![]() Some responses are possible only in the medium of film. We see (we pay to see) recognizable movie stars usually repeating specific character types in genres so established that our expectations and reactions are predictable, and we seem to enjoy such predictability and repetition. Another kind of responsiveness has to do with commercial aspects of the industry and the status of movies as commodities. These are relatively (though not completely) unreflective responses, and so some criterion for sensible and affective success must be observed, or the photographed ac-tion aesthetically fails, and there is no pleasure or engaged response. Some responses are distinctly aesthetic (in the original sense of sensual) and have to do with credibility, compellingness, excitement, concern, fear, anxiety, identification, and most of all simply with pleasure perhaps it is a distinctly aesthetic pleasure, perhaps a distinctly cinematic aesthetic pleasure. ![]() ![]() ![]() 1 Motion pictures of actors representing fictional characters doing things engage our responsiveness in manifold ways. ![]()
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January 2023
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