Presentation on theme: "1 Love Through Film As interpreted through The Esthetic Validity of Marriage from Either/Or by S. Kierkegaard."— Presentation transcript:
1 Love Through Film As interpreted through The Esthetic Validity of Marriage from Either/Or by S. Kierkegaard
Briefly on Either/Or Published in 1843 in two volumes The Esthetic Validity of Marriage –Letter under pseudonym B, Judge William (or Vilhelm) speaking directly to and about an unnamed friend. Romantic vs. Marital Love
Outer vs. Inner Conquering Nature –Seeking what is not yet possessed ends at moment of possession –Closed self –Focus of art/poetry on moment Possessing Nature –Seeking what is already possessed –Open inner self
Pride vs. Humility Pride –Intensity of the moment, thus poetic Humility –Not a matter of climax, but rather a continuous coming into existence –Art and poetry cannot demonstrate this
Moment vs. Constant RomanticMarital Knight/ConquerorCross-bearer Sacrificial HeroDaily dying CouragePatience External ConflictInternal Conflict If one traces the history... of the esthetically beautiful, one will find that the direction is from spatial categories to temporal categories. Art not applicable with long-suffering due to requisite passing of time Marital Love, then, has its enemy in time, its victory in time, its eternity in time.
What About Film? Equal to his description of music: –music has time as its element but has no continuance in time; its significance is the continual vanishing in time. –Similar to what film is How, then, can the esthetic that is incommensurable even for portrayal in poetry be represented. Answer: by being lived. Can film show us marital love in the way art/poetry cannot?
7 A Short Answer: No... ish Better, but not complete. Narrative structure of most films lend to Romantic –successful marriages are never the center of the film Scenes from a Marriage (1974) –dir. Ingmar Bergman –mini-series (6 parts) –still imperfect