Hollywood has always been the preserve of middle brow sensitivities. Charlie Chaplin was sentimental; the very talky dramas of the Thirties and Forties testified to the sanctity of middle class life (think of “The Best Years of Our Lives”); the Seventies, given their taste for epics, translated the gangster film into a family tragedy (think of “The Godfather” trio of movies). And so it goes on, people without much education treating Hollywood as their canon of great literature, quoting “Casablanca” or”The Wizard of Oz” as part of the collective wisdom they have absorbed into their own heads, using those stories and phrases to capture events in their own fantasy and actual lives, just as Shakespeare or Dickens serve that function for a more educated audience. And so it is fair to ask a deep aesthetic question after this year’s Oscars, which made Koreans the latest group to move into the spotlight, just as in the past Hollywood acceptance marked the passage of Jews, Italians and African Americans into the assimilated parts of the nation, even if women, one such group vieing for inclusion, still consider themselves as having a way to go, however much the women’s point of view has driven story lines from at least the Thirties Warner Brothers’ musicals to the Nora Ephron romantic comedies of the Nineties.