- Apr 2016
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Thus to fear something involves evaluating it as threatening, to be angry withsomeone involves evaluating her actions as wrong, do be sorrowful involves thinking that a loss has beensuffered, and so on
what evaluating means.
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Morreall holds that one can enjoy negativeemotions when one is 'in control' of the situation which produces the emotions, where control is understood interms of an ability to direct one's thoughts and actions.
Willing to experience these emotions b/c we are expecting them and we are self prepared to experience these emotions.
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Instead, we canendorse the enjoyment theory: horror attracts because people can enjoy being scared and disgusted
If there is no paradox that people are enjoying negative emotions, but rather that horror is attractive b/c people enjoy being scared, then the expressivist and cognitivist views loose ground and the enjoyment theory takes over.
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the expressivist doctrine were correct, we should expect to dislike the arousal of ouremotion of fear when watching a film, and then only start to enjoy ourselves when the emotion was dissipatedat the end of the film, assuming that it has an end that did not further enhance our fear. But horror audiences canenjoy themselves throughout the film, and hence they cannot enjoy merely the 'lightening' of the emotio
another opposition to the expressivist views.
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the simpler holds that the process is akin to unburdening oneself of emotions by engaging in actsof make-believe (for instance, getting rid of one's anger by imagining kicking someone), the more sophisticatedoverlaps with the cognitivist view, holding that one lightens one's emotion by coming to understand what wasbefore an unknown perturbation.[5]
the two versions by which expressivism work.
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This holds that we do not enjoy the negativeemotions that horror engenders, but, rather, we enjoy the expression of these emotions, by which we relieveourselves of them, or lighten the grip they have on us
expressivist solution
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peopleseem to enjoy experiencing negative emotions
another perspective as to why a human would subject himself to a movie that has a genre with a cognitive negative emotion associated with it.
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Both Gaut and Carroll agree that the fear is lessened by the fact that it is depicted in movies and that gives it sort of a necessary distance in order to feel curious.
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pleasures of curiosity more easily tooutweight the displeasures of fear and digust
We allow ourselves to feel pleasure and curiosity because we know that wars are not part of our day-to-day lives and we do not have to face the disasters of war where we live (we who live in the US in this case).
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So we cannot have theenjoyment without the negative emotions: 'the disgust that such beings [monsters] evince might be seen as partof the price to be paid for the pleasure of their disclosure' (p. 184)
enjoyment cannot be felt w/out negative emotions.
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s categoricalviolations.
can an argument be made that the several ways in which technology has advanced to destroy human flash be defined as a categorical violation of what we see a human being as?
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arises from its exploitation and satisfaction of our curiosity
our enjoyment of things that superficially seem unpleasant comes from the exploitation and satisfaction of our curiosity about certain aspects of history.
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process of narration, which enticeus to wonder whether the moster exists and what it looks like, involve us in the question of whether thecharacters in the fiction will come to believe in its existence and can destroy it, and so on
process of narration heightens the curiosity we have about wars and the atrocities that go on in wars.
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degenerate - equal energy
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each place where that hexagon touches the circle is the energy level of an orbital.
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other molecules besides benzene can be aromatic. typically react by substitution rather than addition.
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dis-mayed that the joy and hope-fulness experienced with the removal of the shah has been replaced by an equally oppressive regime.
Reminds me of when Cabo Verde became free from colonialism but right away became a dictatorship by a party of the "liberator" heroes. The excitement soon was replaced with new fears and new chains.
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Gradually, Marjane once again begins to question the sur-rounding structures of authority as she did as a cheeky and argumentative child.
Not as impulsive as she used to be and didn't create conflict with those opposing her views all the time anymore. sign of growth but in this case maybe of acquired passivity?
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Marjane has shut her eyes to the reality of life under the oppressive Iranian authorities
She becomes so embedded in the oppression that she looses sight of the danger she has put an innocent person in
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Persepolis counters the belief that to escape a dictatorial regime for a free country will bring happiness ever after; rather, it depicts characters caught between vastly different environments
Although Europe represented opportunities, it didn't necessarily transmit into happiness because something more essential to her existence was missing.
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- Feb 2016
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somykim.org somykim.orguntitled6
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Disremembering...is a survivalstrategy par excellence.2
In order to function in the reality after war, maybe they had to forget as a survival skill.
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“a response, sometimes delayed, to an overwhelming event or events, whichtakes the form of repeated, intrusive hallucinations, dreams, thoughts or behaviorsstemming from the event”
Definition of Trauma in this paper by Cathy Caruth.
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I would like to argue thatWaltz with Bashirhighlightsand exposes a traumatic rupture between history (or historical national memory) andmemory, and points to the decline of national collective memory in Israel
Brings her argument back, now with more evidence that supports her claim therefore becoming more convincing to the reader.
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When I’m treating their wounds, at some point I have to touch the wounds, exposethem...You’re covered in blood, and then you take out your bandage to bandagehim up, you try to open it but it’s slippery from the blood, and you put it in yourmouth to rip it, and you’ve got the taste of your friend’s blood in your mouth
Use of quote because it is effective in giving a clear image of the war scenery and how gruesome it is that it damages the soldiers so much.
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"Rather than telling the Palestinian story, these films tried to ease the liberal conscience of their directors, who belonged to the Israeli peace camp, as well as that of the audiences who watched their films." (312,313)
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“just asRicochetsportrays the justice of the Israeli cause andCup Finalrepudiates it,Cherry Seasonportrays Israeli justice as utterly irrelevant and the war as utterly perverse”
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within Paradise Now film can only reflect and at times reinforce the desperation of the Palestinian politics depicted
The martyr videos although are meant to serve as motivation and inspire others, it does in fact just represent the despair and anguish that people are going through. So much so, that they are whiling to die rather than adjust to the only reality they know.
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Said becomes increasingly determined to blow him-self up as he contemplates his humiliating past, alienating present, and bleak future.
Very effective way of describing Said's state of mind and reason for carrying on the attack and why he did it but not Khaled.
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Rana's and Khalil's efforts to bring their wedding into being are acts of resistance, for it is the apparatus of occupation that impedes them; every step toward the realization of the wedding is a successful circumvention of Israeli authority.
Khaled's and Said's act to become suicide bombers than is also a sign of resistance (specially Said's actions) because the Israel control system also makes it difficult for them to reach this goal. Every successful step they took towards achieving the attack and ultimately Said carrying out the attack is a clever way to get around the system that oppresses them.
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Paradise Now can be read as an anti-wedding film.
Argument
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he questions the transformational power of art within the context of social and political failure.
this reminded me of the martyr video scene in which the essence of the video was to appeal to other people to take action into their own hands and fight back against the Israeli system. Also it had a transformational power on Khaled as he understood that the artform he was part of, was a testimony of his last resort to make a difference in his people's quality of life.
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In Paradise Now, Abu-Assad plays with two film genres, the wedding and the road movie, to contex-tualize his characters' actions within a richly textured social environment.
What does the wedding and the road movie genre mean?
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the space between the Friedmans and reality television is “smaller than we are comfortable accepting.”
counter argument
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Because the Friedmans’ actions were generated by and for the camera, it might be easy to render their collection of home video as “Reality TV.
At this point the reader is convinced that his analysis of the film makes sense given the information he has provided and therefore he is able to make an affirmation about what the Friedman's were doing without the reader having the urge to ask "how do you know that?" or "why" because it is clear through his evidence and arguments.
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like Arnold, stop and announce the event to a video camera
interweaving his evidence from the film with his argument to make it more relevant to his question.
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he actually creates the memories by provoking his mother.
The paper's question is sort of resolved here; because albert is suggesting that he only keeps filming the family in chaos - something that people don't usually want to remember - because he is creating the chaos to justify his disappointment with his mother for not backing up her family.
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Although it seems as though the Friedmans are filming for the sole purpose of helping to remember, this does not explain why they would record family arguments
Here he reintroduces his question, and because the reader has been exposed to some of his arguments, the question becomes more pertinent.
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In other words, while memory is ephemeral, photography and video both freeze it and make it worth freezing; Sontag believes that these moments only become important because the camera generates that importance. With Jesse talking to David in the basement about future events in past tense and David shutting off the camera to disallow the memory, they are writing in stone what would otherwise be written in chalk—or not even written at all.
He makes his argument by explaining what his evidence means, then supports his claim with "Sontag" support and goes on to show where in the film his analysis was based of.
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my father, Mr. Lawrence, not the English.'' The audience is reminded that the Arabs tried to take control of their own destiny, that they were not simply willing pawns in the hands of the British.
Feisal reminds lawrence that the Arabs were the ones who started the revolt in the first place, and it wasn't an English initiative.
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Latvrence of Arabia provides an example of Western historical representation whereby the indi-vidual Romantic "genius" leads the Arab national revolt, presumed to be a passive entity awaiting T. E. Lawrence's inspiration.
again the recurrent idea that there is a need for a western or european hero to help better the life conditions of the natives and then use this "value" as a justification for ownership of the land.
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An extrem.e relativist he is not. I.f I found anything odd in Said's project, it was his atten1pt to n1itigate the "us" versus "the1n" distinction through a sort of European hun1an-istic notion of the "human condition," an atten1pt that sm.acked a little of Eurocentrisn1.
Here Stubbs is saying that the fact that Said minimizes the existence of the "us" vs. "them" distinction by saying "we are all equal" - an European humanistic view - is resembling of Eurocentrism - implied belief, consciously or not, in the superiority of the European culture.
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the structural con-cept of difference is built into the language of representation and clas-sification, and is hence universal.
This is saying that the idea of "us" versus "them" is deeply rooted into our language and has become so subtle that it may be difficult to spot, at the same time it is used universally because it is through the language that defines our differences that we have come to classify different groups from our own.
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a very old critique of ethno-centrisnl we owe to the Boasians.
Ethnocentrism: belief that one ethnic group is superior to another. Boasians antrophology: (20th century) autocratic political movement centered around one charismatic leader - ethnically Jewish - protecting the interests and careers of one another, and intolerant to criticism.
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