Deep breath… Joe has a point.
The fundamental question is what is the point of the humanities? An early 19th century scholar may well have said something along the lines of this: by studying the highest and finest creations of the mind, we can improves ourselves, individually and as a society. Those highest and finest creations of the mind could certainly deal with base or ignoble matters, but in a manner that could elevate us. This of course is a direct descendant of the Ancient Greek concept of tragedy as catharsis. Those scholars might be at universities, but could also be people with sufficient private means to pursue their interests.
Fast forward to the 20th century. Mass primary and secondary education, more students, more universities and other institutions of higher learning, and an explosion of mass literacy leading to a mass popular culture. This democratisation of the production of knowledge, the explosion in scholars trying to mine the same old canonical works to less and less effect, made competition more naked. A scholarly career in the humanities thus required some innovation. Enter the theory wars. The telos was no longer to elevate the mind, but more to understand it (note the popularity of Freud and later Lacan in the academy), or at least paint a picture of how and why we create cultural products. This made the humanities effectively a type of sociology. If that is its aim, than even grappling with aesthetics or the moral value of the arts is not only irrelevant; it is a covert way to create illegitimate hierarchies between certain knowledge workers and the poor lumpen masses. This gesturing towards anti-elitism is of course completely exploded by the incestuous verbiage in which it is expressed, whatever the theoretical framework or fashion adopted by the scholar. The consumer of the cultural product cannot understand the analysis offered by the academy. It also threw open the doors to the analysis of anything, because even the stupidest pop song tells us something about the society which produced it. And unlike the study of the best in cultural products, there is no risk of exhaustion, because new rubbish and newish theories can be produced ad infinitum.
Against that background, and in the industry in which he competes, Joe is absolutely correct. It is much easier to find something novel to say about post-war gay porn in Europe than it is about Hamlet, and all the incentives are for the former.
The preceding is not meant to be a comprehensive analysis, more late night sperging, so I welcome further discussion from fellow Farmers, especially those with more insight into the history of the humanities and current drivers in western academia.