This is true of film as well. Too many people treating texts as “a puzzle“ that only they, the genius, can solve. I think it’s much more satisfying and useful to look at what the work is doing and how.https://twitter.com/mike_sell/status/1258434865076281346 …
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In the meantime, visual literacy is increasingly not taught in public schools because arts education has been stripped. There’s a void that could be filled, and some wonderful video essayists (teachers basically) have tried to fill it. But the hucksters tend to crowd them out.
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I wonder if this is why so many people get defensive and unhappy when faced with art/entertainment that isn’t basically puréed baby food. They’ve been trained to expect to have to do tedious homework as they experience it, like it’s leading to a test.
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This is one of the reasons why I enjoy going to see films with my dad, a jazz pianist/composer. He’s not looking at the movie on seven or eight levels as I have been trained to do. He experiences it the way he would experience a musical performance. As a visceral ride.
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Which is not to say that it isn’t possible to “watch a film wrong.” The reaction to certain Intentionally problematic works of art — with certain people prizing the reptilian aspects and intentionally ignoring the critique — indicates otherwise.
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The point is, the *experience of the experience* is the reason to read/watch/listen to creative work, and when you start treating everything as a mountain to be climbed or a math equation to be solved, it extinguishes the joy & mystery.
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I've come to have a visceral reaction to seeing the arrows pointing to things and circles you see in all those videos' thumbnails. And I can't explain it. I guess it's like you say, sort of someone reinventing the wheel and wanting a pat on the back for it.
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What's the first film to inspire this reaction, do you think? I've had John Boorman on my mind a lot lately, so I wonder if it might be Point Blank? The "Lee Marvin is a ghost" reading still gets so much attention.
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I like Ebert's Dark City commentary where he talks about the interpretation that the film is about the film business as something interesting to think about, but fundamentally something brought to the film, not that the film brought to them
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But then says that the meeting of the film's point of view and our own is the entire point of engaging with narrative art, so it's interesting to think about anyway.
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I've seen this, too. It's also what causes some people to feel that they aren't qualified or well-versed enough to talk about and understand certain films; speaking about their enjoyment and true feelings are not seen as being "sophisticated" enough, which doesn't make sense.
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