Vaudeville and the Making of Modern Entertainment, 1890–1925
Vaudeville and the Making of Modern Entertainment, 1890–1925

Author: David Monod

Publisher: UNC Press Books

Published: 2020-09-28

Total Pages: 286

ISBN-13: 1469660563

DOWNLOAD EBOOK

Today, vaudeville is imagined as a parade of slapstick comedians, blackface shouters, coyly revealed knees, and second-rate acrobats. But vaudeville was also America's most popular commercial amusement from the mid-1890s to the First World War; at its peak, 5 million Americans attended vaudeville shows every week. Telling the story of this pioneering art form's rise and decline, David Monod looks through the apparent carnival of vaudeville performance and asks: what made the theater so popular and transformative? Although he acknowledges its quirkiness, Monod makes the case that vaudeville became so popular because it offered audiences a guide to a modern urban lifestyle. Vaudeville acts celebrated sharp city styles and denigrated old-fashioned habits, showcased new music and dance moves, and promulgated a deeply influential vernacular modernism. The variety show's off-the-rack trendiness perfectly suited an era when goods and services were becoming more affordable and the mass market promised to democratize style, offering a clear vision of how the quintessential twentieth-century citizen should look, talk, move, feel, and act.

Good Entertainment
Good Entertainment

Author: Byung-Chul Han

Publisher: MIT Press

Published: 2019-10-08

Total Pages: 140

ISBN-13: 0262537508

DOWNLOAD EBOOK

A philosopher considers entertainment, in all its totalizing variety—infotainment, edutainment, servotainment—and traces the notion through Kant, Zen Buddhism, Heidegger, Kafka, and Rauschenberg. In Good Entertainment, Byung-Chul Han examines the notion of entertainment—its contemporary ubiquity, and its philosophical genealogy. Entertainment today, in all its totalizing variety, has an apparently infinite capacity for incorporation: infotainment, edutainment, servotainment, confrontainment. Entertainment is held up as a new paradigm, even a new credo for being—and yet, in the West, it has had inescapably negative connotations. Han traces Western ideas of entertainment, considering, among other things, the scandal that arose from the first performance of Bach's Saint Matthew's Passion (deemed too beautiful, not serious enough); Kant's idea of morality as duty and the entertainment value of moralistic literature; Heidegger's idea of the thinker as a man of pain; Kafka's hunger artist and the art of negativity, which takes pleasure in annihilation; and Robert Rauschenberg's refusal of the transcendent. The history of the West, Han tells us, is a passion narrative, and passion appears as a killjoy. Achievement is the new formula for passion, and play is subordinated to production, gamified. And yet, he argues, at their core, passion and entertainment are not entirely different. The pure meaninglessness of entertainment is adjacent to the pure meaning of passion. The fool's smile resembles the pain-racked visage of Homo doloris. In Good Entertainment, Han explores this paradox.