Their babysitter has canceled so when the elevator operator, Eddie (Elisha Cook, Jr.), suggests his niece Nell (Marilyn Monroe) for the job, they take him up on his offer. Peter is giving a speech at an award banquet. Jones (Jim Backus), and nine-year-old daughter Bunny (Donna Corcoran). ![]() Jones (Lurene Tuttle in the film) has traveled to New York with her husband, newspaper editor Peter O. In both Mischief and Don’t Bother To Knock, Ruth O. Do we focus on what’s overlooked now–on what was the reputable art that superhero comics and science fiction were measured against? Are we thinking about what might be forgotten and derided by consumers of everything the Mouse produces? So let’s talk about some disreputable art, what might be a trifecta of disreputability in this new landscape: Charlotte Armstrong‘s 1950 “domestic suspense” novel, Mischief Roy Ward Baker‘s underappreciated film adaptation, Don’t Bother To Knock (1952) and Marilyn Monroe, not the woman or the icon, but the actor who is often similarly underappreciated in favor of the bombshell fantasy she created for her audience. Now we gaze out at an ever-growing corporate entertainment franchise monoculture* and wonder what “disreputable art” means in this landscape. ![]() It was different when the Cultural Gutter was founded in 2003, before Iron Man (2008) launched the Marvel Cinematic Universe, the Force awakened, and the game of thrones was played on tv. ![]() I’ve been thinking about what “disreputable art” means in a time when nerds, fans, and geeks have won a kind of cultural hegemony.
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