Pastiche: Cultural Memory in Art, Film, Literature

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Indiana University Press, Jan 1, 2001 - Art - 138 pages
2 Reviews
Cultural theorists see contemporary society marked by radical hybridity in manifold social practices. In the last two decades the arts have participated in these processes of heterogeneous conjunction in various ways, most conspicuously through the redefinition of a genre of artistic expression that for centuries was regarded as both elusive and notorious: the pastiche or pasticcio. Today highly engaging manifestations of the genre minor can be found in architecture, painting, mixed media installations; in film, literature, and performance modes ranging from the operatic to rock event; and in supposedly trivial discourses such as advertising narratives.
Pastiche is about cultural memory as a history of seeing and writing. One of the markers that sets aesthetic postmodernism apart from modernism nolens volens categories for the author are artistic practices that borrow ostentatiously from the archive of Western culture, which modernism, in its search for the unperformed, tended to dismiss. Contemporary artists are re-examining traditions that modernism eclipsed in its pursuit of the "Shock of the New" or in the case of the architects the functionalism of the International style. Rejecting the Bauhaus paradigm, architects practiced an aesthetics of quotation and incorporation of past forms with a vengeance for two decades. The style that has run its course, its decorative component watered down in general building practices across the land, is significant for the author's argument.
As the architects return to, and re-evaluated, constructivism, their move makes it possible to historicize postmodern style and separate it, to a degree, from a totalised concept of the post-modern or postmodernity as epoch and from other discursive practices such as "postmodern thought." Such differentiation enables the critic to look at pastiche structuration in the various arts as an exemplary feature of aesthetic postmodernism, which in contrast to hard-core modernism, situates itself in general culture beyond a high-low dichotomy.
  

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Review: Pastiche: Cultural Memory in Art, Film, Literature

User Review  - Ssm2056 - Goodreads

It's not like theres some minor flaws in this book, theres like plenty of completely wrong stuff inside! Like the Blade Runner Part, where Dr. Tyrell was killed by falling from the rooftop of a ... Read full review

Review: Pastiche: Cultural Memory in Art, Film, Literature

User Review  - John - Goodreads

Had to suffer this tortuous piffle at college.... I couldn't understand a sodding word of it. It is contrived cobblers. It is contrived for thsake of being contrived... It is contrived so as to appear deep and meeningful... yet it just comes across as complete shite. Read full review

Contents

A Discourse History of Pasticcio and Pastiche
1
Pastiche in the Visual Arts
16
Cinematic Pastiche
45
Literary Pastiche
80
Pastiche Culture Beyond High and Low Advertising Narratives MTV Performance Styles
104
Coda
118
NOTES
121
WORKS CITED
127
INDEX
133
Copyright

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Linda Hutcheon
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About the author (2001)

Ingeborg Hoesterey is Professor of Comparative Literature and Germanic Studies at Indiana University. She is author of Verschlungene Schriftzeichen: Intertextualitat von Literatur und Kunst in der Moderne/Postmoderne, editor of Zeitgeist in Babel: The Postmodernist Controversy, and co-editor of Intertextuality: German Literature and Visual Art from the Renaissance to the Twentieth Century, and Neverending Stories: Toward a Critical Narratology.

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