Gerald Mast

“Like all Freed musicals and all Astaire musicals, The Band Wagon believes that high and low, art and entertainment, elite and popular aspirations meet in the American musical. The Impressionist originals in Tony’s hotel room, which eventually finance his snappier vision of the show, draw not only a connection to An American in Paris but to painters, like Degas, who found art in entertainers. The ultimate hymn to this belief is the new Dietz and Schwartz song for the film, “That’s Entertainment,” which is to filmusicals what Berlin’s “There’s No Business Like Show Business” is to the stage.11 Whether a hot plot teeming with sex, a gay divorcée after her ex, or Oedipus Rex, whether a romantic swain after a queen or “some Shakespearean scene (where a ghost and a prince meet and everything ends in mincemeat),” it’s all one world of American entertainment. “Hip Hooray, the American way.” Dietz’s lyrics echo Mickey’s theorem in Strike Up the Band. What’s American? Exactly this kind of movie musical from Mount Hollywood Art School.”
― Gerald Mast, CAN'T HELP SINGIN': THE AMERICAN MUSICAL ON STAGE AND SCREEN

“Every art always deals with human beings, it is a human manifestation and presents human beings. To paraphrase Marx: "The root of all art is man." When the film close-up strips the veil of our imperceptiveness and insensitivity from the hidden little things and shows us the face of objects, it still shows us man, for what makes objects expressive are the human expressions projected on to them. The objects only reflect our own selves, and this is what distinguished art from scientific knowledge (although even the latter is to a great extent subjectively determined). When we see the face image of things, we do what the ancients did in creating gods in man's image and breathing a human soul into them. The close-ups of the film are the creative instruments of this mighty visual anthropomorphism.”
― Gerald Mast, Film Theory and Criticism: Introductory Readings