films. Despite what may seem common sense today, responses to MoMA’s then-unusual enWasson_Studying_Movies_at_the_Museum
deavor varied. Some declared the Film Library, as it was then called, a welcome rejection of the conventionally low cultural status imbued upon the mo232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumcowled, grumbling that the New York elites who acted as figureheads for the museum had succumbed to their eccentricity and privilege.For the naysayers, the fact that MoMA intended eventually to circulate its films to other museums, schools, and universities provided an opportunity to reassert an ide Wasson_Studying_Movies_at_the_Museumalized divide between popular movies and sacred art, main street amusement halls and venerated sites of cultural contemplation. In response to the FilWasson_Studying_Movies_at_the_Museum
m Library’s plan, for instance, Emily Grenauer of the World-Telegram (New233York) wrote simply, “the academic die-hards are cackling."1 A concurrent a232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumrching cinema, sneered: "Said research work, of course, taking the form of a critical examination of Miss Jean Harlow. Miss Marlene Dietrich’s legs, and other curious manifestations of motion picture life.”2 Several months later in the same newspaper a similar sense of whimsy continued to resonate. Wasson_Studying_Movies_at_the_MuseumThe paper invited readers to chuckle at the prospect of a PhD thesis on a popular western, Bill Hart’s Two Gun Hicks? Other writers used MoMA’s announWasson_Studying_Movies_at_the_Museum
cement as an opportunity to express more sober concern about the sorry state of higher education, lamenting the ease with which the “low art” had supp232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumter narratives of cultural decline, forwarded by those uneasy with the broader reworking of cultural hierarchies endemic to the period. Yet, responses to the Film Library also tell US something about contemporaneous sensibilities specifically regarding film. Beyond easy acceptance of, or outright di Wasson_Studying_Movies_at_the_Museumsbelief in MoMA’s plans, we can also observe the novelty of a whole variety of now-commonsense ideas about cinema. Prominent among them was that old oWasson_Studying_Movies_at_the_Museum
r aging examples of this ephemeral amusement might be seen again and that they- might also be considered — viewed like other museum objects with serio232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumposable was a form of valuable knowledge, distinct aesthetic expression, and dn educational viewing activity. In response, a persistent bemusement — still familiar — over the prospect of studying movies, especially popular movies, dlso took iirm hold.Mapping the ascendance of the lowly film to its e Wasson_Studying_Movies_at_the_Museumven partial acceptance as a celebrated art is a complicated task, one that logically involves more than the proclamations of one American art museum aWasson_Studying_Movies_at_the_Museum
nd requires consideration of other converging and diverging dynamics: changing theories and practices of art, the work of key intellectuals, the publi232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumlogy, and the challenging assertion that reproducible evetyday objects matter. One might also include the dialectical fact of opposition to these ideas, resistance to and rejection of film’s enduring or elevated value. Nonetheless, MoMA’s incursions into the film world dre indeed important, partly b Wasson_Studying_Movies_at_the_Museumecause they cither reflect or catalyzed - to varying degrees - each of these phenomena.In establishing the Film Library as a museum department, MoMAinWasson_Studying_Movies_at_the_Museum
strumentalized several basic ideals: first, thdl the otherwise amorphous phenomena called cinema should also be understood as a collection of individu232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumand exhibition of films outside of commercial movie theaters', and third, that viewing such films should be augmented by informed research materials, placing film in pertinent sociological, historical, political and aesthetic dialogue. This last assertion had implications both for the manner of watc Wasson_Studying_Movies_at_the_Museumhing MoMA sought to instill in its audience, and for the production and circulation of film scholarship itself. Collectively, these three basic premisWasson_Studying_Movies_at_the_Museum
es provided a lasting material and ideological infrastructure for the expansive mandate to save, exhibit, and most of all, to study films. It was also232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumr form, more material, and therefore empirically knowable. Through all of these activities, the library asserted more than that select films were worthy art. Object-oriented and pedagogically circumscribed. MoMAalso ensured that the institution of cinema was now intertwined with the institution of a Wasson_Studying_Movies_at_the_Museumrt.In the United States, this marriage of cinema and art institutions served as a catalyst for facilitating and legitimating a whole range of films (sWasson_Studying_Movies_at_the_Museum
haping a particular canon) and activities (sanctioning a particular mode of watching). Key among these activities is a foundational set of assumptions232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumbout film as a modem art, but236also its institutional idea about film viewing as a museological act. Underpinning both of these is a conceptualization of cinema as an assemblage of enduring objects that could and should be seen, and therefore known. That is, much like the museum’s impetus to displa Wasson_Studying_Movies_at_the_Museumy an objects otherwise unavailable for public contemplation, MoMA employed the logics of the modem art museum in order to effect a new field for film’Wasson_Studying_Movies_at_the_Museum
s visibility. As such, MoMA became an influential force not just in forwarding ideas about film viewing but also about film scholarship and film educa232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museum knowledge but also an educational instrument. As a result, the institution of cinema and the conditions in which films were studied changed paradigmatically. This chapter provides an overview of these shifts by first describing the larger museum home in which the library operated, and then detailin Wasson_Studying_Movies_at_the_Museumg the early activities of the Film Library.Clearly, the idea of studying hicks with two guns or lending academic immortality to a starlet’s legs was —Wasson_Studying_Movies_at_the_Museum
and still is — perceived as odd by many. Yet, after MoMA, studying cinema in the United States inside and outside of universities was tenaciously org232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museumuseological tendencies, which in the case of film meant grappling with film’s aesthetic specificity but also its relations to other arts.237as well as to sociological and historical considerations. This new kind of film viewing was equally implicated in small and specialized public formations, thems Wasson_Studying_Movies_at_the_Museumelves predicated on the idea of informed spectatorship, discussion, and — crucially — that museum movies could serve as a primary interface between seWasson_Studying_Movies_at_the_Museum
lf and world.The New MuseumThe Museum of Modem Art opened on November 7,1929. It was established by wealthy matrons of the arts with tastes for the pa232This Is the author’s version of an essay included in the book Inventing Film Studies, ed. Haidee Wasson and Lee Gneveson (2008). The definitive pub Wasson_Studying_Movies_at_the_Museum accessibility and high aesthetic concerns, MoMA was chartered as a national educational institution, collecting and exhibiting what its trustees and curators deemed the best of modem art? Yet, spearheaded by Alfred Barr, the museum was run by a new generation of art historians, who had equal passio Wasson_Studying_Movies_at_the_Museumns for an expanded idea about the objects and forms germane to thinking about art, which grew to include industrial design, architecture, photographyWasson_Studying_Movies_at_the_Museum
and film. In practice, then, MoMA early distinguished itself in several ways. Il was the first American museum dedicated wholly to the modern. This enGọi ngay
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