Susan Sontag

1512 Words4 Pages

Interpretations The lover and critic of film, Susan Sontag, once said that, “Interpretation is the revenge of the intellectual upon art.” In her Essay, A Century of Cinema, she criticized the condition of today’s films. Her interpretation, was that recent cinema is tedious, unintelligent, and incredibly insignificant in comparison to older films. She touched on the history of cinema over the past one hundred years, giving credit to distinguished films and film-makers, and condemning the changes that have occurred in the past twenty to thirty years. Though Susan Sontag does touch on many substantial flaws in modern film and film culture, the quality of modern film is not less than that of older film. Furthermore, Sontag’s specifications for …show more content…

At the forefront of Sontag’s argument, lies a description of the first ever showing of moving pictures in 1895. The audience ducked and gasped in anticipation of the oncoming train footage, and cinephilia was born. Later, audiences went to the movies to be “kidnapped” and inspired. Today, the relationship between audiences and film remains quite similar. Movies of incredible value are recognized for being, “completely absorbing,” “moving,” and memorable (Tyler). Critics acknowledge that while film can be serious, and that those whom are known for their love of films, “ the art-movie mavens,” are characterized with, “furrowed brows and intense discussion,”(Pulver) a powerful film can also leave, “an entire theater full of stodgy old film critics fighting back tears,” (Tyler). Many viewers find their passion in going out to intense and consuming movies because, “Watching it means fighting your way through every second of the film just as the characters battle and scrap their way through the story,” (Tyler). There are now massive groups and events such as, The Academy, Venice Film Festival, and London Film Festivals, which are devoted to the celebration and reward of films. In the academy, though they may face some issues with corruption, their nomination formula overcomes extortion issues by giving, “the advantage to films with a small but passionate following versus films with broad lukewarm support,” (Finke). Ultimately, the love of cinema is not in any way lessoning, and, in the words of critic Andrew Pulver, “We certainly are living in interesting times,” filled with change and

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