“In the sixties, the recycling of pop culture — turning it into Pop art and camp — had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures — and they use them not as larger-than-life jokes but as altars.”

"A Bad Dream/A Masterpiece," review of The Moon in the Gutter (1983-09-19), p. 48.
State of the Art (1985)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "In the sixties, the recycling of pop culture — turning it into Pop art and camp — had its own satirical zest. Now we're…" by Pauline Kael?

Pauline Kael72

American film critic 1919–2001

Related quotes

“Pop art is neither an American invention nor an import, yet the terms and names were coined in the US, where they were popularised much faster than in Germany. This kind of art has evolved organically and independently over here, yet at the same time it becomes an analogy to American pop art due to certain psychological, cultural and economical preconditions that are the same in Germany as they are in the US.... For the first time we are showing paintings in Germany that relate to those terms, representing pop art, junk culture, imperial or capitalistic realism, new figuration, naturalism, German pop and other comparable terms.”

Gerhard Richter (1932) German visual artist, born 1932

Quote from Richter's letter to 'Neue Deutsche Wochenschau', 29 April 1963; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1 <br class="br">1960's

“By taking us on a cumulative sequence from our own familiar gods, through those of other ethnic groups, to those of animals, Xenophanes shows that our own images have no more authority than those of animals.”

Catherine Rowett (1956) Professor of Philosophy at the University of East Anglia (born 1956)

Source: Presocratic Philosophy: A Very Short Introduction (2004), Ch. 4 : Reality and appearance: more adventures in metaphysics

“In movies, the balance between art and business has always been precarious, with business outweighing art, but the business was, at least, in the hands of businessmen who loved movies. As popular entertainment, movies need something of what the vulgarian moguls had — zest, a belief in their own instincts, a sentimental dedication to producing pictures that would make their country proud of their contribution, a respect for quality, and the biggest thing: a willingness to take chances. The cool managerial sharks don’t have that; neither do the academics. But the vulgarians also did more than their share of damage, and they’re gone forever anyway. They were part of a different America. They were, more often than not, men who paid only lip service to high ideals, while gouging everyone for profits. The big change in the country is reflected in the fact that people in the movie business no longer feel it necessary to talk about principles at all.”

Pauline Kael (1919–2001) American film critic

Taking It All In (1983), Why Are Movies So Bad? Or, The Numbers (1980-06-23)

“Before pop art, there was such a thing as bad taste. Now there's kitsch, schlock, camp, and porn.”

Don DeLillo Running Dog

Source: Running Dog

“Pop culture is filth. It is now completely degenerate. Why do you never hear anyone humming a current pop song any more? Because none of them is hummable, or even worth bothering to remember. What is the main topic on TV sitcoms and "dramedies"? You know what. Why do you stand in the aisle in Blockbuster muttering to yourself: "There isn't a single damn movie in here I want to watch?"”

John Derbyshire (1945) writer

Because Hollywood produces nothing but crap, crap, crap. <br class="br"> Unpleasant Truths: A conservative view of the world today http://www.nationalreview.com/derbyshire/derbyshire080202.asp, National Review August 2, 2002.

“If we make any kind of decent, useful life for ourselves we have less need to run from it to those diminishing pleasures of the movies. When we go to the movies we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do. If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers — those perennial displaced persons in each city, the loners and the losers — depress us. Listening to them — and they are often more audible than the sound track — as they cheer the cons and jeer the cops, we may still share their disaffection, but it’s not enough to keep us interested in cops and robbers. A little nose-thumbing isn’t enough. If we’ve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)