SCREEN-L Archives

February 1994

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
Esteban Serrano <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Sun, 27 Feb 1994 11:54:07 EST
Content-Type:
text/plain
Parts/Attachments:
text/plain (22 lines)
From eserrano Sun Feb 27 11:44:06 1994
Flags: 000000000401
Received: from localhost (eserrano@localhost) by eden.rutgers.edu
 (8.6.4+bestmx/8.6.4) id LAA06846; Sun, 27 Feb 1994 11:44:04 -0500
Date: Sun, 27 Feb 94 11:44:04 EST
From: Esteban Serrano <eserrano>
To: [log in to unmask]
Cc: eserrano
Subject: Autorial Intention
Message-ID: <[log in to unmask]>
 
To me, the "death of the author" perspective brings forth the idea that
MEANING IS NOT THE PRIVILEDGE OF THE AUTHOR. A film, as any work of art,
is not an idea, but a text. If filmmakers were only interested in ideas,
they would not make films; they would write or give press conferences.
Films are complex texts, and as such, are open to many readings.
 
A perfect example of this has been this LIst's very diverse, and in many
cases, opposite interpretations of The Piano. This space of conflict is
proof that The Piano is art. Bad movies lead the viewer to one reading;
good movies challenge the viewer to the possibility of multiple ones.

ATOM RSS1 RSS2