The 1st of its sort, A better half to old Aesthetics provides a synoptic view of the humanities, which crosses conventional limitations and explores the classy event of the ancients throughout a variety of media-oral, aural, visible, and literary.
• Investigates the various ways that the humanities have been skilled and conceptualized within the historic international
• Explores the cultured event of the ancients throughout a variety of media, treating literary, oral, aural, and visible arts jointly in one quantity
• offers an built-in viewpoint at the significant issues of old aesthetics which demanding situations conventional demarcations
• increases questions about the similarities and adjustments among historic and glossy methods of puzzling over where of paintings in society
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Extra resources for A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)
Small wonder then that the studios dragged their heels on complying with the Court’s demands for as long as possible (Loew’s finally divorced its theatre chain from MGM only in 1957); nor that some of the old guard of studio leaders – men in any case of pensionable age by the mid-1950s – preferred comfortable retirement to the effort of equipping their companies for a new and uncertain business environment. Harry Warner, Nicholas Schenck at MGM, and Y. Frank Freeman, Barney Balaban’s longtime head of production at Paramount, all stepped down from executive responsibility in the 1950s.
In the old Hollywood of long-term contracts and studio micromanagement of star profiles, the role of agents – widely despised as parasitic bottom-feeders – was strictly limited. In the new free-market Hollywood, by contrast, agents were enormously empowered, and MCA’s control of so many key players by design increased that power exponentially. Even before the postwar downturn, Wasserman was promoting the advantages of independence and incorporation to his clients. Olivia de Havilland’s successful lawsuit against her contract with Warner Bros.
Indd 12 4/5/10 15:01:16 the autumn of th e patriarch s 13 whether 1939 (the year of Gone With the Wind, Stagecoach, Mr Smith Goes to Washington and The Wizard of Oz), 1940 (The Grapes of Wrath, Pinocchio, His Girl Friday, The Philadelphia Story), or perhaps 1941 (Citizen Kane, Sullivan’s Travels, The Maltese Falcon, Sergeant York, How Green Was My Valley) was ‘Hollywood’s greatest year’. Others would argue the case for 1946, the last real year of that older Hollywood, and the year this book’s narrative begins.
A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)