By Mark Drew Benedetti
This dissertation examines the advance and transformation of different cultural formations by means of reading the relationships among cultural values, impacts, practices of lifestyle, and canons in such formations. particularly, it examines film-centered cultural formations in manhattan City-the Nineteen Sixties underground cinema and Seventies No Wave Cinema-by theorizing them as "undergrounds" cultural routine manifesting the constitution and association of subcultures with many of the pursuits and values of avant-gardism. It describes the ways in which those formations built formal and casual associations and regimes of price, regimes established 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 substitute 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 sincerely within the canonization strategy, a method that every formation underwent in numerous methods. The dissertation examines those canonization techniques, their relationships with the formations' regimes of price, and their results at the old improvement of the formations. It demonstrates the ways that canonization, often understood as an inherently hegemonic, conservative method, has a number of results on underground cultural formations, directing tastes and facilitating cooptation whereas additionally encouraging persisted underground cultural perform and helping within the advent of such paintings, practices, and regimes of worth to new audiences. by means of reading underground cultural formations throughout the lens of the canon, the dissertation rethinks traditional principles in regards to the methods hegemonic forces acceptable or comprise substitute and oppositional cultural pursuits, rethinking the bought historiographies of such hobbies, the ways that conceptions of belonging and mappings of distinction are developed via and for underground formations, and the teachings canonization tactics educate us concerning the function of tradition in social and political competition.
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Additional resources for Beneath New York: The formations and effects of canons in American underground film movements
These various trends of modernity lead to the fragmentation of everyday life from the social totality into its own sphere of social organization under the new social order, one structure of which Lefebvre calls the "bureaucratic society of controlled consumption" (60). The goal of this order is to rationalize, organize, consolidate, and functionalize everyday life into a sphere that can smoothly administer the production, reproduction, and consumption of this selfsame order (and the people subjected to it) through routine and repetition.
Chapter 1 more carefully details the theories of avant-gardism and subculture introduced in the introduction. It more thoroughly traces the histories of avant-garde and subculture theories, then brings these two together under the "underground" concept, explaining how this concept will be used and why it is more productive than either of the concepts on their own. The chapter also acknowledges the limitations of this term, rather than assuming it can solve all the problems of describing and delimiting alternative cultural and social formations.
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)? These are the questions to which this dissertation is addressed. Structure of the Dissertation The body of this dissertation is composed of 5 chapters. Chapter 1 more carefully details the theories of avant-gardism and subculture introduced in the introduction.