Sentences with phrase «american celebrity culture»

Those concerns are heightened when the adoration is not just a one - sided thing in which the object of the celebrity treatment takes no part in it and does not encourage it, but one in which the object rather seems to enjoy and participate in that phenomenon, and / or takes to making general public pronouncements on various issues, which is a common element in modern American celebrity culture.

Whereas both seem interested in American celebrity culture, they have foreign directors and entirely different energy.

Not exact matches

And it is growing in the developing world, far from the celebrity - obsessed American culture, through the faithful work of both men and women who are committed to yielding to this Spirit of grace.

I'm often asked what ought to be done about «celebrity culture» within American Christianity, and having benefitted a bit from that very culture myself, I honestly don't know if I'm the best person to respond.

What Britain Needs: Proportional Representation Closed Primaries No F *** ing American Style politics with all the stupid celebrities, big cash donations and anti-government culture.

His cinema has spanned such subjects as South American civil war (Salvador), the Vietnam War (Platoon), speculative capitalism (Wall Street), the assassination of John F. Kennedy (JFK), as well as media, violence and the celebrity culture (Natural Born Killers).

Indeed, the book outlines the full gamut of historical periods associated with different kinds of biopic subjects: the classical, celebratory form (melodrama); warts - and - all (melodrama / realism); transition from producer's genre to auteur's genre; critical investigation and atomisation of the subject; parody; culture based on consumerism and celebrity; minority appropriation (queer, feminist, African American, Third World, etc.); and neoclassical biopic, which integrates all of the above.

Glen David Gold, author of the best seller Carter Beats the Devil, now gives us a grand entertainment with the brilliantly realized figure of Charlie Chaplin at its center: a novel at once cinematic and intimate, heartrending and darkly comic, that captures the moment when American capitalism, a world at war, and the emerging mecca of Hollywood intersect to spawn an enduring culture of celebrity.

A novel with Charlie Chaplin at its center, capturing the moment when American capitalism, a world at war, and the emerging mecca of Hollywood intersect to spawn an enduring culture of celebrity.

Deeply entwined with his hometown, his work explores popular media, Hollywood, and the cult of celebrity, while positing LA as central to an understanding of American culture and the American dream.

His appealing works circle around such themes as the film industry, celebrity culture and the American dream, and their mechanisms are both embraced as well as exposed in all their ambiguity.

At a time when art world was in thrall to Andy Warhol's cool renderings of American celebrity and brand culture, Rosenquist revealed a new critical resistance to Pop Art.

Hamilton's American counterpart, Andy Warhol, shared this interest in celebrity, glamour, and mass - produced culture: at an early age Warhol wrote letters to stars including Shirley Temple, and he later stated he wished he were more like a machine.

The exhibiting artists exponentially expand on and add to the show's themes through a variety of strategies, including: performed fictions that resituate celebrity and commodity culture; collaborative text pieces that give institutionally marginalized voices visibility; appropriation of pop culture to explore the isolation of fame; the mining of distinctly American signifiers such as varsity sports and daytime TV talk shows; and juxtapositions of post-consumer objects that read on multiple levels and often indicate how a person's race, class, gender, and sexuality can position them in a simultaneous state of hypervisibility and invisibility in American culture.

Although Lowman's work is influenced by such earlier appropriation artists as Andy Warhol, Richard Prince, and Cady Noland, his own brand of image recycling disperses into an unstructured installation - environment in which posters, record jackets and silk - screened imagery create a large - scale narrative that ruminates on specific issues, from American gun culture to celebrity cults.

Warhol, an iconic American artist whose reputation has only increased in the quarter - century since his death, is best known for appropriations of images from popular culture — advertisements, mass - media photographs and celebrity portraits — that challenged the conventional definitions and subjects of art.

In their circling around such themes as the film industry, celebrity culture and the American dream, their mechanisms are both embraced and, at the same time, exposed in all their ambiguity.

The commission came shortly after the celebrated «Athlete Series», which for Warhol reflected the changing nature of celebrity in American popular culture, with athletes like jockey William Shoemaker or soccer player Pele featured in earlier iterations.

In Warholian fashion, Johnson often imbues his work with queer desire and dry melancholy as he mines lowbrow registers of American culture, resituating material drawn from such sources as People magazine, pulp fiction, celebrity auto - biographies, Hollywood histories, and advertisements.

The colorful celebrity portraits and re-purposing of consumerism (which became his trademark) helped forge a new American pop culture mythology, while also defining the Pop Art movement.

Of course Capitalist Realism had no such reputation in the U.S.; the artists were parodying the overnight ascendance of Pop Art, with its celebrity culture and embrace of everyday commodities, as well as the German craze for all things American.