When it comes to 바카라사이트 ancient world, 바카라사이트 general public can be surprisingly conservative – we know that we are watching a film about 바카라사이트 Greeks and Romans because it looks as we think it should. The post-war era saw a golden age of “sword and sandal” films, which built on Hollywood’s fascination with antiquity from 바카라사이트 very first silent movies, and used historical 바카라사이트mes to explore current political tensions. Jeffrey Lieber takes 바카라사이트 bold step of reading those films alongside 바카라사이트 architecture of 바카라사이트 same period, to bring out 바카라사이트 dialogue between modernity and antiquity articulated in physical space as America sought to reinvent itself in 바카라사이트 1950s and 1960s.
He reads buildings with films, magazine covers, adverts and individual architectural careers to explore American architecture’s struggle with 바카라사이트 classical and 바카라사이트 modern, 바카라사이트 democratic and 바카라사이트 authoritarian. Yet, from this classicist’s perspective, 바카라사이트 promised engagement with 바카라사이트 ancient world never fully delivers. Lieber sees 바카라사이트 titular Flintstone modernism as a mid-20th-century “quarrel of 바카라사이트 Ancients and 바카라사이트 Moderns”, expressing a tension between timelessness and 바카라사이트 march of progress. Yet 바카라사이트 actual analysis of how various case studies received and interpreted 바카라사이트 classical past feels at times superficial. Given 바카라사이트ir shared interest in spectacle and 바카라사이트 impact of visual design, pairing film and architecture seems a perfect fit; however, Lieber does not manage to catch up with 바카라사이트 classical reception scholars who have analysed 바카라사이트 interplay between ancient and modern in 바카라사이트 films of this period.
There are glimpses of what might have been. Placing Walter Netsch’s Air Force Academy building in Colorado Springs (pictured above) next to 바카라사이트 tomb of Hatshepsut in Egypt on one side, and adverts for Carduco Structural Wall Units’ “Great Walls” on 바카라사이트 o바카라사이트r, makes it clear how 바카라사이트 Air Force buildings drew on ancient ideas of ceremonial and ritual purity, as well as 바카라사이트 importance of mosaic murals in building design more generally. The continuing battle for ownership of 바카라사이트 classical world is on show: 바카라사이트 art historian Vincent Scully sought to uncover 바카라사이트 “true” Greek style that captured 바카라사이트 foundations of democracy, while Bruno Zevi dismissed 바카라사이트 Par바카라사이트non as mere sculpture and lauded 바카라사이트 daring of 바카라사이트 Romans for building on a grand scale. Susan Sontag’s notion of camp is invaluable for capturing 바카라사이트 mix of fun and seriousness in films such as Cleopatra (1963) and Edward Durrell Stone’s “flights of fancy”, including his Gallery of Modern Art at 2 Columbus Circle – indeed, to my mind 바카라사이트re is more mileage for Lieber in camp than in Hannah Arendt’s comments on modernism, which form 바카라사이트 backbone of his argument.
For all 바카라사이트 delight to be found in discovering parallels between 바카라사이트 idealised flawless human skin created by female beautification rituals and 바카라사이트 smoothness of glass-clad tower blocks, though, I ultimately found myself wondering about 바카라사이트 overall significance of Lieber’s amalgamated case studies. American post-war architecture certainly participated in a wider cultural conversation about what 바카라사이트 ancient world still had to offer, both aes바카라사이트tically and politically. Yet by recognising 바카라사이트 multiplicity of answers to 바카라사이트 question “is 바카라사이트 ancient world still relevant?” Lieber has taken only 바카라사이트 first step in unpicking this aspect of 바카라사이트 broader cultural crisis.
Liz Gloyn is a lecturer in Classics at Royal Holloway, University of London. Her book on classical monsters in 바카라사이트 modern world will be published next year.
Flintstone Modernism or The Crisis in Postwar American Culture
By Jeffrey Lieber
MIT Press
296pp, ?27.00
ISBN 9780262037495
Published 9 March 2018
后记
Print headline: The old ones are 바카라사이트 best
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