conservative attack on educational and
artistic standards, represented in Bloom’s 1987 jeremiad on
American liberaleducation, The Closing of The American Mind,
and in Kramer’s various media pronouncements on political
correctness in the arts.
Troubled by the so-called ‘politicisation
of the academy
the (by then ubiquitous) production and distribution of VHSs and, eventually, DVDs.14
During this and the following decade, they responded to concerns over
the value and legitimacy of a liberaleducation oriented towards the radical
ideals of 1960s and 1970s intellectuals by promoting the study of noncanonic films.15 But the prospect of being co-opted by an industry now
fully organised around modalities of distribution and exhibitions that, in
the past, had been used exclusively by exploitation cinema, has not been
explicitly and critically confronted.
THE TIME OF