By Dennis Rothermel Silke Panse
A Critique of Judgment in movie and tv is a reaction to an important raise of judgment and judgmentalism in modern tv, movie, and social media via investigating the altering family among the aesthetics and ethics of judgment.
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Civil law based on the abstractions of legislation adjudicated by professional judges – the “experts” Deleuze found to be distributing judgment (1984, 58) – cannot alter the law according to a case. Deleuze endorses a creative sense of jurisprudence such as responds to the singularities of a case. Anglo-American case law rests upon how juries vote in response to the narratives presented in court. But, even in the context of case law, the story is still usually narrated as that of an individual rather than a singularity in film and television, with the individual becoming the model for the universal.
Additionally, when the judge tells the competitors whether they have made it to the next round, the editing of the contestants sitting opposite the judge alternates, so that it is not clear who will be in the reverse shot to the shot of the judge declaring that the judged has not made it. While the judges change opposite a stable Joan, on The X Factor the contestants change vis-à-vis the same judge. While Dreyer is on the side of Joan, television is on the side of the judges. In The Passion of Joan of Arc, affect is independent of the judges’ imposed narrative; rather, it provides a means to move beyond judgment.
Edited by Lewis White Beck. W. E. L. Fackenheim. Indianapolis: Library of Liberal Arts. Kant, Immanuel. 1971. ” In Kant’s Political Writings, edited by Hans Reiss, 176–190. B. Nisbet. Cambridge: Cambridge University Press. Kant, Immanuel. 1997. Critique of Practical Reason. Edited and translated by Mary J. Gregor. Cambridge: Cambridge University Press. Kant, Immanuel. 1999a. Critique of Pure Reason. Edited and translated by Paul Guyer and Allen Wood. Cambridge: Cambridge University Press. Kant, Immanuel.
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