TAILIEUCHUNG - The Mass Production of the Senses: Classical Cinema as Vernacular Modernism *

A degree of distance, industrially, from the Hollywood studio system often appears to be a necessary condition for substantial formal or socio-political departure from the dominant norms. Lower budgets and less marketing-driven filmmaking generally permit greater licence. But this can be relative. How, exactly, any individual title is marked as sufficiently different from the Hollywood mainstream to qualify as independent is subject to numerous variations explored in detail in this book. Some lean towards an ‘artistic’ form and content, merging at one end with works usually defined as ‘experimental’ or ‘avant-garde’. . | Copyright 1999 The Johns Hopkins University Press. All rights reserved. Modernism Modernity 1999 59-77 Muse search I Journals I This Journal I Contents Access provided by George Mason University The Mass Production of the Senses Classical Cinema as Vernacular Modernism Miriam Bratu Hansen In this essay I wish to reassess the juncture of cinema and modernism and I will do so by moving from the example of early Soviet cinema to a seemingly less likely case that of the classical Hollywood film. My inquiry is inspired by two complementary sets of questions one pertaining to what cinema studies can contribute to our understanding of modernism and modernity the other aimed at whether and how the perspective of modernist aesthetics may help us to elucidate and reframe the history and theory of cinema. The juncture of cinema and modernism has been explored in a number of ways ranging from research on early cinema s interrelations with the industrial-technological modernity of the late nineteenth century through an emphasis on the international art cinemas of both interwar and new wave periods to speculations on the cinema s implication in the distinction between the modern and the postmodern. 1 My focus here will be more squarely on mid-twentieth-century modernity roughly from the 1920s through the 1950s--the modernity of mass production mass consumption and mass annihilation--and the contemporaneity of a particular kind of cinema mainstream Hollywood with what has variously been labelled high or hegemonic modernism. Whether or not one agrees with the postmodernist challenge to modernism and modernity at large it did open up a space for understanding modernism as a much wider more diverse phenomenon eluding any single-logic genealogy that End Page 59 runs say from Cubism to Abstract Expressionism from T. S. Eliot Ezra Pound James Joyce and Franz Kafka to Samuel Beckett and Alain Robbe-Grillet from Arnold Schonberg to Karlheinz Stockhausen. For more than a decade now .

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