This compilation from Film Culture magazine—the pioneering periodical in avant-garde movie commentary—includes individuals like Charles Boultenhouse, Erich von Stroheim, Michael McClure, Stan Brakhage, Annette Michelson, Arthur Miller, Dylan Thomas, Andrew Sarris, Rudolph Arnheim, Jonas Mekas, and Parker Tyler. This assortment covers a number themes in 20th century cinema, from the Auteur conception to the industrial cinema, from Orson Welles to Kenneth Anger.
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Lopes (eds), The Routledge Companion to Aesthetics. London: Routledge, pp. 341–52. Higgins, L. and B. Silver (eds). 1991. Rape and Representation. New York: Columbia University Press. Hume, David. 1985. ” In Eugene F. ), Essays: Moral, Political, and Literary. Indianapolis: Liberty Fund, pp. 226–49. Jacobson, Daniel. 1997. ” In Philosophical Topics 25: 155–99. ——. 2006. ), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Publishers. W. EATON MacKinnon, Catharine A. 1989. Toward a Feminist Theory of the State.
This falls right in line with Benigno’s misperception of his relationship with Alicia. And although Alfredo’s entry into Amparo’s vagina counts as rape—for she cannot consent when asleep, and the fact that he is her boyfriend does not entitle him to unlimited access to her body5—the silent film does not present it as a violation. Consider, for instance, the light-hearted and even comic tone about Alfredo’s climbing onto her mountainous breasts and into her enormous vagina. Further, his diminished size makes him seem hardly threatening and incapable of brutality.
10 That is, the film asks us to see its world in light of a pernicious set of evaluative concepts, and this we have good reason to avoid on ethical grounds. In this way, Almodóvar’s film is ethically defective. But what do such defects mean for our overall evaluation of the film as a work of art? Hume urges that such ethical flaws actually mar the artistic character of a work: Where vicious manners are described, without being marked with the proper characters of blame and disapprobation; this must be allowed to disfigure the [work], and to be a real deformity.