Who was Marcel Duchamp, and why did his painting "Nude Descending a
Staircase" provoke so much outrage at the Armory Show in 1913? What
does George Gershwin's "Rhapsody in Blue" have to do with both the
Jewish and African-American experience in the United States? Why was
Ernest Hemingway's The Sun Also Rises so influential for modern
fiction and journalism? How did Alfred Hitchcock, Ernst Lubitsch, and
Billy Wilder, among many other émigré film directors, bring European
cinematic styles and ideas to Hollywood? Why was Marlon Brando's
performance as Stanley Kowalski in Tennessee Williams's A Streetcar Named Desire so revolutionary on stage and ultimately in the movies?
If you are an undergraduate or a graduate student taking a course in
20th-century American history, you are unlikely to find the answers to
those questions.The vast majority of American historians no longer regard American
culture — whether high culture or mainstream popular culture — as an
essential area of study. They won't even be posed. Nor will the names or the
works of the artists, composers, novelists, filmmakers, and actors
appear in the lectures or in the books assigned on the reading list.
But one might suppose that a central component of America's history (as
of any country's history) is its culture. How can we fathom the values
and preoccupations of the American people (no matter what their race,
gender, or class) without paying attention to the nation's literature,
painting, architecture, music, theater, and movies?
Read more of the important essay by Richard Pells HERE.