Books about Pastiche from Amazon.com

Two of the most famous figures in Popular Cutlure meet in these previously undisclosed papers. After Mina Murray asks Holmes to locate her fiancee, Holmes and Watson travel to a land far eerier than the moors they had known when pursuing the Hound of the Baskervilles The confrontation with Count Dracula threatens Holmes' health, his sanity, and his life. New adventure of Sherlock Holmes, so terrifying it could not be revealed until now. Sherlock Holmes, the master of rational analysis, confronts Count Dracula, master of the occult. Will Sherlock Holmes survive his battle with Count Dracula?.
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Writing with his customary wit and style, Dyer argues that while pastiche can be used to describe works which contain montage or collage, it can also be used to describe works which are a kind of imitation of previous works. Because of its self-consciousness, pastiche is often seen as emotionally distancing; Dyer argues that it can in fact be extremely moving--thus self-awareness and emotion can co-exist. To illustrate his thesis, Dyer investigates a wide range of cultural texts drawn from films, videos, novels, poetry, rap tracks, music and painting. He explores issues of text, genre, and the use of pastiche as a resource within a work. The last chapter draws together the underlying concern of the book with affect and poetics and discusses the politics of pastiche..
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This digital document is an article from Proceso, published by CISA Comunicacion e Informacion, S.A. de C.V. on March 9, 1997. The length of the article is 651 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: La música de 'El vuelo del águila', de Daniel Catán, un pastiche de 'Ella', composición de la época porfiriana: el pianista Lázaro Azar. (telenovela mexicana 'El vuelo del águila')(TT: Pianist Lázaro Azar: the music of 'The flight of the eagle', by Daniel Catán, is an imitation of 'Ella', a composition from the Porfirian era) (TA: 'The flight of the eagle', Mexican soap opera)
Author: José Alberto Castro
Publication:Proceso (Magazine/Journal)
Date: March 9, 1997
Publisher: CISA Comunicacion e Informacion, S.A. de C.V.
Issue: n1062 Page: p61(1)

Distributed by Thomson Gale.
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Cultural theorists see contemporary society marked by radical hybridity in manifold social practices In the last two decades the arts have participated in these processes of heterogeneous conjunction in various ways, most conspicuously through the redefinition of a genre of artistic expression that for centuries was regarded as both elusive and notorious: the pastiche or pasticcio. Today highly engaging manifestations of the genre minor can be found in architecture, painting, mixed media installations; in film, literature, and performance modes ranging from the operatic to rock event; and in supposedly trivial discourses such as advertising narratives."Pastiche" is about cultural memory as a history of seeing and writing. One of the markers that sets aesthetic postmodernism apart from modernism - nolens volens categories for the author - are artistic practices that borrow ostentatiously from the archive of Western culture, which modernism, in its search for the unperformed, tended to dismiss. Contemporary artists are re-examining traditions that modernism eclipsed in its pursuit of the "Shock of the New" or - in the case of the architects - the functionalism of the International style. Rejecting the Bauhaus paradigm, architects practiced an aesthetics of quotation and incorporation of past forms with a vengeance for two decades.The style that has run its course, its decorative component watered down in general building practices across the land, is significant for the author's argument. As the architects return to, and re-evaluated, constructivism, their move makes it possible to historicize postmodern style and separate it, to a degree, from a totalised concept of the post-modern or postmodernity as epoch and from other discursive practices such as "postmodern thought." Such differentiation enables the critic to look at pastiche structuration in the various arts as an exemplary feature of aesthetic postmodernism, which in contrast to hard-core modernism, situates itself in general culture beyond a high-low dichotomy..
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The 2005 James McTeigue and Wachowski Brothers film V for Vendetta represents a postmodern pastiche, a collection of fragments pasted together from the original Moore and Lloyd graphic novel of the same name, along with numerous allusions to literature, history, cinema, music, art, politics, and medicine. Paralleling the graphic novel, the film simultaneously reflects a range of authorial contributions and influences. This work examines in detail the intersecting texts of V for Vendetta. Subjects include the alternative dimensions of the cinematic narrative, represented in the film s conspicuous placement of the painting The Lady of Shalott in V s home; the film s overt allusions to the AIDS panic of the 1980s; and the ways in which antecedent narratives such as Terry Gilliam s Brazil, Huxley s Brave New World, and Bradbury s Fahrenheit 451 represent shadow texts frequently crossing through the overall V for Vendetta narrative..
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