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Taste in film: Subjective and inter...

Sheridan, Kimberly Marie.

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Taste in film: Subjective and intersubjective validity.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Taste in film: Subjective and intersubjective validity./
作者:	Sheridan, Kimberly Marie.
面頁冊數:	264 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-06, Section: B, page: 3487.
Contained By:	Dissertation Abstracts International67-06B.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3221628
ISBN:	9780542744235

Taste in film: Subjective and intersubjective validity.
Sheridan, Kimberly Marie.

Taste in film: Subjective and intersubjective validity. - 264 p.

Source: Dissertation Abstracts International, Volume: 67-06, Section: B, page: 3487.

Thesis (Ed.D.)--Harvard University, 2006.

That there is tension between subjective and intersubjective validity in taste is a longstanding idea; Kant summarized it his Antinomy of Taste. On the one hand, our tastes reflect subjective responses. On the other, they can be claims we believe others should share. I revisit Kant's Antinomy to study subjectivity and intersubjectivity in taste in film.

ISBN: 9780542744235Subjects--Topical Terms:

1018432
Education, Art.

Taste in film: Subjective and intersubjective validity.
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245 1 0 $a Taste in film: Subjective and intersubjective validity.
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500 $a Source: Dissertation Abstracts International, Volume: 67-06, Section: B, page: 3487.
500 $a Adviser: Howard Gardner.
502 $a Thesis (Ed.D.)--Harvard University, 2006.
520 $a That there is tension between subjective and intersubjective validity in taste is a longstanding idea; Kant summarized it his Antinomy of Taste. On the one hand, our tastes reflect subjective responses. On the other, they can be claims we believe others should share. I revisit Kant's Antinomy to study subjectivity and intersubjectivity in taste in film.
520 $a I completed a survey of a random sample (n=101) of active participants of a major on-line film discussion site, and a cross-case analysis of interviews with eleven film fans. Fans ranged in age from 18-70 years old. I explore film fans' self-directed education in film, showing that, for them, watching films is not just entertainment, but a reflective activity aimed at developing understanding. However, I argue that fans vary in their modes of reflection and the types of understanding they seek.
520 $a To understand these differences among fans, I propose the construct of orientation to validity. The subjective pole of validity is marked by introspective reflection on the subjective experience of films as an avenue of insight into the self. The intersubjective pole of validity is marked by dialogic reflection on films as a shared cultural object as an avenue of insight into the world. Film fans can orient towards these two sources of validity in any balance and this orientation can shift over time. Developing taste involves both increased sophistication within a particular orientation and integration between orientations. I show how these orientations are reflecting in different ways of validating taste judgments, histories of becoming a fan, attitudes towards critics, and tendencies to draw connections between films and one's own experiences or with one's other areas of knowledge.
520 $a I consider how the construct of orientation to validity adds to our conception of taste, provides a construct to further investigate taste and taste judgments, and how it relates to and adds to other theories on the epistemological underpinnings of judgments and the development of personal epistemology. While this construct of orientation to validity is provisional, it suggests a new way of looking at some old questions on taste.
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