Word: artes
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Dates: during 1930-1939
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...wrestle with them. Satire flourishes in the slicks, but it is satire of manners. Few themes or subjects are tabooed but every subject must be treated in such a way that basic fears, disgusts, and prejudices are not roused. The 'unhappy ending,' the sole criterion of art when the Dial still lived, is a commonplace in the slicks but genuine tragedy would be as out of place there as a chorus from 'Antigone' interpolated between innings at a baseball game. . . . That fact, not the timidity or hypocrisy of editors, determines the nature of magazine fiction...
...second part of the work, called "A Theory of Art", is the transference of the general notion of intuition into the domain of aesthetic experience. Art in the "means of revealing directly felt presentations". "The artist 'seeks beneath' to bring the aesthetic discovery to the surface." (p. 71). Mr. Szathmary's discussion shows very clearly that this conception of aesthetic experience, closely connected as it is with Bergson's distrust of analysis, can do little more than point out that such experience exists...
...theory of art, if it is to give any conception of what the aesthetic experience is, must be analytic of that experience itself. There are suggestions in Bergson which might be employed in this direction...
...years to come, if the movie has not been extinguished by television, critics of the fine arts may wonder at what point the motion picture ceased to be mere superficial entertainment and became recognized, in addition, as the new art form. If they concede that it is art, they can easily be deceived into believing that Hollywood producers first regarded it as such when they billed a film at reserved prices. Today that practice is being abused regularly, so that every fifth production is dressed out as great and sold to the public at $2.20 a seat...
...majority of the people. American audiences, especially, miss the French masterpieces--films which have been created more out of ingenuity and persistence than by cataclysmic expenditure of money and words; they miss, too, the fine German psychological and impressionistic attempts. With considerate farsightedness the New York Museum of Modern Art has gathered together into what is perhaps the first film library all the old jewels from Sarah Bernhardt's "Queen Elizabeth" to Mickey Mouse. Here last year was formed the Harvard Film Society, which presented a survey of the development of the American cinema and contributed, incidentally...