tag:blogger.com,1999:blog-7206373238418288113.post5635078146866058088..comments2023-08-19T10:04:08.922+01:00Comments on Thought • Art • Representation: All kinds of iniquities.Jim Hamlynhttp://www.blogger.com/profile/16488331333061422244noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-7206373238418288113.post-65125015621657312772012-03-17T21:48:14.528+00:002012-03-17T21:48:14.528+00:00Interestingly, six months after I wrote the above ...Interestingly, six months after I wrote the above post Tyler Cowen presented the following on TEDx:<br /><br />http://www.youtube.com/watch?v=RoEEDKwzNBwJim Hamlynhttps://www.blogger.com/profile/16488331333061422244noreply@blogger.comtag:blogger.com,1999:blog-7206373238418288113.post-1479583961393666962010-07-22T03:46:56.287+01:002010-07-22T03:46:56.287+01:00@Anonymous:
I'd also like to add that numerous...@Anonymous:<br />I'd also like to add that numerous experiments are undertaken in contemporary literature (e.g. Apocalypse Near, Jitterbug Perfume, Norman Mailer's "historical fiction," texts of Kim Addonizio, Cynthia Hendershot's City of Mazes, and numerous others). <br /><br />Sorry for the double post.Anonymoushttps://www.blogger.com/profile/11201903186751873107noreply@blogger.comtag:blogger.com,1999:blog-7206373238418288113.post-4511954279061731632010-07-22T03:29:59.620+01:002010-07-22T03:29:59.620+01:00@Anonymous:
Your claim that JH is "assuming t...@Anonymous:<br />Your claim that JH is "assuming that art has an intrinsic moral dimension..." is supported by a biographically-based example of Caravaggio's life and (its lack of detrimental impact on his) works. Your comment assumes a relation between ideology and morality. Ideology and morals might be related, but your post fails to clarify that (assumed) relationship. The connection between a biographical approach to Caravaggio (his life as "bad" vs. his works as "good") and the ideology of filmic narratives is left undeveloped in your comment, leaving the reader confused about the implied relation between morality and ideology, as well as between the sexuality and brutality of a "great painter" and his 17th-century works and ideology in contemporary film.<br /><br />JH addresses the ideological implications of filmic content conveyed in pleasant, entertaining, viewer-pacifying form. If JH assumes anything, it is that films convey ideological messages/content. That has been an accepted tenet of film theory and criticism since the 1920s, as displayed in the texts of post-colonial, feminist, New Historicist, cultural, and Marxist theorists. Although formalists and others have focused on specific filmic devices, they consistently avoid engaging in matters of content (i.e. ideology) thereby leaving the work of other schools of film theory intact.<br /><br />There seems to be no relation between the topic of the comment and that of the original post.Anonymoushttps://www.blogger.com/profile/11201903186751873107noreply@blogger.comtag:blogger.com,1999:blog-7206373238418288113.post-62182354048591669782009-04-26T21:08:00.000+01:002009-04-26T21:08:00.000+01:00Are you not assuming that art has an intrinsic mor...Are you not assuming that art has an intrinsic moral dimension within it... why should it? Carravagio was a brutal murderer, who was also (by the standards of the day) sexually deviant too- morally an awful person, and probably exploited plenty people around him.. ...great painter though.<br /><br />Is the life and death of a person not a natural phenomonon, a succession of causal events as Hume would say, and a kind of narrative...<br />interesting how novelists have more or less abandoned the extremities of form in the modernist novel (Finigans Wake,etc) and gone back to 'storytelling'.Anonymousnoreply@blogger.com