Wax Banks erklärt, warum Dollhouse von vielen geächtet wird
Und ich kann wieder einmal nur staunend starren, ob seiner Ideen:
You didn't like the first few episodes of Dollhouse. Well, let me suggest the main reason why:
There's nothing satisfying about it, by design.
In other words, I'm guessing that you don't like it because you don't know what to like.
(I am quite possibly objectively holier than all y'all thou.)
Every vector of possible satisfaction for the viewer has been poisoned, from the outset, by the show's premise. That doesn't mean the premise is bad - the premise is extraordinarily fertile - it just means that you (we) don't get to do your (our) normal routine of using borrowed jargon to rationalize your visceral satisfaction. Not the clunky mannerisms of academic criticism, nor the easy cynicism of what passes for 'media criticism,' nor the pop-schlub pidgin of newspaper/magazine critics and their Internet kidz.
The premise of the show is: What if a group of pimps - who happen to be neuroscientists - could erase the memories of whores who happen to be well-paid, extraordinary well-taken-care-of volunteers, and could use this power to effect amoral change in various economic strata? What would it take to suspend judgment toward such an operation, toward the whores, the pimps, the clients, the team of scientists and programmer-types who make it all possible? What sort of person would avail him- or herself of such an organization's services?
What kind of cop would become obsessed with shutting it down?
The complexity of the political allegory - depicting the quite literal return of individual and collective memory and desire heretofore repressed for economic reasons, the power of spontaneous organization to overcome institutional stricture, etc. - should be enough to overcome one's suspicions that Dollhouse is made in ignorance, with exploitation in mind, etc. And the writerly pedigree should cause one to think twice before assuming that the show's plots have been glibly chosen, its lines tossed off.
But I don't actually have to defend the show on those grounds; if it's well made and well-wrought, it'll stand on its own.
Here's my critical stance: It is not made to be liked. Nor to satisfy.
Link
You didn't like the first few episodes of Dollhouse. Well, let me suggest the main reason why:
There's nothing satisfying about it, by design.
In other words, I'm guessing that you don't like it because you don't know what to like.
(I am quite possibly objectively holier than all y'all thou.)
Every vector of possible satisfaction for the viewer has been poisoned, from the outset, by the show's premise. That doesn't mean the premise is bad - the premise is extraordinarily fertile - it just means that you (we) don't get to do your (our) normal routine of using borrowed jargon to rationalize your visceral satisfaction. Not the clunky mannerisms of academic criticism, nor the easy cynicism of what passes for 'media criticism,' nor the pop-schlub pidgin of newspaper/magazine critics and their Internet kidz.
The premise of the show is: What if a group of pimps - who happen to be neuroscientists - could erase the memories of whores who happen to be well-paid, extraordinary well-taken-care-of volunteers, and could use this power to effect amoral change in various economic strata? What would it take to suspend judgment toward such an operation, toward the whores, the pimps, the clients, the team of scientists and programmer-types who make it all possible? What sort of person would avail him- or herself of such an organization's services?
What kind of cop would become obsessed with shutting it down?
The complexity of the political allegory - depicting the quite literal return of individual and collective memory and desire heretofore repressed for economic reasons, the power of spontaneous organization to overcome institutional stricture, etc. - should be enough to overcome one's suspicions that Dollhouse is made in ignorance, with exploitation in mind, etc. And the writerly pedigree should cause one to think twice before assuming that the show's plots have been glibly chosen, its lines tossed off.
But I don't actually have to defend the show on those grounds; if it's well made and well-wrought, it'll stand on its own.
Here's my critical stance: It is not made to be liked. Nor to satisfy.
Link
wiesengrund - 2. März, 13:51
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