elpais.com
Subjectivity in Film Appreciation: A Critic's Perspective
A film critic reflects on the subjective nature of movie appreciation, contrasting the critical acclaim of Chantal Akerman's "Jeanne Dielman" with the popular success of "Everything Everywhere All at Once", highlighting the lack of objective standards for evaluating films and the diverse factors influencing audience preferences.
- How do external influences such as advertising, critical reviews, and social interactions impact an individual's choice of films to watch?
- The author uses personal anecdotes and observations to illustrate how individual experiences shape cinematic preferences. Factors like childhood exposure, social interaction, and advertising all influence film choices. This subjectivity challenges the notion of universally accepted cinematic quality, showing how film appreciation is deeply personal and culturally influenced.
- What are the key factors that shape individual preferences in film, and how do these subjective experiences challenge the notion of objective cinematic quality?
- The article discusses the subjective nature of film appreciation, highlighting the vast differences in taste and the lack of objective criteria for evaluating films. It contrasts the critical acclaim of Chantal Akerman's "Jeanne Dielman" (deemed the best film ever by Sight & Sound) with the popular success of "Everything Everywhere All at Once" (Academy Award winner), illustrating the wide gap between critical and popular opinion.
- Considering the contrasting reception of films like "Jeanne Dielman" and "Everything Everywhere All at Once", what are the implications for future approaches to film criticism and the evaluation of cinematic merit?
- The article suggests that the future of film criticism might need to accommodate this inherent subjectivity more explicitly. Instead of focusing solely on establishing definitive 'best' lists, a more nuanced approach acknowledging diverse tastes and appreciating a film's merit within its specific context might be necessary. The differing opinions on "Jeanne Dielman" and "Everything Everywhere All at Once" exemplify this challenge.
Cognitive Concepts
Framing Bias
The author structures the narrative to emphasize their personal experience and subjective reaction to films, setting up a contrast between their taste and the choices of critics or award-giving bodies. The introduction of ""Jeanne Dielman"" and ""Everything Everywhere All at Once"" is used to highlight this disparity, framing the author's perspective as an alternative or even opposing viewpoint to established critical opinions. This framing potentially leads readers to question the validity of established critical consensus.
Language Bias
The author uses subjective and emotionally charged language ("aterradora," "insufrible," "abrumadoras") to describe their reactions to films. While this reflects honest opinion, it lacks the neutrality expected in objective film criticism. For example, describing "Jeanne Dielman" as "aterradora" (terrifying) is a subjective judgment, and a more neutral alternative could be "challenging" or "slow-paced.
Bias by Omission
The author's personal opinions and experiences heavily influence the selection of films discussed, potentially omitting a vast range of cinematic works and perspectives. The focus on personal taste, while honestly presented, may neglect the exploration of diverse genres, cultural contexts, and artistic approaches within the broader cinematic landscape. There is a noticeable absence of discussion regarding the technical aspects of filmmaking, such as cinematography, editing, or sound design, which are integral to the overall cinematic experience.
False Dichotomy
The text presents a false dichotomy between the author's personal taste and the opinions of established critics, suggesting that either one is valid, but neglecting the inherent subjectivity within film appreciation. There's an implied opposition between 'personal' and 'critical' viewpoints, overlooking the possibility of nuanced and informed personal critiques. Furthermore, the contrasting of ""Jeanne Dielman"" and ""Everything Everywhere All at Once"" as representative of critical consensus versus popular taste oversimplifies the complexity of film appreciation.