High culture

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The Creation of Adam, from Michelangelo's Sistine Chapel ceiling - an example of high culture Michelangelo - Creation of Adam (cropped).jpg
The Creation of Adam , from Michelangelo’s Sistine Chapel ceiling – an example of high culture

In a society, high culture encompasses cultural objects of aesthetic value which a society collectively esteems as being exemplary works of art, [1] as well as the intellectual works of literature and music, history and philosophy which a society considers representative of their culture. [2]

Contents

In popular usage, the term high culture identifies the culture either of the upper class (an aristocracy) or of a status class (the intelligentsia); high culture also identifies a society’s common repository of broad-range knowledge and tradition (folk culture) that transcends the social-class system of the society. Sociologically, the term high culture is contrasted with the term low culture , which comprises the forms of popular culture characteristic of the less-educated social classes, such as the barbarians, the Philistines, and hoi polloi (the masses), [3] though very often also enjoyed by the upper classes.

The Acropolis of Athens, Greece The Acropolis of Athens viewed from the Hill of the Muses (14220794964).jpg
The Acropolis of Athens, Greece

Matthew Arnold introduced the term high culture in the book Culture and Anarchy (1869). The Preface defines culture as "the disinterested endeavour after man’s perfection" pursued, obtained, and achieved by effort to "know the best that has been said and thought in the world". [4] Such a literary definition of high culture also includes philosophy. Moreover, the philosophy of aesthetics proposed in high culture is a force for moral and political good. Critically, the term "high culture" is contrasted with the terms "popular culture" and "mass culture". [5]

In Notes Towards the Definition of Culture (1948), T. S. Eliot said that high culture and popular culture are necessary and complementary parts of the culture of a society. In The Uses of Literacy (1957), Richard Hoggart presents the sociologic experience of the working-class man and woman in acquiring the cultural literacy, at university, which facilitates social upward mobility. In the U.S., Harold Bloom and F. R. Leavis pursued the definition of high culture, by way of the Western canon of literature. Media theorist Steven Johnson writes that, unlike popular culture, "the classics—and soon to be classics—are in their own right descriptions and explanations of the cultural systems that produced them." He says that "a crucial way in which mass culture differs from high art" is that individual works of mass culture are less interesting than the broader cultural trends which produced them. [6]

History in the West

T. S. Eliot TS Eliot.jpg
T. S. Eliot

The high culture of the West originated in the classical-world traditions of intellectual and aesthetic life in Ancient Greece (from c. 8th century BC – AD 147) and Ancient Rome (753 BC – AD 476). In the classical Greco-Roman tradition, the ideal mode of language was published and preserved in works of elevated style (correct grammar, syntax, and diction). Certain forms of language used by authors in valorized epochs were held up in antiquity and the Renaissance as eternal valid models and normative standards of excellence; e.g. the Attic dialect of ancient Greek spoken and written by the playwrights and philosophers of Periclean Athens (fifth century BC); and the form of classical Latin used in the "Golden Age" of Roman culture (c. 70 B.C. – AD 18) represented by such figures as Cicero and Virgil. This form of education was known to the Greeks as παιδεία, which was translated by the Romans into Latin as humanitas [7] since it reflected a form of education aiming at the refinement of human nature, rather than the acquisition of technical or vocational skills. Indeed, the Greco-Roman world tended to see such manual, commercial, and technical labor as subordinate to purely intellectual activities. [8]

From the idea of the "free" man with sufficient leisure to pursue such intellectual and aesthetic refinement, arose the classical distinction between the "liberal" arts which are intellectual and done for their own sake, as against the "servile" or "mechanical" arts which were associated with manual labor and done to earn a living. [9] This implied an association between high culture and the upper classes whose inherited wealth provided such time for intellectual cultivation. The leisured gentleman not weighed down by the necessity of earning a living, was free to devote himself to activities proper to such a "free man" [10] – those deemed to involve true excellence and nobility as opposed to mere utility.

A painting by Ming Dynasty artist Chen Hongshou showing a scholar-gentleman (literai) with a guqin, a Chinese musical instrument Ch'en Hung-shou 002.jpg
A painting by Ming Dynasty artist Chen Hongshou showing a scholar-gentleman (literai) with a guqin, a Chinese musical instrument

During the Renaissance, the classical intellectual values of the fully rediscovered Greco–Roman culture were the cultural capital of the upper classes (and the aspiring), and aimed at the complete development of human intellectual, aesthetic, and moral faculties. This ideal associated with humanism (a later term derived from the humanities or studia humanitatis), was communicated in Renaissance Italy through institutions such as the Renaissance court schools. Renaissance humanism soon spread through Europe becoming much of the basis of upper class education for centuries. For the socially ambitious man and woman who means to rise in society, The Book of the Courtier (1528), by Baldasare Castiglione, instructs the reader to acquire and possess knowledge of the Greco–Roman Classics, being education integral to the social-persona of the aristocrat. A key contribution of the Renaissance was the elevation of painting and sculpture to a status equal to the liberal arts (hence the visual arts lost for elites any lingering negative association with manual artisanship). The early Renaissance treatises of Leon Battista Alberti were instrumental in this regard.

The evolution of the concept of high culture initially was defined in educational terms largely as critical study and knowledge of the Greco–Roman arts and humanities which furnished much of the foundation for European cultures and societies. However, aristocratic patronage through most of the modern era was also pivotal to the support and creation of new works of high culture across the range of arts, music, and literature. The subsequent prodigious development of the modern European languages and cultures meant that the modern definition of the term "high culture" embraces not only Greek and Latin texts, but a much broader canon of select literary, philosophical, historical, and scientific books in both ancient and modern languages. Of comparable importance are those works of art and music considered to be of the highest excellence and broadest influence (e.g. the Parthenon, the painting and sculpture of Michelangelo, the music of Johann Sebastian Bach, etc). Together these texts and art works constitute the exemplary artifacts representing the high culture of the Western world.

Cultural traditions

In the Western and some East Asian traditions, art that demonstrates the imagination of the artist is accorded the status of high art. In the West this tradition began in Ancient Greece, was reinforced in the Renaissance, and by Romanticism, which eliminated the hierarchy of genres within the fine arts, which was established in the Renaissance. In China there was a distinction between the literati painting by the scholar-officials and the work produced by common artists, working in largely different styles, or the decorative arts such as Chinese porcelain, which were produced by unknown craftsmen working in large factories. In both China and the West the distinction was especially clear in landscape painting, where for centuries imaginary views, produced from the imagination of the artist, were considered superior works.

Cultural capital

Four English lords on ship during their Grand Tour, 1731-32 Gustavus Hamilton, 1710-46, 2nd Viscount Boyne, and Friends in a Ship's Cabin.jpg
Four English lords on ship during their Grand Tour, 1731–32

In socially-stratified Europe and the Americas, a first-hand immersion to the high culture of the West, the Grand Tour of Europe, was a rite of passage that complemented and completed the book education of a gentleman, from the nobility, the aristocracy, and the bourgeoisie, with a worldly perspective of society and civilisation. The post-university tour of the cultural centres of Europe was a social-class benefit of the cultural capital transmitted through the high-status institutions (schools, academies, universities) meant to produce the ideal gentleman of that society.

The European concept of high culture included cultivation of refined etiquette and manners; the education of taste in the fine arts such as sculpture and painting; an appreciation of classical music and opera in its diverse history and myriad forms; knowledge of the humane letters (literae humaniores) represented by the best Greek and Latin authors, and more broadly of the liberal arts traditions (e.g. philosophy, history, drama, rhetoric, and poetry) of Western civilisation, as well as a general acquaintance with important concepts in theology, science, and political thought.

High art

The Metropolitan Museum of Art in Manhattan Metropolitan Museum 1 (4675714481).jpg
The Metropolitan Museum of Art in Manhattan

Much of high culture consists of the appreciation of what is sometimes called "high art". This term is rather broader than Arnold's definition and besides literature includes music, visual arts (especially painting), and traditional forms of the performing arts (including some cinema). The decorative arts would not generally be considered high art. [11]

The cultural products most often regarded as forming part of high culture are most likely to have been produced during periods of high civilization, for which a large, sophisticated, and wealthy urban-based society provides a coherent and conscious aesthetic framework, and a large-scale milieu of training, and, for the visual arts, sourcing materials and financing work. Such an environment enables artists, as near as possible, to realize their creative potential with as few as possible practical and technical constraints, though many more could be found on the cultural and economic side. Although the Western concept of high culture concentrates on the Greco-Roman tradition, and its resumption from the Renaissance onwards, such conditions existed in other places at other times.

Art music

Art music (or serious music, [12] classical music, cultivated music, canonical music or erudite music) is an umbrella term used to refer to musical traditions implying advanced structural and theoretical considerations and a written musical tradition. [13] The notion of art music is a frequent and well-defined musicological distinction – musicologist Philip Tagg, for example, refers to art music as one of an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics". He explains that each of these three is distinguishable from the others according to certain criteria, with high cultural music often performed to an audience whilst folk music would traditionally be more participatory; high culture music is small-scale and performed at the local level rather than as mass-produced pop music; it is stored in written form rather than non-written; it is often made for a diverse group of people as opposed to a socioculturally heterogeneous audience; non-industrious high art music spreads in many locales rather than pop music which is possible in industrious economies only; it is not made to compete in the free market place of music. [14] In this regard, "art music" frequently occurs as a contrasting term to "popular music" and to "traditional" or "folk music". [13] [15] [16]

Art film

Art film is the result of filmmaking which is typically a serious, independent film aimed at a niche market rather than a mass market audience. [17] Film critics and film studies scholars typically define an "art film" using a "...canon of films and those formal qualities that mark them as different from mainstream Hollywood films", [18] which includes, among other elements: a social realism style; an emphasis on the authorial expressivity of the director or writer; and a focus on the thoughts and dreams of characters, rather than presenting a clear, goal-driven story. According to the film scholar David Bordwell, "art cinema itself is a film genre, with its own distinct conventions." [19]

Promotion

Dancers from the Ballet Rambert, under the auspices of CEMA, a government programme, perform Peter and The Wolf at an aircraft factory in the English Midlands during World War II. The Ballet Rambert Visiting An Aircraft Factory in Britain TR969.jpg
Dancers from the Ballet Rambert, under the auspices of CEMA, a government programme, perform Peter and The Wolf at an aircraft factory in the English Midlands during World War II.

The term has always been susceptible to attack for elitism, and, in response, many proponents of the concept devoted great efforts to promoting high culture among a wider public than the highly educated bourgeoisie whose natural territory it was supposed to be. There was a drive, beginning in the 19th century, [20] to open museums and concert halls to give the general public access to high culture. Figures such as John Ruskin and Lord Reith of the BBC in Britain, Leon Trotsky and others in Communist Russia, and many others in America and throughout the western world have worked to widen the appeal of elements of high culture such as classical music, art by old masters and the literary classics.

With the widening of access to university education, the effort spread there, and all aspects of high culture became the objects of academic study, which with the exception of the classics had not often been the case until the late 19th century. University liberal arts courses still play an important role in the promotion of the concept of high culture, though often now avoiding the term itself.

Especially in Europe, governments have been prepared to subsidize high culture through the funding of museums, opera and ballet companies, orchestras, cinema, public broadcasting stations such as BBC Radio 3, ARTE, and in other ways. Organizations such as the Arts Council of Great Britain, and in most European countries, whole ministries administer these programs. This includes the subsidy of new works by composers, writers and artists. There are also many private philanthropic sources of funding, which are especially important in the US, where the federally funded Corporation for Public Broadcasting also funds broadcasting. These may be seen as part of the broader concept of official culture, although often a mass audience is not the intended market.

The New York Times "Arts & Leisure" section, from 1962 to 1988, featured articles on high culture which usually outranked popular culture. But by 1993, articles on pop culture (49%) soon outranked the ones on high culture (39%) thanks to advertising effecting editorial coverage (mostly on the latest motion pictures). [21] Advertising on literature, however, has been prominent since the novel became a popular literary genre in the 19th century. Authors like Charles Dickens, Henry James and James Joyce worked in advertisement before their literary careers and/or had used ads on their novels. [22]

Theories

Ernest Renan (Antoine Samuel Adam-Salomon, 1870s) Ernest Renan 1876-84.jpg
Ernest Renan (Antoine Samuel Adam-Salomon, 1870s)

The relations between high culture and mass culture are concerns of cultural studies, media studies, critical theory, sociology, Postmodernism and Marxist philosophy. In the essay "The Work of Art in the Age of Mechanical Reproduction" (1936), Walter Benjamin explored the relations of value of the arts (high and mass) when subjected to industrial reproduction. The critical theoreticians Theodor W. Adorno and Antonio Gramsci interpreted the high-art and mass-art cultural relations as an instrument of social control, with which the ruling class maintain their cultural hegemony upon society. [23]

For the Orientalist Ernest Renan and for the rationalist philosopher Ernest Gellner, high culture was conceptually integral to the politics and ideology of nationalism, as a requisite part of a healthy national identity. Gellner expanded the conceptual scope of the phrase in Nations and Nationalism (1983) stating that high art is "a literate, codified culture, which permits context-free communication" among cultures.

In Distinction: A Social Critique of the Judgement of Taste (1979), the sociologist Pierre Bourdieu proposed that aesthetic taste (cultural judgement) is in large part derived from social class. Social class establishes the definitions of high art, e.g. in social etiquette, gastronomy, oenology, military service. In such activities of aesthetic judgement, the ruling-class person uses social codes unknown to middle-class and lower-class persons in the pursuit and practice of activities of taste. [24]

See also

Related Research Articles

A cultural movement is a shared effort by loosely affiliated individuals to change the way others in society think by disseminating ideas through various art forms and making intentional choices in daily life. By definition, cultural movements are intertwined with other phenomena such as social movements and political movements, and can be difficult to distinguish from broader cultural change or transformation.

<span class="mw-page-title-main">Humanities</span> Academic disciplines that study society and culture

Humanities are academic disciplines that study aspects of human society and culture, including certain fundamental questions asked by humans. During the Renaissance, the term "humanities" referred to the study of classical literature and language, as opposed to the study of religion, or "divinity". The study of the humanities was a key part of the secular curriculum in universities at the time. Today, the humanities are more frequently defined as any fields of study outside of natural sciences, social sciences, formal sciences, and applied sciences. They use methods that are primarily critical, speculative, or interpretative and have a significant historical element—as distinguished from the mainly empirical approaches of science.

<span class="mw-page-title-main">Avant-garde</span> Works that are experimental or innovative

In the arts and literature, the term avant-garde identifies an experimental genre or work of art, and the artist who created it, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus, the artists who created the anti-novel and Surrealism were ahead of their times.

<span class="mw-page-title-main">Fine art</span> Art developed primarily for aesthetics

In European academic traditions, fine art is made primarily for aesthetics or creative expression, distinguishing it from popular art, decorative art or applied art, which also either serve some practical function or is generally of limited artistic quality in order to appeal to the masses. In the aesthetic theories developed in the Italian Renaissance, the highest art was that which allowed the full expression and display of the artist's imagination, unrestricted by any of the practical considerations involved in, say, making and decorating a teapot. It was also considered important that making the artwork did not involve dividing the work between different individuals with specialized skills, as might be necessary with a piece of furniture, for example. Even within the fine arts, there was a hierarchy of genres based on the amount of creative imagination required, with history painting placed higher than still life.

<span class="mw-page-title-main">Decadence</span> Perceived decay of standards in a society

Decadence was late-19th-century movement emphasizing the need for sensationalism, egocentricity; bizarre, artificial, perverse, and exotic sensations and experiences. By extension, it may refer to a decline in art, literature, science, technology, and work ethics, or to self-indulgent behavior.

<span class="mw-page-title-main">Classical mythology</span> Study of myths of the Greeks and Romans

Classical mythology, also known as Greco-Roman mythology or Greek and Roman mythology, is the collective body and study of myths from the ancient Greeks and ancient Romans. Mythology, along with philosophy and political thought, is one of the major survivals of classical antiquity throughout later, including modern, Western culture. The Greek word mythos refers to the spoken word or speech, but it also denotes a tale, story or narrative.

The term culture industry was coined by the critical theorists Theodor Adorno (1903–1969) and Max Horkheimer (1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", of the book Dialectic of Enlightenment (1947), wherein they proposed that popular culture is akin to a factory producing standardized cultural goods—films, radio programmes, magazines, etc.—that are used to manipulate mass society into passivity. Consumption of the easy pleasures of popular culture, made available by the mass communications media, renders people docile and content, no matter how difficult their economic circumstances. The inherent danger of the culture industry is the cultivation of false psychological needs that can only be met and satisfied by the products of capitalism; thus Adorno and Horkheimer perceived mass-produced culture as especially dangerous compared to the more technically and intellectually difficult high arts. In contrast, true psychological needs are freedom, creativity, and genuine happiness, which refer to an earlier demarcation of human needs, established by Herbert Marcuse.

<span class="mw-page-title-main">Black Arts Movement</span> 1960s–1970s art movement

The Black Arts Movement (BAM) was an African-American-led art movement that was active during the 1960s and 1970s. Through activism and art, BAM created new cultural institutions and conveyed a message of black pride. The movement expanded from the accomplishments of artists of the Harlem Renaissance.

<span class="mw-page-title-main">Decorative arts</span> Arts or crafts concerned with the design and manufacture of functional, beautiful objects

The decorative arts are arts or crafts whose aim is the design and manufacture of objects that are both beautiful and functional. This includes most of the objects for the interiors of buildings, as well as interior design, but typically excludes architecture. Ceramic art, metalwork, furniture, jewellery, fashion, various forms of the textile arts and glassware are major groupings.

<span class="mw-page-title-main">Culture of Europe</span>

The culture of Europe is diverse, and rooted in its art, architecture, traditions, cuisines, music, folklore, embroidery, film, literature, economics, philosophy and religious customs.

The term middlebrow describes middlebrow art, which is easily accessible art, usually popular literature, and middlebrow people who use the arts to acquire the social capital of "culture and class" and thus a good reputation. First used in the British satire magazine Punch in 1925, the term middlebrow is the intellectual, intermediary brow between the highbrow and the lowbrow forms of culture; the terms highbrow and lowbrow are borrowed from the pseudoscience of phrenology.

<span class="mw-page-title-main">Low culture</span> Term for forms of popular culture with mass appeal

In society, the term low culture identifies the forms of popular culture that have mass appeal, often broadly appealing to the middle or lower cultures of any given society. This is in contrast to the forms of high culture that appeal to a smaller, often upper-class proportion of the populace. Culture theory proposes that both high culture and low culture are subcultures within a society, because the culture industry mass-produces each type of popular culture for every socioeconomic class. Despite being viewed as characteristic of less-educated social classes, low culture is still often enjoyed by upper classes as well. This makes the content that falls under this categorization the most broadly consumed kind of media in a culture overall. Various forms of low culture can be found across a variety of cultures, with the physical objects composing these mediums often being constructed from less expensive, perishable materials. The phrase low culture has come to be viewed by some as a derogatory idea in and of itself, existing to put down elements of pop or tribal culture that others may deem to be "inferior."

<span class="mw-page-title-main">Work of art</span> Artistic creation of aesthetic value

A work of art, artwork, art piece, piece of art or art object is an artistic creation of aesthetic value. Except for "work of art", which may be used of any work regarded as art in its widest sense, including works from literature and music, these apply principally to tangible, physical forms of visual art:

<span class="mw-page-title-main">Cultural policy</span> Policy intended to impact the arts, language, heritage, or diversity

Cultural policy is the government actions, laws and programs that regulate, protect, encourage and financially support activities related to the arts and creative sectors, such as painting, sculpture, music, dance, literature, and filmmaking, among others and culture, which may involve activities related to language, heritage and diversity. The idea of cultural policy was developed at UNESCO in the 1960s. Generally, this involves governments setting in place processes, legal classifications, regulations, legislation and institutions which promote and facilitate cultural diversity and creative expressions in a range of art forms and creative activities. Cultural policies vary from one country to another, but generally they aim to improve the accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic, sociolinguistic, literary and other expressions of all people in a country. In some countries, especially since the 1970s, there is an emphasis on supporting the culture of Indigenous peoples and marginalized communities and ensuring that cultural industries are representative of a country's diverse cultural heritage and ethnic and linguistic demographics.

Popular culture is generally recognized by members of a society as a set of practices, beliefs, artistic output and objects that are dominant or prevalent in a society at a given point in time. Popular culture also encompasses the activities and feelings produced as a result of interaction with these dominant objects. The primary driving forces behind popular culture, especially when speaking of Western popular cultures, are the mass media, mass appeal, marketing and capitalism; and it is produced by what philosopher Theodor Adorno refers to as the "culture industry".

<span class="mw-page-title-main">Culture</span> Social behavior and norms of a society

Culture is a concept that encompasses the social behavior, institutions, and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities, attitude, and habits of the individuals in these groups. Culture is often originated from or attributed to a specific region or location.

<span class="mw-page-title-main">Classical tradition</span> Reception of classical Greco-Roman antiquity by the post-classical Western world

The Western classical tradition is the reception of classical Greco-Roman antiquity by later cultures, especially the post-classical West, involving texts, imagery, objects, ideas, institutions, monuments, architecture, cultural artifacts, rituals, practices, and sayings. Philosophy, political thought, and mythology are three major examples of how classical culture survives and continues to have influence. The West is one of a number of world cultures regarded as having a classical tradition, including the Indian, Chinese, and Islamic traditions.

Philosophy of culture is a branch of philosophy that examines the essence and meaning of culture.

<span class="mw-page-title-main">Ephemeral art</span> Art that is not intended to endure

Ephemeral art is the name given to all artistic expression conceived under a concept of transience in time, of non-permanence as a material and conservable work of art. Because of its perishable and transitory nature, ephemeral art does not leave a lasting work, or if it does – as would be the case with fashion – it is no longer representative of the moment in which it was created. In these expressions, the criterion of social taste is decisive, which is what sets the trends, for which the work of the media is essential, as well as that of art criticism.

<span class="mw-page-title-main">Marxist cultural analysis</span> Anti-capitalist cultural critique

Marxist cultural analysis is a form of cultural analysis and anti-capitalist cultural critique, which assumes the theory of cultural hegemony and from this specifically targets those aspects of culture that are profit driven and mass-produced under capitalism.

References

Citations

  1. ↑ Williams, Raymond. Keywords: A Vocabulary of Culture and Society (1983) Rev. Ed. p. 92.
  2. ↑ Williams, Raymond. Keywords: A Vocabulary of Culture and Society (1983) Rev. Ed. p. 91–92.
  3. ↑ Gaye Tuchman, Nina E. Fortin (1989). "ch. 4 The High-Culture Novel". Edging Women Out: Victorian Novelists, Publishers and Social Change. Routledge. ISBN   978-0-415-03767-9.
  4. ↑ Arnold, Matthew (1869). Culture and Anarchy . The Cornhill Magazine.
  5. ↑ The Encyclopedia of Philosophy (1967) Volume 1. p. 167.
  6. ↑ Steven Johnson (6 April 2006). Everything Bad is Good for You: How Popular Culture is Making Us Smarter. Penguin Books Limited. p. 203. ISBN   978-0-14-193312-2.
  7. ↑ Gellius · Attic Nights — Book XIII
  8. ↑ M. Tullius Cicero, De Officiis, Book I: Moral Goodness, section 150
  9. ↑ "Jacques Maritain Center: Art and Scholasticism 4". maritain.nd.edu. Archived from the original on 2021-02-27. Retrieved 2017-12-26.
  10. ↑ Seneca. "Moral letters to Lucilius" – via Wikisource.
  11. ↑ Dormer, Peter (ed.), The Culture of Craft, 1997, Manchester University Press, ISBN   0719046181, 9780719046186, google books
  12. ↑ a b "Music" in Encyclopedia Americana, reprint 1993, p. 647
  13. 1 2 Denis Arnold, "Art Music, Art Song", in The New Oxford Companion to Music, Volume 1: A-J, (Oxford and New York: Oxford University Press, 1983): 111. ISBN   0-19-311316-3
  14. ↑ Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", Popular Music 2 (1982): 41.
  15. ↑ "Music" in Encyclopedia Americana, reprint 1993, p. 647
  16. ↑ Philip Tagg, "Analysing Popular Music: Theory, Method and Practice", Popular Music 2 (1982): 37–67, here 41–42.
  17. ↑ Art film definition – Dictionary – MSN Encarta. Archived from the original on 2009-08-30.
  18. ↑ Barbara Wilinsky. Sure Seaters: The Emergence of Art House Cinema at Google Books. University of Minnesota, 2001 (Commerce and Mass Culture Series).
  19. ↑ Keith, Barry. Film Genres: From Iconography to Ideology. Wallflower Press: 2007. (page 1)
  20. ↑ Promoting high culture: The evolution of the Brisbane Musical Union, 1872–98|Queensland Review|Cambridge Cove
  21. ↑ The Competition between High Culture and Popular Culture as Seen in the "New York Times" on JSTOR
  22. ↑ Project MUSE - High Culture/Low Culture: Advertising in Literature, Art, Film, and Popular Culture
  23. ↑ McGregor, Craig (1997). Class in Australia (1 ed.). Ringwood, Victoria: Penguin Books Australia Ltd. p. 301. ISBN   978-0-14-008227-2. Élite culture is often an instrument of social control. . . .
  24. ↑ Distinction - Google Books

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