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Thank you for your kind words.

Anything in particular you would like to see covered?

Thank you for replying to this old video on my old channel. At some level, it's a chicken/egg question and Derrida's do-do not model lets of think about intentionality. I don't know to what extent Woolf went out of her way to write a Bildungsroman or even a coming-of-age story, though certainly there can be "prerequisites" that lead one to perceive it that way. I didn't experience Ulysses as a domestic novel, but I see why that term fits. Is Modernism a genre? Perhaps some people saw it that way, but if we take Pound's Imagism as one of its major origins, there's more of a movement and even a putsch than a genre as such. Maybe it is like a supergenre, though normally I would use that term for deeper structures that can appear in any genre in terms of how markets use them to appeal to difference demographics and psychographics. As for Literature, that seems to be a highbrow, midbrow, lowbrow question, even to this day. It still amazes me that some people think this type of books is better than that rather than just letting their enjoyment be their own. But that gets into free will issues, for which I see zero evidence. Do you?

Glad you enjoyed it

So nice of you

Great point!

You're very welcome!

I'm so glad!

I'm so glad!

Thanks for checking it out! :-)

Glad you liked it!

Which specific comments? Are you perhaps overlooking the core thesis and the basis upon which I've framed the discussion?

@@ScriptCastle You’re using to many big words...I am left defenseless

Any specific words in particular you can point me towards? I'm sure there's a way forward - I'm interested in your objection, and just need to know where you're coming from.

Thanks for the visit!

Thanks for checking it out!

Thanks for checking this one out! :-)

You're welcome!

Great - thanks! What would you like to see covered on the channel next?

Yes, there is a relationship here to Semiotics. Great observation! Any fave Semioticians you want to shout out?

@@ScriptCastle yes for sure. My favorite is Saussure. I loved this series, I had to buy the course. I applied these ideas to constructing an album and analyzing past albums, it really made my understanding a lot more clear and I enjoy my craft a lot more. I kind of want to write a book. This gave me a lot of confidence in taking that on.

Cool, thanks. Have you seen any great movies lately?

Very cool! I guess that would have been shy of Crash, no? Have you kept up with the rest of the career, including the novel? I was at one point able to find his unfilmed screenplay for Painkillers. It would be perfect for our times.

Thanks for checking it out and glad it helped. Are you studying Deleuze in depth?

ScriptCastle yes I’ve been thinking about how continental philosophers think about the concept of time. Deleuze sees time as an image, which develops to image-movement. I was stuck at this and I think your video helps!:)

Glad I could be useful. I've been re-reading some Deleuze lately. He so interesting.

Thanks for the kind words. There haven't been enough interest to publish them all, but the full course is available on my website if you're interested.

It is indeed!

LOL - I'm not THAT old! ;)

Great!

The opening scene is really important, though I think in the classic patsy setup we also have to think through how the "hero" manipulates him or herself as well. The choice of the target requires that quality in the mark.

Sorry, I don't have time to do homework for others and it will be on different pages in different editions. It's a great book, so I highly suggest reading it and never waiting for busy CZcamsrs to do something like this that you could do yourself.

@@ScriptCastle thank you

:)

Sounds like great strengths to have! Any movies you have out there we can check out?

Darkness is indeed a great color to "paint" with.

Thanks for your kind words. Much appreciated!

Greetings!

And Oedipus did? Please say more about your familiarity with the Oedipal structures and what's at stake in them.

@@ScriptCastle Yes, Oedipus did. At Delphi, the Oracle prophesied to him that he would kill his father and marry his mother. His was ignorant to the incident at that banquet when a drunk guy told him that he wasn't the child of his supposed parents. That ignorance (say it a work of fate) led to his fulfilling that prophecy.

I think this has parallels in Arlington Road, but will need to review it. Thanks for the feedback.

@@ScriptCastle the parallel is that both Oedipus and Faraday faced catastrophe only because they were striving for justice. Both were unaware of their role in that catastrophe. But the big difference is Oedipus sub-consciously suppressed a premonition whereas Faraday was completely unaware that he was a pawn. Another difference is Oedipus had already committed the crime and his search led him to his acknowledging the crime but as for Faraday, the search itself led to commitment of crime. These two difference makes Oedipus Rex a very profound piece of literature and greater than all other works when it comes to afflicting the audience with a moral dilemma.

Thanks for this. Where in Oepidus do you seem him unaware of which premonition? It is precisely his awareness of unease that causes him to act - likewise in Arlington Road. Faraday may be unaware of himself as a pawn on the surface, but read through the lens of unconscious guilt (all signified in the deep narrative of his back story), I don't think this is as clear a statement as you want to make it. I appreciate the conversation but remained unconvinced that this movies does not belong to the Oedipal category. It's as Oedipal as Chinatown and Minority Report, even if those two films give more visual semiotics to support the obvious.

Thanks for checking it out, Ahmad. Any cool movies you've seen lately?

Thanks for your question. This was just a normal, Canadian home.

@@ScriptCastle oh wow, I'm Canadian too and finishing my PhD in film studies. Where do you live?

@@Venuscombust Very cool! I'm overseas now, basically a digital nomad. What area of Film Studies are you focused on?

@@ScriptCastle Oh mostly this history of film style. My thesis is a neoformalist analysis of the films of Robert Bresson. But I read a lot of film theory and aesthetics/philosophy of art as well. I suppose my main areas of expertise are European/World art cinema, Contemporary Hollywood and some Asian cinemas. Hou Hsiao-Hsien and Apichatpong Weerasethakul are two favorites. I enjoyed your post on Eisenstein's montage as I needed a refresher on the meaning of "overtonal" montage!

@@Venuscombust Very cool. Bresson is amazing! I don't know if they will ever be useful to you, but if so, I have two articles in the Directory of World Cinema 2: Germany. :-)

I was half-way into it and realised that its too similar to high noon.

Great rundown!

Yes, this is possible for some audience members. But is it being like him, or is it the nature of balancing the scales that people are attracted to? There can be a difference.

@@ScriptCastle Great point but on another thought there isn't that much of a difference really. 'Being like him' doesn't imply imitating him but embracing his sophisticated wildness which is in a way- balancing the scales.

I feel like what you're saying doesn't justify the word "being," certainly not when paired with "like." Your original post also said that "no one wants some they admire to suffer," which is a generalization that cannot be true. I think I would rather say that we can, through something like schadenfreude, both understand the role of this kind of retribution and also enforce the lex talionis that requires a Lecter to be punished. There is no need for "being" or "being like" in order for this to happen.

@@ScriptCastle What I propose is that if someone feels attracted to the personality of someone like Hannibal and even if that someone also derives great pleasures from suffering of others then too that someone will pity Hannibal when Hannibal is retirbuted. This holds true to myself, supposing that someone is me, but I also believe this is something absolute which can be generalized.

I don't follow, nor have much to say to those who think certain things hold true only to themselves. That's really the opposite of truth, which should hold regardless of what any individual feels or thinks about it.

Glad you liked it!

My pleasure!

Also he comes from Bergson´s image-theory in which stablishes that everything is an image... anyhow... it takes a couple reads before it sinks, those teachers you refer probably didnt get it

Perhaps not, but perhaps I also did not (or could not) understand them at the time.

Thanks for the visit. Have you seen any great movies lately?

My pleasure!

ThanksQ

Thanks for this. It is interesting to think about how patched into these references Cronenberg may have been. What did you think of the recent adaptation of High-Rise? I didn't feel it quite had the grain of the text somehow.

Glad you enjoyed it!

Thanks!

My pleasure! Anything else you would like to see on this channel?

@@ScriptCastle yes i would like a simple breakdown and definition of other genres like this is: especially for horror, romance, comedy and also the difference between the fantasy and fairy tale genres :). i am conveying these top literary fiction and movie genres into lessons for elementary/middle schoolers for them to separate and get knowledge of their individual traits. i know there are texts and books available which i also use but this was very helpful to me as well :D

Thanks for this follow up. I go through all of these things in the full Genre Frameworks course. The only thing I don't do is divide it for age groups, which is not my speciality. I work for the adults we are always yet to become.

Thanks - what would you like to see next on the channel? I haven't had a chance to put much up lately, or update the links to the full course. But please let me know as I'm hoping to release more soon. :-)