Hollywood Flatlands  

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"Comenius and Basedow were pedagogues. Orbis Pictus, of 1658, and the Elementarwerk of 1774 were designed by reformers to educate children, to bring them to enlightenment. Comenius was a millennialist and a pansophist."--Hollywood Flatlands (2001) by Esther Leslie


"Goethe's drawings of Chladni sound figures stuck onto the back cover of his copy of Chladni's 1789 book on the theory of sound."--Hollywood Flatlands (2001) by Esther Leslie


"This hook hosts a number of encounters between animated films, figures of the avant-garde and modernist critics. The study was motivated by frustration at the phoney war between high culture and popular or low or mass culture."--Hollywood Flatlands (2001) by Esther Leslie


"The modernists and the mass culture purveyors part ways here in post-war America, the modernists refuse to purchase entry tickets to the new states of Adventureland, Tomorrowland, Fantasyland and Frontierland. Clement Greenberg, authoring a modernist tradition for the new art capital of the world, gives modernism the qualification ‘high’, and hopes to sever the links, for all that could emerge of a union would be the monstrous hybrid of ‘midcult’, which Milton Klonsky deems an ‘aesthetic hippogriff’, and is, according to Dwight Macdonald’s article ‘Masscult and Midcult’, in Partisan Review in 1960, a bastard offspring of masscult’s unnatural intercourse with High Culture."--Hollywood Flatlands (2001) by Esther Leslie


"The Hayes Production Code affects cartoon characters too. And not just Disney’s. With its introduction in 1953, vampish Betty Boop, a favourite of Adorno, was re-dressed with a longer skirt and a higher neckline. Snow White and the Seven Dwarfs provided a clear-cut and priggish morality, a virginal and highly sanitized ideal. As it became naturalistic, moralistic and tamed, the cartoon was turned respectable, a regular part of the studio system for the middlebrows.’"--Hollywood Flatlands (2001) by Esther Leslie


"Rational ahumanism bore as antidote the animal fables of La Fontaine, which rediscovered nature and defended it against Descartes vivisection and Versailles gardeners’ geometricizing clippers."--Hollywood Flatlands (2001) by Esther Leslie

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Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde (2001) is a book by Esther Leslie.

Contents

From the publisher

With ruminations on drawing, colour and caricature, on the political meaning of fairy-tales, talking animals and human beings as machines, Hollywood Flatlands brings to light the links between animation, avant-garde art and modernist criticism.

Focusing on the work of aesthetic and political revolutionaries of the inter-war period, Esther Leslie reveals how the animation of commodities can be studied as a journey into modernity in cinema. She looks afresh at the links between the Soviet Constructivists and the Bauhaus, for instance, and those between Walter Benjamin and cinematic abstraction. She also provides new interpretations of the writings of Siegfried Kracauer on animation, shows how Theodor Adorno’s and Max Horkheimer’s film viewing affected their intellectual development, and reconsiders Sergei Eisenstein’s famous handshake with Mickey Mouse at Disney’s Hyperion Studios in 1930.

ToC

  • Zeros, Dots And Dashes: Drawing and the European Avant-Garde --
  • Mickey Mouse, Utopia and Walter Benjamin --
  • Leni and Walt: Deutsch-Amerikanische Freundschaft --
  • Eye-Candy and Adorno's Silly Symphonies --
  • Siegfried Kracauer, Dumbo and Class Struggle --
  • Eisenstein Shakes Mickey's Hand in Hollywood --
  • Techne-Colour --
  • Winding Up: A Flat Ending.

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Index

Abbott, I'.dwin Abbott, 21-22, 293 abstract expressionism, 291 abstract tilm-making, threatened bv Nazism, 18S-9 Adget, luigene, 1 1 3 Adler, Mortimer |., Mn, ^i7— 8 Adorno, I heodor W., S9' ^4' 99, 116-122, 13^, 138, 140, 163, 164, 170, i 73 -4< 176-8, 193, 197-8, 201, 2 30, 244, 174; critique ot Stravinsky, 164-7; critique of self-seriousness in high art, 193; meeting with (Ihaplin, 196, 317; on bett\ Hoop, on (ihaplin, 178-9; on Donald Duck, i7i, 174-v, on fascism, 138; on film music, 179-H6; on Mickev Mouse, 177; on sport, 138; on Wagner, 1 18-9; ventriloquizing Benjamin’s redemption song, 299-300 I drentims oj Prince . I chwed, 4!^ > 49 .-Mbernheit, aka 'genuine silliness’, 194 Alexandrov, Cirigori, 244 .Mice in (.artoonhind, 24 1 lice in 1 1 "onderhind, 289 .Mice's I isby Siory, 24 . Mpine (li/nhers, zos amusement, Irotsky on masses’ neetl tor, 109—10 Anderson, Ken, 287 Anti-Nazi League, 12s, M2-3 Apollinaire, Ciuillaume, 23, 39; on possibilities of iilm, 280—8 1 Aragon, Louis, 90 Averv, Tex, 293 Bach, johann Sebastian, 191 Balazs, Bela, 22^-6, Ball, 1 lugo, 56-7 Pnwin, 1 <i 'i -6 , 203, 213, 2 ^ s , 247-so, 293, ;2^; L.isenstein on, 2^s Hiind (.0)1cert, 1X9, 229, 28t barbarism, modernism s positi\e concept ot, 84—^ Pm-n nance, 29, ^1 Parn)a)'d Battle, u Battleship Potewtin, 1 1 2 ILuidelaire, (.harles, 76, 1 20—2 1 , 270 Bauhaus, Mu 70-71 Ba\er, 1 lerbert, s 6 beaut\', 1 SI, in relation to war, 14‘i Beethoven, Ludwig \ an, 1 s 6-7 , 192-;, 287 Benjamin, Walter, S7—60, 62-4, 66, 7 S-7 , 97-102, 1 S9, 168, 176, 1 80, 199, 226, 227—8 ; Ib'echttan hooliganism ot, 177; on (ihaplin, t94— 8

on colour,

262-71; on commodity fetishism, 8; on Disney, 1 04—7, 110—12, 1 1 6—1 8 ; on dogs, 242-^; on drugs, 274-7; on Lccentrism, 16-17; on fascism, 1 1 ^; on him, 1 1 1-1 2; on L'ourier, 88-9; on C'loethe, 270--’ 1; on (irand\ ille, 8-9; on intlation, 41-2; on Marx, 102-^; on Mickey Mouse, 81-7, 89-90, 104—7, 110—11, 114, 116— m, 120; on Proust, 106-7; on toys, 91—2; ventnloejuized by Adorno, 299—^00; versus Kant, 270, 277; visits post�revolutionars Moscow, 72—4; 'Work ot Art in the' Age of Mechanical Reproeluction’, 1 os-7 , 110-11, 1 1 t-i 22, 1 s 6-7 . 140—41, 276-7, ; 1 1 Berenson, Bernard, 168 Berg, Alban, 166 Berger, John, 241-2 Bergson, 1 lenri, 262 Berlau, Ruth, 29^ Berlin: Symphony of a ( ip , 70—71 , 7 <i, 219 BetB Boop, 122, sanitized, 174-3 Bilhauel, Paul, 2 Bird’s ( Aistard Powder, 9 Blackton, ). Stuart, 9-10 Blanc-Ciatti, (iharles, 18^, 188 Bloch, I rtist, 268, 24 Bine Lioht, 146 Bluto, 176 Itoehme, lakob, 2s 8 , 270 340 Hollywood flatlands l^rakhagc, Stan, 326 liraiT Little la\lot\ \ 28 Brav, |ohn Randoljih, 284 I^rccht, Bertolt, 29, 85, 91, 1 19, 163, 179, 198, 219, 293 Breton, Andre, 194, 241, 243 Brewster, David, isi Brigstocke, W.O., 20—21 Brion, Marcel, 22-3 Buskin, Aleksandr, 224 Butting, Max, 28 1 C abinet of Dr (.ab^ari, 46 camera, as box of tricks, 4 s camera ohscara, 62 cannibalism, as unmasking of capitalist exploitation, 81-2 caricature, 97-8 (iarroll, Lewis, 222, 230 darter, Huntlv, 20—21 cartoon soundtrack, as implying tlada aesthetic, 27-8 (Assou, Jean, 96—7 cel, 64—^ cell theory, 64-3 dezanne, Paul, 297 C.hapayev, 228 dhaplin, (diarlie, 11, 14-16, 17-18, 93-6, 1 18, 1 39, 163, 178, 194-7, 201, 206, 214-13, 220, 229; as precursor ot Mickey Mouse, 111; Idsenstein on, 17; on I litler, 193-6 (^harlot, jean, 87, 147, 294 (.hieken Little^ 1 1 2 childrens love of animals, I 96-7 chimpanzee art, 298 (ddadni, 239, 261 (ihlebnikoy, X'elemir, 227 (diomon, Segundo de, 10 (.indereHa., 289—90, 293 circus, 198 city analysis, 73-6 (,lair, Rene, 19, 44, 223, 228 ( oa! H/ack and de Sehhen Pnarfs, 293 ('octeau, lean, 219 f-ohl, l imile, 1-2, 3, 5, 7, lo-i 1, 20, 34, 198, 202, 292, 297 colour, experience of as prior to Kantian gridwork of space and time, 263 colour-note organ, 187, 188, 262, 279—80, 283 f'omenius, |ohann Amos, commodity fetishism, 91, 97-8, Marx on, 7-8 communism, as politicization of art, 1 1 3 ('ooper, Ciary, 2 1 6 di9/7/)' C.oncerto, 293 (airra, Bruno, 279—80 coLinter-reyolution, 72 (]oyarrubias, Miguel, 222 cow udders, covered in dresses by Disney, 174 dPL'SA (American dommunist Party), 293 culture, Disney on, 160—61 culture industry, I'rankfurt School critique of, 168—9 Dada, end ot in Zurich, 32—3 Dali, Salvador, 217, 223 Darwin, (diaries, 232, 240 Davis, Marc, 233 De Seversky, Major Alexander, 213 Debord, ( iuy, 4, 298; on rime, 4i Debussy, (daude, 164 Pebnt of I homas the (at, 284 degenerate art, 144—3, 189—90 Degenerate Art Lxhibition, 190 Deming, Barbara, 291-3 Descartes, Rene, 242 Piaji^onal Symphony, 204, 203 dialectical materialism, attacked as animism, 238—9 dialectics, 109 Diebold, Bernhard, 46-7, 281 Diem, (dirl, 142-3 Dieterle, W illiam, 163 Disney cartoons, anti-Nazi films and, 213-4; Benjamin on, 104—7, 110—11; colour usetl for depth in, 283-6; compared to Dali, 101; compared to (irandville, 101-2; compared to surrealism, 101; fascism and, 1 20, 1 99; in Nazi (iermanv, 80-87, i 14-18, I 29-33, '44, 1 51-7, 1 3 3, 192, 193; in Soviet Russia, 228; increasing naturalism of, 203-4, 230, 293-6; internationalist style of, 1 39-60; mass production and, 133-3, 149; multiplane system and, 147-8; shown alongside Lisenstein, 29; Soviet Lnion and, 216-17; d'echnicolor and, 284—7; television and, 218 Disney, Roy, 114, 130, 131, 2 1 2 Disney Studios, strike at, 207-18 Disney, Walt, 187; and Lisenstein, 219-230, 249, 288; and Lord, 134; and [louse (d)mmirtee for L’n- American Activities, 216-1 8; and lineage, 3 1 6; and Riefenstahl, 123— 37; as adman, 168; as anti�communist, 210—1 1, 21 3—18; ideology of 'clean unspoiled spot’, 130, 230; interpretation of I'he Rite of Spring, 164, 166-7; on culture, 1 60-6 1 ; opposes abstraction, 190—91; received by Mussolini, 130 Disneyland, 288, 289, 296, 299 Dix, ( )rto, 1 9 Poktor l a/istns, 164 Donald Duck, 171-2, 173, 198, 291-3, 3 1 8; as anti�Nazi, 2 1 2 Duchamp, Marcel, 6, 33, 50-31 Dukas, Paul, 161, 163, 188 Pnmbo, 133—6, 200—203, ^ 208, 293; Kracauer on, 200—203 Duncan, Isadora, 167 Dtirer, Albrecht, 296 Dvorak, Antonin, 1 9 1 L.astlake, (diaries, 236 Lasiman, Max, 238, 297 index l-xccnrrism, 16—17, 220, 298-9 for IMitl.K 21 2 l^ggcling, X’iking, 3<i-6, 46, 52-3, 5 5-6, 204-5, 281, 283; Bauhaus on, 71

1 '>i(i2()ihil Sywphon)\ 204, 205 I '.hrcnhurg, Ilya, 225 I '.insrcin, Albert, 21, 56 I '.iscnstcin, Sergei, 51, 109, 179, 183-6, 291, 292; and cave drawings, ^27; and (ihaplin, 220; and Disne\', 219-50, 249, 288; and ‘protoplasmic torm’, 2 2 2-s, 2 32-4, 244; compares 1 he II hcile II ho Wallied to .S/z/tj at the Met to Iran the lerrihle, 243; criticizes Disney’s use ol colour, 288; on Ba/nhi, 235; his dims shown alongside Disney cartoons, 29; on (ihaplin, 17, 2^1; on colour, 244—9; on Donald Duck, 2 :^4; on montage, 230; on Steinberg, 295; praises Disnev cartoons, 185; with Mickey Mouse, 221 b'.isler, 1 lanns, 16^, 19;, 244; and Adorno on film music, 1 79—86 Iz/nak. Bakia, 205 empiricism, tender, 274 h'.ngels, I'riedrich, 12, 232, 238, 302 entertainment, all art reduced to, 181 l antasia, 99—100, 1 26, 1 5 5-7, IS 9-69, 172, 172, 186-7, 210, 215, 245, 250, 286, 287, 293, 313, Nazi response to, 156—7, secret showings tor Nazi elite, i9> I antaswaiiorie, 1-2, 3 lantasound, 187 Farrell, James T., 144 fascism, 199, Adorno on, 138, as aestheticization ot politics, 1 1 3 I athen Xoah's , I/'/', 1 1 5 heild, Robert, 30, 149, 160, 249, 286 Felix the (ktt, 14-16, 15, 20-2^, 95-6, 1 52, 297; and 1 lindemith, 45; as toy, 3 1 Feuerbach, Ludwig Amlreas, 194 I •//;// Stnd)\ 219, 220 F'ischinger, Oskar, 48-9, 1 87—91 , 28 1 , 283—4 flaneur, 110 Fleischer, Max, 13, 13-14 l loirers and frees, 284 I lyins, Mouse, 148 Ford, Henry, 125-6, 101, his model \ illage an influence on Disney, 313-14 Ford Motors, and forced labour, 134 l our Mns/cians of Bremen, 2 3 Fourier, (diaries, 86, 88—9, 98, 103-4 Fhinkel, Fritz, 274-5 Frankenstein, Dr, 254 Freud, Sigmund, 60—61, 63, 66, 75, 89, 1 20-21, 2^9, 272 I rol/d'inji f ish, 30 f nehrer's I are, 21 2 futurism, ^9-40, 140 (nillopin' (tonrho, 26 Oalvani, Fuigi, 254 Ciance, z\bel, 225 gangster films, superiority of, to ‘grade- A film', 182 (Farbo, Cireta, 174, 289 (.eneraf I due, 2^7 Cieorge, Stefan, st 5 C.erald McBoinfihoini^, 29 5 (ihosts Before Breakfast, 2 1 9 (liant f .and, 1 1 5 Oinni, Arnaldo, 279-80 (mddess of Spring, 148 C'loebbels, Joseph, 127, 144, 1 52-5, 1 5(1, 19^' ‘Wotan's Micke\ Mouse , 1 54 (loethe, Johann Wolfgang, 1 56, 161, 164, 188, 192, 265-4, i-'i, 285, 287; Benjamin on, 270—71; his colour theor\'. 252-61, 259, 261, 263-4, 268-9, 271 (,old Rush, 30 ('lOofv, 171-2 (lorkv, Maxim, 279 Cirath, Dorothy, i 59 Grandville (Jean-lgnace�Isidore Cierard) 8-9, 87-102, 99, loi, 222, 234-5 (Irant, Duncan, 37 graphology, 272 (itrat ffirtator, 197, 215 (.real C.nns, 25 Clrecnberg, (dement, 132-3, 143, 1 57, 296, 299 (Iriffith, DA\., 229 (Irimm fairy-tales, 128, 150, 152, 144, 156, 219, 267, 287 (irosz, (leorge, 19, 54-5 guillotine, as test of materialist truth, 88 gypsies, as used by Riefenstahl, 147 i Faas, W illy, 70 1 larman Ising, 286 hashish, 274-7 I lausmatin, Raoul, 285 I lavs (d)de, 168, 174 1 learitield, John, 54 I legel, (leorg W ilhelm Friedrich, 55, 54-^^ ^2, 66 , 109, 194, 251, 258 / feimat, 1 5 2 I leinle, (dF., 267 liering, F.wald, 261-2 1 lilberman, David, 21 8 I Filer, Kurt, 1 88 I lindemith, Faul and Felix the (dit, 45 llirsehfeld, Magnus, 188, 219 histort ot science, foray into, 64-5 I htler, 125 -6 , 141. 212, 51 5 , 522; as unfunnx version of (dtaplin, 195-6 1 loch, I lannah, 54 1 looke, Robert, 64—5 I lorkheimer. Max, 84, 99, 116-17, 119, 155, 1 ;8, 140, 165, i 5 -4. ' 9 '> on Bett\ Boop, i-’4; 342 Hollywood flatlands Disncv, i6S—7o;()n Donalil Duck, ni, 174 horror films, supcrioritv of, to ‘gnulc-A film’, 1 82 I louse (Committee for I’n�Amcrican Activities, 21 s-i 8 Howard, Maurice, 218 lluhlev, )ohn, 214, 295, 29^ I luelsenbeck, Richard, ^4 1 lurok, Sol, 1 67 In the f ace of the Second /n/ernationaf 224 Incoherents, 2 Inflation, 43-4, 219 inflation in 1920s (lermanv, 40-44 insane, drawings hv, 237 interioritv, as opposetl to innerness, 6s-6 Ivanov, Aleksandr, 224 Iwerks, I h, 23, 187 lacohs, Lewis, 286 Jarrv, Alfred, 194 ja/x, 81, 158 )oel, I >nst, 274 lohnston, ( )llie, i 7 i Joyce, lames, 169, 219; attacked hy Karl Radek, 128 )ung, ( Arl, 1 1 7 Kaflsa, I ran/, 177, 196 Kalmus, I lerhert, 284, 287-8 Kalmus, Natalie, 283 Kandinsky, W'assilv, 262, 263, 273-6, 28 1 Kant, Immanuel, 270, 277 Kennedy, Margaret, 182 Kerensky, Alexantler, 183-6 King, David, account of Stalin’s photographic falsifications, 3 1 1 Ao//£j, 1 83 kitsch, 132-3, 143, 166, 192 Klages, Ludwig, 270 Klee, Paul, 31, 39-60, 83, 196, 279 Klemperer, ( )tto, 163 Klonsky, Milton, 296-7 Ko-Ko the (down, 297 Kracauer, Siegfried, 69-70, 73-6, 77-9 , fD, I7«, 206-7; on (diaplin, 206; on Dtinibo, 200—203, 207; on fantasia, 2 1 3 Kraus, Karl, 82-^, 173 KristaUnaebt, 124—3 Knhle W anipe, 179 La I'ontaine, jean de, 234 Lady and the framp, 293 La Mettrie, julien de, 88 Land, Lxlward, 232 Lang, I'ritx, 163, 219 Lanxinger, Hubert, 212 Lasxlo, Alexander, 262 laughter, 193-6, as reactionarv, 178, as utopian, 83—7, 90 Le dernier milHardaire, 228 Leger, Lerdnand, 19—20, 28, 219, 223; animates (diaplin, 1 9—20 Lenin, \'d., 34-L 63, 107-8, 224, 231, 240 Levy, Jules, 2 Lewis, Wyndham, 37, i 1 1 Lichtenherg, (leorg, 273 I .ife of (ndHeo, 29 3 Lissitsky, Id, 3 3-7, 297 Lonesome (d)osts, 234 Loos, Adolf, 82-3, 83 Losey, Joseph, 293 I.unacharskv, Anatolv, 224 Luske, llamilton, 149-30 Lye, Len, 187 Lyser, Johann Peter, 267, 287 Mactlonald, Dwight, 296, 299, 3 '7 Mach, Lirnst, 262 Mac( )rlan, Pierre, on (irandville and Disnev, loi— 2 Mad Doctor, 1 14 Make Mine Mnsic, 243 Malevich, Kaximir, 33-8, 37, 262; critieixes realist film, 40; on colour, 278; on possibilities of film, 277-H Mann, d'homas, 1 63 Man Rav, 205 Man irith the Morie C amera, 74- “i Marcus, Lirnst, 262 Marey, litienne )ules, 89 Marinetti, Lilippo-'romasso, 219 Marx brothers, 178 Marx, Karl, 83-4, 86, 100, 102-4, 120—21, 172, 238, 242; on commotlifv fetishism, 7—8; on phantasmagoria, 6; on sorcerer’s apprentice, 172-3; on spirit world, 1 i-i 2; on time, 42—3 mass, transformation of, viii-xi Marvushin, Mikhail, 262 Mayakovsky, \dadimir, 223 Mc(iay, \X insor, 12-13 McDonald's Ciareer, 224 McLaren, Norman, 184 Mein Kampf, 141 Melies, (ieorges, 9, 101-2 Menjou, Adolphe, 216 Alerhabies, 230—31 Messmer, ( )rro, 20, 302 Mickey Mouse, 23-8, 27, 79, 133, 171 , 248-9, 230, 283, 291, 3 1 8, Adorno on, 118; and ambiguous gender, 308, as abstract idea in the process of becoming, 30, as merchandise, 31, 168, as BH(ds svmhol of resumption of normality after war, 289, as utopian vision of technologv, 86-7, I 3 enjamin on, 81-7, 89-90, 104—7, 110-11, 114, 1 16—17, 120, tlenounced hv Naxis, 80—81, his world denied hv naturalism of Snow White, 1 30, humanixed, 31-2, in Lantasia, 126, 136—7, 161-3, 192, in (iermany, 30-31, 80—87, 96, 1 16—1 8, international imitations of, 29, Marxist discussion of, 82-4, origins of, 23-6, with Idsenstein, 221 . 1 /ickey !r . ) matears, 1 6 1 index .Mickey’s Mec/.)ii>/ic(i/ .Man, i i s microscope, 105 microscopic research, meaning ot, 64-s mimesis, 9^-6, 271-2, 327-S; ot the mouse’s demise as assembling an atterimage ot liherrv, 19H Minnie Mouse, 202 .Mister .Maarxi, 293 .Modern Times, 21 s Moholv-Nagy, Laszh), 3^, 38, sh, 76, 1H4, 226-7; on light as medium ot' expression, 282-3 Mondrian, Piet, <11-2 Montagu, Ivor, 29, 219 Montgomerv, Robert, 216 ntoralism, dVotskx' versus, 1 09—10 Morike, hiduard, 197 .Mouse Hunt, 32 M li 1 1 e r- 1 • re i e n t e 1 s , Ri cha rd , 263 multiplane system, 147-8, 133, 161 .M/(.fir I Mild, 128, 138 Mussolini, Benito, 193; receives Disney, 130 Mussorgskv, Morlest Petrovich, 287 Muvhridge, Piadweard, 3, 89, 314 narrative drama, as quashing of progressive hopes tor cinema, 122 nature, as ideology, 197 Nazism, 144 .\eir Yorker, 293 Newton, Isaac, 3, 4, 23 3-4. 236, 238, 270, 279, 283, 326 AV^/V Before Christmas, 1 1 3 Nolan, Bill, 20 nonsense, as legitimate part ot popular art, 178 Novalis (Priedrich von 1 lardenberg), 243, 238 October, 183 Old .Mill, 161 Olympia, 123—4, 125, 127-8, 133, i;3-4P 31 3 Olvmpics, 123-3, 133-8, 139, 142, 146, 190; Nazi origins of torch ceremon\-, 143; reactionarv nature ot, 140-41 ( )live ( )yl, 176 optical unconscious, 63-4 Orbis Pietns, 93 Oswald the Lucky Rabbit, 24-3 Out of the Jryinj!^ Pan into the Tiring Line, 21 2 Out of the Inkwell, 13 Pabst, CkW., 219 Panovskv, on \now II hite, 1 62—3 Partisan Reriew, 291, 296-8, 298 Panrre Pierrot, 3-4 Pavlova, Anna, 167 Pearl 1 larbor, 21 2 Peasants, 228 Peculiar Pens^nins, 229 Peter Pan, 29 3 pha n t a s mago ri a , 6 2 Picabia, P'rancis, 19, 33-4. --3 Pied Piper, 1 1 3 Pinocchio, 133-6, 190, 20^, 210, Plane 6.ra^', 26, 202 play, 93-6 Ihow Roy, 3 1 Polaroid Corporation, 232 Pomerance, \\ illiam, 218 poodle, 10, 273, in (loethe's Panst, 238-60 Pope\e, 208, sanitized, 174-3, 176 Popeye the .Sailor meets Sinbad the .Sailor, 148 Popular Pront, 143, i7o, 214-13 Post Office, 2 27 Prevost, Jean, 168-9, 172, 213 Prokofiev, Sergei, 164, 243 Proust, Marcel, 106—7, 272 Pudovkin, N’sevolod, 244 Purkinje, Johann Pivangelisia, 260-61, 273 Rajitime Rear, 293 Raphael, 168—9 Reagan, Ronald, 216 rebus, 96 Reinhardt, Ad, 293 Reinhardt, Max, 163; criticized bv Benjamin, 176 Reiniger, Potte, 29, 48, 49 30, 189, 319 Reluctant / Iracs^on, 2 1 1 Renoir, Jean, 223 Revnaud, Pimile, 3-4, 3-6, 10 Rhythm 21, 39 Richardson, Doroth\', on Steamboat Willie, 28 Richter, 1 Ians, 9, 34, 36-8, 39, 44-6, 3 3, 3 3-6, 219; ! dm .Study, 220; Inflation, 43-4. 219; Rhythm 21, 39; I ormitta2sspuk. {Cd.wsts Refore Rreakfasf), 44-5 Riefenstahl, l.eni, and Nazi regime, 133—6; and Walt Disnev, 123-37; see also ( dympia Rite of .Sprine,, 164-6 Rireter, 173 Rockefeller, Nelson, 21 1 Rodchenko, Alexantler, 32, ^1, 2 1 6, 290 rouml things are boring, 179, 180 Ruitmann, Walter, 19, 46-30, 66-71, 73, 146, 179, 219, 281-2, 283-6, 307; ir/:/:A7:A />, 66-70 Sade, Donation Alphonse Pranij'ois, Marc|uis de, 87—9, 198 Salten, Pelix, 136, 316 .Saludos . \misios, 217 Sander, August, 274 Scheerbart, Paul, 83, 90 Schickel, Richard, 290 Schlegel, Priedrich, 238 Schoenberg, Arnokl, 163, i 3 , 1 77, 183, 281 Scholem, Ciershom, 38 Schubert, P'ranz, 28- Schulz, P.berhard, 8"', 308—9 Schw itters, Kurt, 28, 91 .SelfC ontrol, 234 Shklovskv, X'iklor, on (dtaplin, 17-18 silliness, 194, 198 Hollywood flatlands Simmcl, Cicorg, 41 Situationist International (SI), 298 Skeleton nance, 28, 29, 31, 248 Skriahin, Alexander, 262, 280 Sleepii{s. Beauty, 291, 293 smellorama, 192 Snow W hire, 267, 268; as link herween Disnev and Rietenstahl, 312-13 Snotr White and the Seren Pnarfs, 121-2, 127-34, 134, 140, 141, 148-S6, 191-3, 200, 20^, 210, 213, 222, 230, 247, 286-7, 289; its Nazi values, 130-31 socialist realism, 228, as kitsch, 133 Sontag, Susan, 3 1 3 Sorcerer’s Apprentice: Dukas’s composition, 161, 163, 188; (ioethe’s poem, 126, 136-7, i6i-s, 192; I'ischinger’s him, 188; Marx’s metaphor, 172—5; used to criticize Adorno, 3 1 8 Sorrell, Herbert, 217—18 Soupault, Philippe, 193 Soviet I'nion, 152-3, 144 space, Kracauer on, 77-9 sport, Adorno on, 138 Spring, 50 Stalin, 72 , 107, 143-4, 306 Stalling, (]arl \\., 28 Steamboat Willie, 26-7, 27, 29 Steinberg, Saul, 294-3 Steiner, Rudolt, 263 Stokowski, Leopold, 187, 190 Stone, Sascha, 37 Stravinsky, 163-4, 186; on Disney, 166-7, 317; Rite of Spring, 1 64—6 surrealism, 90-91, 159—40 Survage, Leopold, 280 Swift, jonathan, 82 svnaesthesia, 184, 232, 273-6, 279-8 1 Technicolor, 284—7; and Disnev strike, 210 television, 218; and Nazism, 1 ^ 7-8 tentacles, progressive beauty of, 139-40 Three C.ahalleros, 217, 290, 291 Three Tittle Ri^s, 113, 130, 228, 229 Tiejlanci, 146-7 time, Dehord on, 43 time, Marx on, 42-3 Tiomkin, Dimitri, 163 T()pffer, Rodolphe, 222 Toussenel, Alphonse, 98 toys, 91-2 transition, on Steamboat WilHe, trash, superiority of, 182 Treasure Island, 293 Tri/imph of the Will, 123, 1 28-9, 143, 189 Trolley Troubles, 1 1 i 'rrotsk\-, Leon, 37, 7i, 143, 194, 237-41, 243, 324; on 1 -enin, 1 07—10; on photography and cinema, 1 07— I o dVotskyists, 291, 297; persecution ot during war, 'Lsekhanovskv, Mikhail, 227 Lnitetl Productions of America (L'PA), 293-4, origins ot, 290—91 utopia, 103-4 \’erlaine, Paul, 267 Vertov, Dziga, 74-3, 223-3, 228, 307 N’icious, Sid, i6t [ ictory Through . Air Power, 213-14 \'igo, lean, 20 1 ormittagsspnk {Crhosts before Breakfast), 44-5 Wagner, Richard, 1 18-19, Warner Brothers, 290, 293-4 WTJiKT. Xn, 66-70 Werfel, Franz, 176-7 westerns, superiority of, to ‘grade-A film’, 182 Whale Who Wanted to Sing at the Met, 243 White, Lric Walter, 29, 49, 223 White Tlood, 1 8 3 W ilder, Billy, 163 W issing, F^gon, 274 Wood, Sam, 216 woodwinds, imagined as hot kettle with Hoating spaghetti, 1 87 Wordsworth, William, 231-2 AXork of Art in the Age of Mechanical Reproduction’, 103-7, > 'o— 1 1, 1 13-22, 136-7, 140-41, 176, 226, 227-8 , 276-7; suppressed politics ot, 3 1 1 Wright, Frank Lloyd, 227 Youth of Maxim, 228 Zappa, Frank, see poodles Zero de C.ondnite, 20 Zoctrope, 3

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