Meaning: This quote by Douglas Sirk, the renowned film director, reflects the intersection of art and politics, particularly in the context of style and banality. Sirk was known for his melodramatic and visually stunning films, and his observations on the beliefs surrounding style and banality shed light on the broader cultural and artistic landscape of his time.

The first part of the quote, "There arose a belief in style - and in banality," suggests that there was a growing emphasis on style in artistic expression, but also a concurrent acceptance of banality. In the realm of art and culture, the notion of style often pertains to aesthetic choices, visual language, and the overall presentation of a work. It conveys a sense of sophistication, individuality, and creativity. However, the simultaneous rise of banality indicates a tolerance for the mundane, the ordinary, and the unremarkable. This duality in beliefs reflects a complex relationship between artistic expression and the prevailing cultural attitudes of the time.

Sirk's observation can be understood in the context of the mid-20th century, a period marked by significant shifts in artistic movements and societal values. The post-World War II era witnessed the rise of consumer culture, mass media, and the commodification of art. In this environment, the notion of style became increasingly associated with commercial appeal, surface aesthetics, and conformity to prevailing trends. At the same time, the embrace of banality may reflect a certain disillusionment or resignation in the face of societal norms and mass production.

The second part of the quote, "Banality encompassed politics, too, because it was a common belief that politics were not worthy of art," delves into the relationship between art and politics. Sirk's assertion that banality encompassed politics underscores the idea that the mundane and the ordinary permeated not only artistic expression but also the realm of political discourse and engagement. This suggests a pervasive sense of disillusionment or apathy towards the intersection of art and politics.

The belief that politics were not worthy of art reflects a historical tension between the two realms. Throughout the 20th century, artists and intellectuals grappled with the question of whether art should engage directly with political issues or maintain autonomy from them. This debate was particularly pronounced during the Cold War era, with the rise of abstract expressionism in the United States and the socialist realism movement in the Soviet Union. The quote encapsulates the prevalent skepticism towards the capacity of art to effectively address political concerns, as well as the potential for political themes to undermine artistic integrity.

In the context of Sirk's own work, his films often navigated complex social themes and interpersonal dynamics within the framework of melodrama. Through his visually striking and emotionally charged narratives, Sirk subtly critiqued societal norms and power structures, thereby engaging with political and social issues in a nuanced manner. His observations on the belief that politics were not worthy of art may reflect his own experiences navigating the tensions between art and politics within the film industry.

Overall, Sirk's quote offers a thought-provoking insight into the interplay of style, banality, and politics within the cultural and artistic landscape of his time. It invites us to consider the complexities of artistic expression, the societal attitudes towards art and politics, and the enduring relevance of these dynamics in contemporary discourse.