Gone with the Wind an inspiration for the American avant-garde? Mickey Mouse a crucial source for the development of cutting-edge intellectual and aesthetic ideas? As Greg Taylor shows in this witty and provocative book, the idea is not so far-fetched. One of the first-ever studies of American film criticism, Artists in the Audience shows that film critics, beginning in the 1940s, turned to the movies as raw material to be molded into a more radical modernism than that offered by any other contemporary artists or thinkers. In doing so, they offered readers a vanguard alternative that reshaped postwar American culture: nonaesthetic mass culture reconceived and refashioned into rich, personally relevant art by the attuned, creative spectator.
Greg Taylor is Assistant Professor in the Conservatory of Theatre Arts and Film at Purchase College, State University of New York.
"The educated public has known for years that vanguard film theory is one part self-indulgence, two parts hoodwinking. Taylor's study shows precisely how and why the interpreters lost touch within the medium."—Jacob M. Appel, Boston Book Review
"Taylor constructs a detailed history of some of the most salient trends in Post-World War II American cinema and film criticism. . . . [His] points are well-taken and his analyses convincingly argued."—Robert L. Cagle, afterimage
"Lively, provocative reading. . . . This is a gripping saga as Taylor tells it, carefully constructed and lucidly written."—David Sterritt, Cineaste
"Greg Taylor's intriguing study of film critics takes both a discriminating and aesthetic approach to the subject. . . . An illuminating book."—Filmbill
"Greg Taylor's Artists in the Audience is one of the more innovative works of cinema studies that I have read in some time. It's essential reading for anyone interested in the history and theory of film criticism, and it touches as well on important issues in art history and cultural studies."—Robert Sklar, author of Movie-Made America
"Since World War II, cinema has challenged American intellectuals to define their relation to popular culture. In this incisive history, Greg Taylor traces many attitudes dominant today-the search for momentary pleasures in mass entertainment, the ironic celebration of movies' wilder side, the phenomena of camp and cult films-back to the work of Manny Farber, Parker Tyler, and a series of avant-garde filmmakers. He shows how critics of great ingenuity and panache managed to revolutionize tastes, convincing guardians of middlebrow culture that Hollywood movies came alive as art only when treated with a mixture of offhand respect, humor, and bravado. This is a witty, thoughtful account of a crucial period in intellectual tastemaking."—David Bordwell, Jacques Ledoux Professor of Film Studies, University of Wisconsin-Madison
