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W74978047 abstract "MANY OF HIS contemporaries regarded Vachel Lindsay as a major poet, essayist, and film theorist, yet his reputation has declined greatly since his death in 1931. Among recent critics, reaction his work has generally been indifferent or even disparaging. Lindsay's work, however, deserves be read, particularly in the way that it positions cinema as a populist expression in opposition the cultural hegemony of elite art. is at stake in reading an author such as Lindsay is the imperial position of the central culture in relation its margin--the presumed superiority of an established capitalist elite over a neoteric culture dependent on physical labor and untrained creativity. It is not surprising that the underlying target of most attacks continues be Lindsay's call for a more egalitarian and decentralized national culture, for Lindsay identified unconditionally with the mass consciousness of his time and the democratic rights of ordinary people. His writing consistently expressed a passionate identification with the people of his class and region and an unalterable opposition elitist forms of culture. As intend show, Vachel Lindsay's writing must be reevaluated in terms of his opposition cultural hegemony. Lindsay's populist theory of art was best expressed in the body of film criticism that he published during the silent film period. In the film of his day Lindsay perceived a new form of artistic expression that was based on the mass consciousness of its working-class audience. At its best, this art worked valorize the cultural aspirations of its popular audience, and it also provided models of virtue and beauty that promoted the best interests of its audience. Lindsay based his own poetry and criticism on the same aesthetic and social program, for he asserted the primacy of the ordinary citizen within a democratic society. His efforts were a constant encouragement for that broad segment of middle America that found its values and culture dismissed or ignored by the leading voices of modernist writing. Unfortunately, recent critical and biographical accounts have skirted the powerful ideological issues raised in Vachel Lindsay's writing. In his account of a meeting with Lindsay in the early 1920s in Albuquerque, New Mexico, Paul Horgan is wittily dismissive of Lindsay's career as a who appealed a general American audience. In Horgan's rendering, Lindsay plays the familiar middle-American rustic: the sincere but blundering rube whose art does not meet the standard of a more sophisticated national culture. In Orientalism as an Ideological Form: American Film Theory in the Silent Period Nick Browne attempts a more serious reassessment of Lindsay's art, yet by inserting Lindsay's social theory within the context of contemporary identity politics (the seventy-five years of institutionalized American racism regarding Asian labor and immigration policy), he fails address Lindsay's ideological struggle on its own terms. Browne contextualizes Lindsay's film theory within a history of American imperialism, particularly as it applied Asian labor, markets, and cultural commodities, yet by focusing entirely on the single issue of Asian representation, Browne loses sight of Lindsay's significant crusade on the behalf of a broad group of culturally disenfranchised people. In What the Canon Excludes: Lindsay and American Bardic, Donald Wesling faults Lindsay on formalist and aesthetic criteria. Early on, Wesling announces: I don't intend reinstate the native son of the corny region around Springfield (479), and in fact his analysis of Lindsay's exclusion from the American literary canon largely ignores the thoughful treatment of class and regional issues in Lindsay's work. In his view that Lindsay failed as a weak poet without the education to validate his own selective tradition (481), Wesling echoes T.S. Eliot's elitist pronouncement that Lindsay is impossible. …" @default.
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W74978047 date "2001-09-22" @default.
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W74978047 title "Vachel Lindsay's Populism in the Silent Film Era" @default.
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