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1	Is It Just a Matter of Taste? : On Film Criticism and Evaluation of Film / "Du fattar ju inte film" : Om Filmkritik och Värdeomdömen Simonsson, Pierre January 2022 (has links) This thesis aims to explore theories in aesthetics and philosophy of criticism,in order to understand why disagreement occur in film evaluations and possible reasons. Subsequently, the relationship between subjective preferences and objective properties in film evaluations will also be explored. In the first section of the thesis, a theoretical foundation will be provided for context. Malick as a director will be introduced, together with theories regarding intention, value, objectivity, and aesthetics. In the second section, three film reviews with different ratings from three film critics will be analyzed, to distill the essence of film evaluations. This thesis will show that there is reason to believe that objective properties exist in film objectsand that there are ways to evaluate these properties. The results will also show that an evaluation has several components, and that it is possible to judge one evaluation to be more or less justified than another, based on the strength of this reasoning and inclusion of the different components. Film evaluation Aesthetics Philosophy of Criticism The Tree of Life Roger Ebert Filmkritik estetik The Tree of Life Roger Ebert Studies on Film Filmvetenskap
2	Confronting eternity : strange (im)mortalities, and states of undying in popular fiction. Bacon, Edwin Bruce January 2014 (has links) When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities. I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series Immortality Undeath Undying Magic Science Pseudoscience Life Death Eternity God Alchemy Phoenix Popular Fiction Pop Culture William Shakespeare Hamlet Doctor Who The Doctor The Master Buffy the Vampire Slayer Gulliver's Travels Struldbrugg Jonathan Swift Sherlock Holmes Moriarty Arthur Conan Doyle Merlin The Once and Future King T.H. White The Mask Batman The Joker Scream Ghostface Saw The Jigsaw Killer Hanz Lungwitz Breaking Bad Walter White Heroes Sylar A Portrait of the Artist as a Young Man James Joyce The Picture of Dorian Gray Oscar Wilde Emily Dickinson Georg Wilhelm Friedrich Hegel Roger Ebert Judith Butler J.R.R Tolkien Dylan Thomas Robert Louis Stevenson
3	Paul Verhoeven, media manipulation, and hyper-reality Malchiodi, Emmanuel William 01 May 2011 (has links) Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism--1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall--an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means "to be able," asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them. Film and Media Studies

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