By A.V. Club
Each week, the writers of The A.V. membership factor a touch slanted pop-culture checklist jam-packed with hard critiques (Is David Bowie's "Young Americans" approximately ruined by means of saxophone?) and interesting evidence. Exploring twenty-four nice motion pictures too painful to observe two times, fourteen tragic movie-masturbation scenes, eighteen songs approximately crappy towns, and lots more and plenty extra, stock combines a tremendous supporting of recent lists created particularly for the booklet with a couple of favorites first noticeable at AVClub.com and within the pages of The A.V. Club’s sister booklet, The Onion.
But wait! There's extra: John Hodgman bargains a collection of minutely precise (and most likely fictional) personality actors. Patton Oswalt waxes ecstatic in regards to the "quiet movie revolutions" that modified cinema in small yet intriguing methods. Amy Sedaris lists fifty issues that make her giggle. "Weird Al" Yankovic examines the noises of Mad magazine's Don Martin. Plus lists from Paul Thomas Anderson, Robert Ben Garant, Tom Lennon, Andrew W.K., Tim and Eric, Daniel Handler, and Zach Galifianakis—and an epic foreword from essayist Chuck Klosterman.
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In place of “biologically essentialist view[s] of black cinema,” he suggests a focus on the “plurality of standards by which black films are evaluated” (145). Black films require neither black filmmakers, nor actual black audiences (146), nor even some conception of a “monolithic black audience” to which one might appeal as an ideal (148). Instead Lott offers a criterion for such a definition that eschews the independent/mainstream distinction and emulates the currently existing political conditions of black people as a prerequisite for something to be a black film.
See, for example, Noël Carroll, “Introduction,” in Theorizing the Moving Image (New York: Cambridge University Press, 1996), xiii–xiv, and “Prospects for Film Theory: A Personal Assessment,” in Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll (Madison: University of Wisconsin Press, 1996), 40. 35. Noël Carroll, The Philosophy of Horror, or, Paradoxes of the Heart (London: Routledge, 1990), 89. 36 Building on this insight, Smith constructs a theory to replace theoretical uses of identification in film and outlines a hypothesis to explain how we imaginatively engage with characters.
Proceeds dialectically” (56), which accounts for its provisionality. In addition, attempts to formulate new theories take place in the context of past theoretical endeavors (57). Criticism and revision, then, will be fundamental to this philosophical style of inquiry into film (58). Insofar as such efforts will be “truth-tracking,” the aim will be some sort of approximate truth rather than an absolute, Platonic conception (60). Carroll, Smith, and other film theorists have further argued that film viewing in general should be understood as predominantly a matter of acentral imagining—that is, viewing a film from the outside, as if one were observing it, rather than experiencing it oneself.