David Bordwell traces this out as an aesthetic value in the essay he
published long ago in the Widescreen issue of THE VELVET LIGHT TRAP (1985)
on Movie's use and rerigging of Bazin's aesthetics. He has, I believe,
revised that piece for his recent Routledge anthology.
Matthew Bernstein
----- Original Message -----
From: "Patrick Blanchfield" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, February 24, 2009 10:22 AM
Subject: Re: subtlty
>I wonder on the relation (if any) between the subtle and the ambiguous for
>your work geoff - maybe empson on ambiguity if that's a route you want to
>take. Also, francois jullien's 'detour and access; strategies of meaning in
>china and greece' might help?
>
>
>
> ------Original Message------
> From: Geoff King
> Sender: Film-Philosophy Salon
> To: [log in to unmask]
> ReplyTo: Film-Philosophy Salon
> Subject: subtlty
> Sent: Feb 24, 2009 9:35 AM
>
> Hi all
> Does anyone know of any good studies of subtlety as an aesthetic/cultural
> category? I'm trying to find out if anything exists that might help to
> provide
> frameworks for writing about 'subtle' qualities of films, and how these
> might
> appeal specifically to some viewers - this is in relation to a piece I'm
> doing
> about Lost in Translation. The obvious source, which I'm already using, is
> Bourdieu on different taste formations, etc. But I haven't really found
> anything
> else, either relating to film or analysing subtlety in an other aesthetic
> realms
> that might be applied here, and would be grateful for any suggestions.
> regards
> geoff
>
> geoff king
> brunel university
> london
>
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