What is kitsch? What is behind its appeal? More important, what is wrong with kitsch? Though central to our modern and postmodern culture, kitsch has not been seriously and comprehensively analyzed; its aesthetic worthlessness has been generally assumed but seldom explained. Kitsch and Art seeks to give this phenomenon its due by exploring the basis of artistic evaluation and aesthetic value judgments. Tomas Kulka examines kitsch in the visual arts, literature, music, and architecture. To distinguish kitsch from art, Kulka proposes that kitsch depicts instantly identifiable, emotionally charged objects or themes, but that it does not substantially enrich our associations relating to the depicted objects or themes. He then addresses the deceptive nature of kitsch by examining the makeup of its artistic and aesthetic worthlessness. Ultimately Kulka argues that the mass appeal of kitsch cannot be regarded as aesthetic appeal, but that its analysis can illuminate the nature of art appreciation.

This book inaugurates a new phase in kitsch studies. Kitsch, an aesthetic slur of the 19th and the 20th century, is increasingly considered a positive term and at the heart of today’s society. Eleven distinguished authors from philosophy, cultural studies and the arts discuss a wide range of topics including beauty, fashion, kitsch in the context of mourning, bio-art, visual arts, architecture and political kitsch. In addition, the editors provide a concise theoretical introduction to the volume and the subject. The role of kitsch in contemporary culture and society is innovatively explored and the volume aims not to condemn but to accept and understand why kitsch has become acceptable today.

Redefining Kitsch and Camp in Literature and Culture is a collection of fourteen essays dealing with the performative character of kitsch and camp aesthetics in popular culture and avant-garde productions. Anticipated in both literature and culture, the book traces the evolution of two aesthetics from a number of theoretical perspectives, including gender studies, queer studies, popular culture studies, aesthetics, film studies and postcolonial studies. The volume provides a much-needed commentary on the mechanisms and functions of kitsch and camp in contemporary literary and cultural studies, reflecting on various transformations that are currently underway.

Kitsch: the mere word evokes mental images of cutesy collectibles, treacly trinkets, sweetly sentimental scenes, thematically trite tabletop tchotchkes, or perhaps anemic appropriations of canonical works of art. Frequently dismissed as facile, lowbrow, or one-off, throwaway aesthetics, kitsch elicits responses that range from the sardonic smirk laced with derision to the grin glimmering with the indulgence in a “guilty” pleasure. Kitsch, however, is surprisingly mobile and complex, as evidenced by its recent renewal as “kitschy cool.” This ambiguity not only allows it to gesture towards a disparate array of artifacts and ideations, but also to be pushed and pulled in various applicatory directions. The contributors to this collection address the problem of how and what kitsch might signify, and approach the kitsch question as a complex, nuanced interrogative. They consider kitsch in relation to its historical association with pseudo-art, its theoretical underpinnings and connections to class, the deliberate mobilization of kitsch in the work of specific artists, kitsch as a form of practice, as well as kitsch’s traffic with race, patriotism, and postmodernism. The essays in this collection necessarily cut a wide interpretative path, mapping the terrain of the phenomenon of kitsch – historically, conceptually, practically – in multivocal ways, befitting the polysemous creature that is kitsch itself. Drawing upon art history, popular culture studies, philosophy, and visual culture, the authors’ responses to the “big” question of kitsch move well beyond habitual artificial boundaries, far beyond the simple binaries of good/bad, high/low, elite/popular, or art/kitsch, into far more complex, challenging, and ultimately rewarding territory.

Vladimir Putin's image functions as a political talisman far outside of the borders of his own country. Studying material objects, fan fiction, and digital media, Putin Kitsch in America traces the satirical uses of Putin's public persona and how he stands as a foil for other world leaders. Uncovering a wide variety of material culture - satirical, scatological, even risqué - made possible by new print-on-demand technologies, Alison Rowley argues that the internet is crucial to the creation of contemporary Putin memorabilia. She explains that these items are evidence of young people's continued interest and participation in politics, even as some experts decry what they see as the opposite. The book addresses the ways in which explicit sexual references about government officials are used as everyday political commentary in the United States. The number of such references skyrocketed during the 2016 US presidential election campaign, and turning a critical eye to Putin kitsch suggests that the phenomenon will continue when Americans next return to the polls. An examination of how the Russian president's image circulates via memes, parodies, apps, and games, Putin Kitsch in America illustrates how technological change has shaped both the kinds of kitsch being produced and the nature of political engagement today.

It’s fun, it’s fanciful, it’s kitsch! Celebrate the art of cool imitation, fantastic escapism, and nostalgia for late 20th-century populist culture that lies at the heart of this lighthearted and contemporary design style. These 18 fabulous spaces are aimed at those who want to create a feeling of irreverence and fantasy in their homes while still maintaining a semblance of style and glamour—and the extraordinary and exuberant interiors include those of Zandra Rhodes in London and Pierre et Gilles in Paris. A riot of a book, packed with vivid colour, humor, extravagantly themed décor, and inventive low-budget ideas, Kitsch Deluxe is an essential read for devotees of the wacky, weird, and wonderful.

This book examines five highly influential Francoist films produced from 1938 until 1964 and three later films by critically acclaimed directors Luis Buñuel, Guillermo del Toro, and Alex de la Iglesia that attempt to undermine Francoist aesthetics by re-imagining its visual and narrative clichés.