Midterm Flashcards

1
Q

Social Capital

A
  • Using cultural capital (knowledge, status, gender, etc.) to position yourself in the market
  • social capital = economic capital
  • Pierre Bordeaux: social capital is cultural capital
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2
Q

Pseudo-individualism

A
  • People become just as standardized as the art, entertainment, and products they consume
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3
Q

“Creative Class”

A
  • Posited by Richard Florida
  • Key motivators of economic development
  • Creative professionals, skilled workers, bohemians, gays.. used as indexes
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4
Q

Above-the-line vs. Below-the-line

A
  • Above: those involved in the development phase of a film, before money is in place
  • Below: other skilled craftspeople who work behind the scenes once production begins and well into post-production
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5
Q

Film studios vs Clearinghouses

A
  • Studio: concerned with the creative aspect of the production
  • Clearinghouse: concerned with the financial and economic aspects of the production
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6
Q

Tent-pole film

A
  • Films that generally lack specific cultural references in order to reach a global, more universal market and make as much profit as possible for the least risk.
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7
Q

1915 Supreme Court ruling about film industry

A
  • “film is entertainment… thus not protected under the 1st amendment”
  • led to local govt. being allowed to censor film
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8
Q

House Un-American Activites Committee

A
  • 1950’s Red Scare; fears of communists infiltrating Hollywood.
  • Hollywood complied; people (especially Jewsish-Americans) felt their american identity threatened by this witch hunt.
  • Complied in order to affirm their own “american-ness” and point fingers at the “other.”
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9
Q

Cultural Diplomacy

A
  • A political tactic of promoting your own country in a very specific way through culture (propaganda)
  • Rests in the culture, values, and policy of a country in order to improve diplomatic relations
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10
Q

National Endowment for the Arts

A
  • Established in 1965 by the Fed to distribute funds across cultural industries
  • Channeled the political energy and upheaval at the time in order to maintain social control
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11
Q

Visual Artists Rights Act

A
  • Passed in 1990 and gave artists the “moral right” to own their own style
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12
Q

Creative vs. Cultural Industries

A
  • Cultural Industry: all culture is industry in the service of efficiency and automation. Propaganda machine; makes culture in order to pacify us. Standardization.
  • Creative Industry: emerges with Neoliberalism; all becomes economized and monetized; humans are market actors and disposable. Embrace capital logistic for art and culture in favor of deregulating and privatizing the arts. Believe the commodification of creativity promulgates it further.
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13
Q

Horkheimer & Adorno’s “Culture Industry” argument

A
  • Culture Industry: all culture is produced by corporations as products for purchase; secures profits and power hierarchy; culture appears to be unique; can only produce more and more.
  • Commodity Fetishism: ascribing symbolic meaning and value that it doesn’t actually have; all massed produced commodities are fetishized because they have no intrinsic value; leads to art being commercialized and used as distraction.
  • Art as Distraction: Helps us “forget” the suffering of the capitalist system by exploiting our affection for art.
  • Pseudo-Individualism: We become just as standardized as the art, entertainment, and products we consume.
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14
Q

Political Influence in Hollywood

A
  • Four domains: official censorship, unofficial censorship, considerations of display and circulation, and relationships w/consultants and liaison offices.
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15
Q

Official vs. Unofficial Censorship

A
  • Official: began in 1915 with SC court ruling; 1924 Hayes Office established to monitor filmmaking: 1944 war era, used to villainise the enemy and propagate nationalism (propaganda); established Motion Picture Bureau, a branch of the Office of War Information; 1950’s Red Scare and communism; 1960’s OFI and Hayes Office close down, official censorship ends.
  • Unofficial: Govt. controlling film industry through the corporate parents that own the studio; Federal Communications Commission can put pressure on things they are allowed to control but cannot directly control the film industry.
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16
Q

Lawrence Lessing & “Free Culture”

A
  • Argues economics and concept of “property” have diluted the virtue of art; culture has been increasingly made into a private good, which makes it vulnerable to control, regulation, and privatization.
  • Suggests a “sensible patent system” in which copyrights are still in effect, but distribution rules change; more flexibility surrounding copyright.
17
Q

State Dept’s first efforts at Cultural Diplomacy

A
  • Logic: public diplomacy = soft power = obtaining ends through attraction rather than coercion.
  • Began in 1954 under Eisenhower; established the Emergency Fund or Int’l providing $2.5million to State Dept. for promotion of American dance, sport, music, and culture; sponsored them to tour internationally on condition that performances would be about promoting American democracy; PUBLIC DIPLOMACY BECAME CULTURAL DIPLOMACY.
  • National Endowment for the Arts (1965) funded by the Fed to distribute funds across cultural industries.
  • These came under attack in 1980’s; conservative right was opposed to funding the “gay agenda;” withdrew funding and gave us NEOLIBERALISM; forced arts to seek commercial funding/private donations, etc.
18
Q

“The Riddle of the Artist”

A
  • Ernst Kris & Otto Kurz rendered the artist as alienated from “normal” civil society; romanticized stereotypes of tragedy, mental illness, substance abuse, early death, etc.
  • Originates in Renaissance; art dealers emerged to aid visual artists in consolidating a lasting role in society; their purpose was to sever the artist from the point of transaction; artists income increased greatly through work on commission; dealers made pieces appear rare and unique; positioned dealers as gatekeepers.
  • Artist biographies helped consolidate the paradigmatic image of artists; eccentricity meant talent and thus justified the whole value of art; IMAGE OF ARTISTS COMES FROM DEALERS AND THOSE WHO MANIPULATE THE ART MARKET ECONOMY.
  • 3 artist figures: the gentleman artist, the Bohemian, and the Mad Genius (most enduring); women are forced to fit these male-dominated identities.
19
Q

The Branded Artist

A
  • Artists have become the products themselves; Xiyin Tang and the “cult of authenticity”
  • Brand = longevity and location, must be able to be recognized any place and time; have the privilege to live outside their brand (unless a woman or a person of color)