All Consuming Images: The Politics of Style in Contemporary Culture
Discusses the evolution of style, from its former limited position in the ranks of the aristocratic elite to its pervasive role in everyday life, where it has become a vital mechanism for the transmission of social, economic, and political power
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abstract advertising aesthetic aestheticization American appearance architect architecture argued Art Nouveau Bauhaus beauty become began body building Calkins celebrity clothes commercial Consumer Engineering consumption CONTEMPORARY CULTURE Corbusier corporate decorative display DREAM OF WHOLENESS economic Egmont Arens Egon Friedell ELEMENTS OF STYLE elites emerging environment everyday Ewen expression EYE'S MIND factory fashion film FORM FOLLOWS POWER Frank Lloyd Wright human Ibid ideal ideas IMAGE AND IDENTITY IMAGE AND POWER imagistic increasingly individual Industrial Design labor Le Corbusier lives look machine magazine mass production material meaning mechanical ment middle class Moholy-Nagy nineteenth century ornamental Peter Behrens photograph POLITICS OF STYLE rational modernism Raymond Loewy reality sense Sibyl Moholy-Nagy skyscraper social society status structures Stuart Ewen STYLE IN CONTEMPORARY stylistic suburban surfaces symbolic things tion traditional twentieth century urban vision visual Walter Benjamin Walter Gropius wealth women workers Writing York
Page xxxi - Photographs have the kind of authority over imagination to-day, which the printed word had yesterday, and the spoken word before that. They seem utterly real.
Page xxxiii - It has fixed the most fleeting of our illusions, that which the apostle and the philosopher and the poet have alike used as the type of instability and unreality. The photograph has completed the triumph, by making a sheet of paper reflect images like a mirror and hold them as a picture.
Page xxxi - The making of one general will out of a multitude of general wishes is not an Hegelian mystery... but an art well known to leaders, politicians, and steering committees. It consists essentially in the use of symbols which assemble emotions after they have been detached from their ideas.
Page xxxiv - By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious 249 guidance of" the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action.