В книге Андрея Хренова впервые в России подробно освещена история американского киноавангарда и дана характеристика различных его направлений – визионерских и мистических «фильмов транса», сугубо «объективного» «структурного фильма», социально ангажированных лент и т.д. Подробно рассмотрена деятельность таких видных режиссеров, как Майя Дерен, Кеннет Энгер, Стэн Брекидж, Йонас Мекас, Энди Уорхол, Нам Джун Пайк и др.

All art ultimately illumines the culture in which it is created, even if that culture usually serves merely as a backdrop to the projection of some more ideal or alternative reality by the artist. But with so-called Pop Art, the very backdrop of mass-culture became the foreground subject of art itself. By magnifying the lack of taste and extreme vulgarity or kitsch that are inevitable by-products of an increasingly globalised mass-culture, artists have not only ironically drawn attention to that debasement of taste, but equally stressed their own detachment from it, as though to assert that they themselves are privileged beings who stand outside society and remain untainted by its corruptions. For the most part these artists simply celebrated pop-culture but one of them – the subject of this book – went much further. Through pioneering a variety of techniques, but principally by means of the visual isolation of imagery, its repetition and enforced similarity to printed images, and the use of garish colour to denote the visual garishness that is often encountered in mass culture, Andy Warhol threw much direct or indirect light upon modern anomie or world-weariness, nihilism, materialism, political manipulation, economic exploitation, conspicuous consumption, media hero-worship, and the creation of artificially-induced needs and aspirations.