J. Hoberman: Vulgar Modernism

<body bgcolor="#FFFFFF" text="#000000" link="#0000FF" vlink="#CC0000" alink="#CC0000"><center><hr width="350" size="1" align="center" noshade>A witty collection of film criticism, including movie reviews, longer essays, and film-festival reports of the '80s<hr width="350" size="1" align="center" noshade><p><a href="https://cdcshoppingcart.uchicago.edu/Cart/ChicagoBook.aspx?ISBN=9780877228646&&PRESS=temple" target="_top">Buy this book!</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">View Cart</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">Check Out</a></p><p><img src="840_reg.gif" height=200 border=1 vspace=4></p></center><h1>Vulgar Modernism</h1> <H2>Writing on Movies and Other Media</H2> <h3>J. Hoberman</h3> <P>cloth 0-87722-864-7 $66.50, Sep 91, <FONT COLOR=#990033>Out of Print</FONT> <br>paper 0-87722-866-3 $19.95, Sep 91, <FONT COLOR=#990033>Out of Print</FONT> <BR> 300 pp 5 halftones </P><h3 align="center"><P><font color="#996633">Nominated for the 1991 National Book Critics Circle Awards, 1991</font></P> </H3> <BLOCKQUOTE><I>"Nobody since Andrew Sarris and Pauline Kael has done more to deepen the way we think about films."</I> <br>&#151<b><I>The Nation</I></b><I></I></BLOCKQUOTE> <p>For the past dozen years, J. Hoberman has been publishing witty, impassioned, vivid film criticism in the pages of New York's alternative weekly, <I>The Village Voice</I>. His first collection includes a variety of these (mostly) movie reviews, as well as a number of longer essays and film-festival reports, all written during the 1980s. For Hoberman, film criticism is a form of social commentary, and his articles reflect a decade when an actor was president, the Vietnam War was refought on the nation's movie screens, and soundbites determined elections. <p>The variety of Hoberman's interests and the intellectual depth of his critiques are remarkable. Writing from the perspective of Lower Manhattan, he places movies in the context of the other visual arts&#151painting, photography, comics, video, and TV&#151as well as that of postmodem theorists such as Leslie Fiedler and Jean Baudrillard. Demonstrating the widest range of any American film critic writing today, Hoberman is equally at home discussing the work of Steven Spielberg and Andrei Tarkovsky, films by cutting-edge artists Raul Ruiz and Yvonne Rainer, and historical figures as disparate as Charles Chaplin and Andy Warhol. <p>Vulgar Modernism offers an entertaining, trenchant, informed, and informative view of the past decade's popular culture. <BR> <h2>Reviews</h2> <p><I>"This witty, erudite collection of reviews and longer essays is as much a commentary on the politics of the spectacle as it is a retrospective of the movies of the past dozen years."</I> <br>&#151<b><I>Village Voice</I></b> <p><I>"One of the most intelligent an thought-provoking critics in the United States, though he doesn't always like my films."</I> <br>&#151<b>Martin Sorsese</b> <p><I>"This is in the tradition of great American movie books&#151James Agee, Andrew Sarris, Manny Farber, Pauline Kael&#151in which an author's collected reviews have the emotional force of a </I>recherch� du temps perdu<I>. Reliving the '80s with Hoberman, we can marvel at the weirdness and richness of world culture. Hoberman's writing offers impressive erudition, emotional intensity, and wiseguy wit. If Siegfried Kracauer and Patti Smith had bumped into each other on Second Avenue one night, maybe they could have produced a book like this."</I> <br>&#151<b>Marshall Berman</b>, author of <I>All That Is Solid Melts into Air: The Experience of Modernity</I> <BR> <h2>Contents</h2><P> <p>1. Introduction: Facing the Nineties <p><b>Part I: Mapping a Position, 1980-1982</b> <br>2. Bad Movies <br>3. Three American Abstract Sensationalists <br>4. Vulgar Modernism <br>5. Veni, Vidi, Video... <br>6. Love & Death in the American Supermarketplace <p><b>Part II: Personalities and Oeuvres</b> <br>7. The Star Who Fell to Earth <br>8. The Show Biz Messiah <br>9. The Good, the Bad, and the Ugly King <br>10. Martin Scorsese and the Comedy of Public Life <br>11. His <I>Parsifal</I>:Following the Syberbergenlied <br>12. Tarkovsky Arrives <br>13. Ritwik Ghatak: A Cloud-Capped Star <br>14. Hou Hsiao-hsien: The Edge of the World <br>15. Harold Rosenberg�s Magic Act <br>16. After the Gold Rush: Chaplin at One Hundred <p><b>Part III: Vanguards</b> <br>17. The Super-80s <br>18. Paik�s Peak <br>19. Teen Angel <br>20. Once Upon a Time in <I>Amerika</I>: Straub/Huillet/Kafka <br>21. Show Time <br>22. What�s Art Got to Do with It? <br>23. Ghosts <br>24. The Purple Rose of Soho <br>25. �He-e-ere�s Jean-ee�: TV � la Godard <br>26. Pagan Rhapsodies <br>27. As the Third World Turns <br>28. Avant to Hold Your Hand <br>29. Fear and Trembling at the Whitney Biennial <br>30. Bon Voyeur: Andy Warhol�s Silver Screen <br>31. Raped and Abandoned: Yoko Ono�s Forgotten Masterpiece <br>32. Jacobs� Ladder <br>33. Jack Smith, 1932-1989 <p><b>Part IV: Reviews and Appreciations, 1984-1989</b> <br>34. White Boys: Lucas, Spielberg, and the Temple of Dumb <br>35. All Shook Up <br>36. <I>Stranger Than Paradise</I> <br>37. Double is My Business <br>38. The End of Science Fiction <br>39. Ralph and Alice and Ed and Trixie <br>40. <I>Shoah</I>: The Being of Nothingness <br>41. Only Make Believe <br>42. Still Krazy after All These Years <br>43. <I>Blue Velvet</I> <br>44. At War with Ourselves <br>45. <I>Full Metal Jacket</I>: Dressed to Kill <br>46. The Other, Woman <br>47. <I>Written on the Wind</I> <br>48. London Burning <br>49. Divided City <br>50. Name That �Toon <br>51. Hal Willner Plays Disney: Never Mind the Mouse Ears <br>52. Lost in America: Jean Baudrillard, Extraterrestrial <br>53. The Last Western <br>54. Suddenly, Last Summer <br>55. Street Scene <br>56. New York Film Festival: Societies of the Spectacle <br>57. Brave New Image World <br>58. Noh Exit <br>59. The Worst Years of Our Lives <p><b>Part V: Trips</b> <br>60. Two Weeks in Another Town: India and its Film Festival <br>61. Havana 1983 <br>62. Tokyo 1985 <br>63. Budapest 1986 <br>64. What�s Stranger than Paradise? Or How We Stopped Worrying and Learned to Love the �Burbs <br>65. The Last Picture Show <p>Index </P><BR> <H2>About the Author(s)</H2> <P><b>J. Hoberman</b>, film critic for <I>The Village Voice</I>, is the author of a forthcoming history of Yiddish cinema and the co-author (with Jonathan Rosenbaum) of <I>Midnight Movies</I>.</P> <BR><H2>Subject Categories</H2> <p><A HREF="/tempress/general.html" TARGET="_top">General Interest</a> <BR><A HREF="/tempress/cinema.html" TARGET="_top">Cinema Studies</a> </p> <BR><h2 class="inpageheading">In the series</H2> <P><I><a href="http://www.temple.edu/tempress/culture.html" onMouseOver="window.status='Click for other books in this series!'; return true;" onMouseOut="window.status=''; return true;" target="_top">Culture and the Moving Image</a></i>, edited by Robert Sklar. </p><p>The <I>Culture and the Moving Image</I> series, edited by Robert Sklar, seeks to publish innovative scholarship and criticism on cinema, television, and the culture of the moving image. The series will emphasize works that view these media in their broad cultural and social frameworks. Its themes will include a global perspective on the world-wide production of images; the links between film, television, and video art; a concern with issues of race, class, and gender; and an engagement with the growing convergence of history and theory in moving image studies.</p> <p align="center"><a href="https://cdcshoppingcart.uchicago.edu/Cart/ChicagoBook.aspx?ISBN=9780877228646&&PRESS=temple" target="_top">Buy this book!</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">View Cart</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">Check Out</a></p><p><font face="Arial" size="1"><a href="copyright.html" onMouseOver="window.status='Web Copyright Policy';return true;" onMouseOut="window.status=''" title="Web Copyright Policy">©</a> 2015 <a href="http://www.temple.edu" target="new" onMouseOver="window.status='Link to Temple University home page';return true;" onMouseOut="window.status=''" title="Link to Temple University home page">Temple University</a>. All Rights Reserved. http://www.temple.edu/tempress/titles/840_reg.html</font></p>