“For the Record: Adorno on Music in the Age of its Technological Reproducibility,” October 55 (Winter 1990): 23-47.
Prehistory of phonograph; Chladni’s experiments; connects Adorno’s ideas of gramphonoic inscription to other modernist notions concerning utopian forms of writing or expression, such as cinema as ‘universal language.’
Simon, Richard Keller. "Between Capra and Adorno: West's Day of the Locust and movies of the 1930s." Modern Language Quarterly. Vol. 54 Issue 4 (Dec. 1993). EBSCO MegaFILE. 9 Apr. 2008. <http://proxy.library.upenn.edu:2055/ehost/detail?vid=11&hid=117&sid=a84a42de-5c72-4186-8e63-be5141727d64%40sessionmgr102>.
This article traces the method Nathaniel West utilized in the creation of his novel The Day of the Locust. The author identifies West’s employment as a screenwriter as the birthplace of the method he utilized to write The Day of the Locust. In order to produce marketable screenplays, West was forced to “rearrange conventional film material rather than invent anything new.” He later used this method of montage to create his novel, as nearly every element borrows from Hollywood films of the time. The majority of the story he owes to Capra’s Mr. Deeds Goes to Town, his characterization borrows from B movie cliché’s of the time and other characters and themes come from other contemporary movies. However, West’s success came by not merely adding these elements together, but reworking each one as a parody that attacked what West saw as Hollywood fantasy. Further, West took revenge on the limiting Production code of the time by including scenes that could never appear on the screen, namely the cockfight and visits to a whorehouse. While some commentators of the time thought that real life should be more like the movies, West effectively makes the movies more like real life. The latter part of the article examines contemporary philosophical schools of thought that may not have directly influenced West, but observed the same elements of mass culture West satirizes.
This article is fascinating as it provides strong evidence for all of its assertions. It leaves no doubt that the main elements of the story of West’s novel are a subverted version of Capra’s Mr. Deeds Goes to Town, and it shows how West attacked what he saw as not only the artifice of the movies but their power as well. This only further adds to the interesting concept of West using that which he satirizes as direct subject matter as he not only weaves a tale about Hollywood movies but also uses the movies themselves in the creation of story elements. As West collects from contemporary films for the creation of his novel, his novel is likewise harvested for the creation of the film that bears its name.
“nature,” see Richard Leppert, “Paradise, Nature, and Reconciliation, or, a Tentative Conversa-
tion with Wagner, Puccini, Adorno, and the Ronettes,” Echo: A Music-Centered Journal4, no. 1
Call#: Van Pelt Library T14 .H287 2000
benjamin and afterlife of mimesis (CULTSTUD-L)
Call#: Van Pelt Library B3199.A34 N53 1997
last chapter - Benjamin's notion of 'nonsensuous similarity' (CULTSTUD-L)
Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the concept of subjectivity recalls his lifelong struggle with a philosophy of consciousness stemming from Kant, Hegel, and Lukacs. Art, despite the taint of illusion that it has carried since Plato's Republic, turns out in Adorno's account of modernism to have a sophisticated capacity to critique illusion, including its own.
Call#: Van Pelt Library ML3797.1 .A34 1968
Detailed and systematic typology of listeners pp. 14-34, 1962 ed.
cited by mark evan bonds
Call#: [z] Lost copy. B3199.A33 A438 1991
cited by mark evan bonds
This is the topic for my Media Theory essay wherein I will explore Adorno and Horkheimer's assertions established in "The Culture Industry: Enlightenment as Mass Deception." Using this chapter as a foundation for contemporary theory, I will exaine how other theorists respond to the arguments presented by the two theorists and how the theories that emerge from The Dialectic of Enlightenment chapter are manifested in Los Angeles as a urban and cultural space.