By Mark Drew Benedetti
This dissertation examines the improvement and transformation of different cultural formations via reading the relationships among cultural values, impacts, practices of daily life, and canons in such formations. particularly, it examines film-centered cultural formations in long island City-the Sixties underground cinema and Seventies No Wave Cinema-by theorizing them as "undergrounds" cultural activities manifesting the constitution and association of subcultures with a few of the objectives and values of avant-gardism. It describes the ways in which those formations constructed formal and casual associations and regimes of price, regimes dependent in foundational methods at the valorization of have an effect on and way of life. It analyzes ways that these associations and regimes have been articulated to replacement and/or oppositional cultural, social, and political values and views, and the way they have been additionally articulated to hegemonic values, views, and associations. those latter articulations emerge essentially within the canonization technique, a approach that every formation underwent in numerous methods. The dissertation examines those canonization tactics, their relationships with the formations' regimes of price, and their results at the historic improvement of the formations. It demonstrates the ways that canonization, usually understood as an inherently hegemonic, conservative technique, has a number of results on underground cultural formations, directing tastes and facilitating cooptation whereas additionally encouraging persisted underground cultural perform and supporting within the creation of such paintings, practices, and regimes of worth to new audiences. through analyzing underground cultural formations throughout the lens of the canon, the dissertation rethinks traditional rules concerning the methods hegemonic forces acceptable or include substitute and oppositional cultural routine, rethinking the acquired historiographies of such pursuits, the ways that conceptions of belonging and mappings of distinction are built through and for underground formations, and the teachings canonization techniques train us concerning the position of tradition in social and political competition.
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Additional info for Beneath New York: The formations and effects of canons in American underground film movements
This assault on autonomy also operates as an assault on modernism as a culture, with its emphasis on and thematization of cultural and aesthetic autonomy and its (at least partial) rejection of the entry of cultural works into the everyday lives of most people. Here we see the distinction between modernism and avant-gardism that is effaced by Greenberg and other commentators who conflate the two: both movements are predicated on "the new," but modernism moves into its autonomous sphere of art unattached to the social (with its accompanying move of content into form), while avant-gardism seeks the sublation (in the 7 The futurists are often downplayed in accounts of the avant-garde (such as Bürger’s and Suárez’s) that generally seek to emphasize its radical progressive potential since their openly proto-fascist politics fit poorly in the legacy of leftist avant-gardes.
Why would canonization of certain texts or artists lead to the dissolution, rather than the strengthening, of underground cultural formations? What role is played here by cultural value, and to what degree do clashes between regimes of values cause ruptures within the underground? How are participants' own senses of difference and self troubled by these canonical processes? To what degree can practices of everyday life run contrary to an abstract set of subcultural values, and how 37 do these interactions of practice and value affect the underground formation itself and its canon(s)?
Bürger even claims that: "Adorno's notion that late-capitalist society has become so irrational that it may well be that no theory can any longer plumb it applies perhaps with even greater force to post avant-gardiste art" (94). I reject Bürger's pessimism about the radical possibilities of art. His historicization of avantgardism unfortunately falls victim to the absolutist version of the cooptation thesis, ignoring anything else this institutional canonization might do, and ignoring avant-gardes’ ongoing lives beyond canonization.
Beneath New York: The formations and effects of canons in American underground film movements by Mark Drew Benedetti