[T]he visibility of styles is itself a product of historical consciousness. ... The very notion of "style" needs to be approached historically. Awareness of style as a problematic and isolable element in a work of art has emerged in the audience for art only at certain historical moments - as a front behind which other issues, ultimately ethical and political, are being debated.
'Camp' is a vision of the world in terms of style - but a particular style. It is the love of the exaggerated.
In the final analysis, style is art. And art is nothing more or less than various modes of stylized, dehumanized representation.
To emphasize style is to slight content, or to introduce an attitude which is neutral with respect to content.
Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.
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