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AccountSupervisor
Aug 3, 2004

I am greatful for my loop pedal

Snowman_McK posted:

can you expand on this a little? I think I know the point you're making but I also know I will never watch Project Greenlight to confirm.

Basically directing as a job is about much more than successful storytelling, theres a hugely functional part of the job that is very very important and drastically more common of a job than the directors most people can name. IE think about TV directors, how much TV exists and what kind of talent is valuable to those types of productions.

A directors ability to be good at his job on a technical and management level can be as valuable as their artistic ability. It can often effect the end product and a lot of good artistic intention and aspiration can be snuffed out by functionally bad directors. Im speaking mostly outside of the realm of more general audience films(romcoms, low budget comedy, kids movies, etc).

You of course have a set of outliers of crazy, dysfunctional, diasterous productions and notoriously difficult directors that ended up as classic films, but often times with those the glue of those productions are the production teams, from 1st ADs, to Production Managers, to Coordinators, Line Producers, Co Producers and on and on. That burden falls on them.

In the case of that season of Project Greenlight, the guy was basically a very stereotypical film buff guy and everything about the movie under the hood seemed ok, but the production was a shitshow because he just sucked at actually being on set directing. You see in real time how it becomes a management nightmare for the rest of the crew and then you get to watch the movie and see the effects on the end product. Its a perfect microcosm for getting to witness what a bad production is.

Just being able to do, at all, what directors like Snyder do while maintaining a great reputation is a talent unto itself. People question why certain directors continually get work and fail to consider the job of director on a more functional level and even how stuff like agency representation work. Like I get it, I dont expect most people to know how that kind of stuff works when being critical of a director or their work, but at a certain point you kind of should consider that.

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Horizon Burning
Oct 23, 2019
:discourse:
imo the 'snyder is brainless' take is, or should be, impossible to cling to after the justice league superman death yell shockwave was revealed to be in bvs from the start

Ghost Leviathan
Mar 2, 2017

Exploration is ill-advised.

Horizon Burning posted:

imo the 'snyder is brainless' take is, or should be, impossible to cling to after the justice league superman death yell shockwave was revealed to be in bvs from the start

That would require actually absorbing any new information outside the bubble.

Bogus Adventure
Jan 11, 2017

More like "Bulges Adventure"

Ghost Leviathan posted:

Also it's almost been overdone but Shakespeare absolutely was doing the blockbuster movies, romcoms and action movies of his time, complete with quips, puns and fart jokes.

Imagine...

In 500 years, academics will be discussing the merits and beauty of Snyder's library of works and consider them classics.

well why not
Feb 10, 2009




the time is now old man

Bogus Adventure
Jan 11, 2017

More like "Bulges Adventure"

well why not posted:

the time is now old man

:negative:

Please don't remind me that I'm getting old. My knee has been killing me, so I can't walk or jog to exercise anymore. At least I can still bicycle to work.

Blood Boils
Dec 27, 2006

Its not an S, on my planet it means QUIPS

well why not posted:

the time is now old man

Yeah there's several good essays/theses online about his oeuvre, I outta dig through my old bookmarks

Megaman's Jockstrap
Jul 16, 2000

What a horrible thread to have a post.
I do like the Donner Superman, but it gets less relevant and archetypical every year, which creates space for alternate portrayals.

shoeberto
Jun 13, 2020

which way to the MACHINES?

AccountSupervisor posted:

Just being able to do, at all, what directors like Snyder do while maintaining a great reputation is a talent unto itself. People question why certain directors continually get work and fail to consider the job of director on a more functional level and even how stuff like agency representation work. Like I get it, I dont expect most people to know how that kind of stuff works when being critical of a director or their work, but at a certain point you kind of should consider that.

Pretty much why folks like Roger Corman and Lloyd Kaufman will always have mad respect from me, even if I don't really watch their stuff. They know how to handle the hustle competently and sometimes they make something really special.

Any director that you know by name who makes something big budget with a signature style is someone who is very good at what they do, even if you aren't a fan of what they make. Anyone can be a critic, few can create.

KVeezy3
Aug 18, 2005

Airport Music for Black Folk

josh04 posted:

Academic work has issues but imo the things being griped about ITT aren't really the point. It's not supposed to be a venue for the most entertaining writing or the most comprehensive encyclopedia of trivia or even the most widely-read reviewers: the point of academic work is to have a particular degree of rigor and review such that each piece of work situates itself in an intellectual tradition. That work might still be total rear end, or the entire branch of thinking it situates itself in might turn out to be discredited nonsense, but it's fundamentally different to even the most erudite opinion piece in the AV Club. Postmodern xenoBarbie might be useless nonsense or it might incredibly fertile ground for the next thirty years of work - what a general public make of it as a review is largely irrelevant.

Well said. As you wrote, it’s not on the writer to ensure their work has as much commercial appeal as the matter they are dealing with, so what’s totally left out of this is any responsibility of the reader.

I’d add that it’s far more important for the writer to have some historical/formal grasp of the medium itself, rather than a weighing scale between “whether their primary expertise is relevant” vs. “how familiar they are with the IP’s empire”. I don’t see unfamiliarity of the latter as a roadblock, but familiarity a possible detriment.

KVeezy3 fucked around with this message at 14:27 on Sep 21, 2023

Violator
May 15, 2003


Horizon Burning posted:

imo the 'snyder is brainless' take is, or should be, impossible to cling to after the justice league superman death yell shockwave was revealed to be in bvs from the start

lol I didn't notice that until you pointed it out.

Ghost Leviathan
Mar 2, 2017

Exploration is ill-advised.

KVeezy3 posted:

Well said. As you wrote, it’s not on the writer to ensure their work has as much commercial appeal as the matter they are dealing with, so what’s totally left out of this is any responsibility of the reader.

I’d add that it’s far more important for the writer to have some historical/formal grasp of the medium itself, rather than a weighing scale between “whether their primary expertise is relevant” vs. “how familiar they are with the IP’s empire”. I don’t see unfamiliarity of the latter as a roadblock, but familiarity a possible detriment.

Though comes to mind Ursula Le Guin's whole essay about how genre snobbery means that critics get some really stupid reads on media- like Harry Potter being thought of as original and groundbreaking when it really wasn't, and critics come off as incredibly juvenile and silly when they're surprised by what are standard genre tropes to people who actually read those books. It basically comes off as 'guy who's only seen Boss Baby'.

Martman
Nov 20, 2006

I once brought up Let the Right One In in a film class and the professor completely poo poo on it. I think she was mistaking it for Twilight. There's my story about why academia is trash

RBA Starblade
Apr 28, 2008

Going Home.

Games Idiot Court Jester

I guess you brought the wrong one in :grin:

KVeezy3
Aug 18, 2005

Airport Music for Black Folk

Ghost Leviathan posted:

Though comes to mind Ursula Le Guin's whole essay about how genre snobbery means that critics get some really stupid reads on media- like Harry Potter being thought of as original and groundbreaking when it really wasn't, and critics come off as incredibly juvenile and silly when they're surprised by what are standard genre tropes to people who actually read those books. It basically comes off as 'guy who's only seen Boss Baby'.

If an analysis is worthless because of unfamiliarity with the tropes of a genre, then that belies much bigger problems. Besides, there are many classic works that are (retroactively) trope laden.

For the topic at hand, do people believe it's better to consume all of the spidermans media in order to grasp the essence of those multiverse spider man movies?

KVeezy3 fucked around with this message at 13:12 on Sep 22, 2023

McSpanky
Jan 16, 2005






A functional understanding of genre is media literacy and not the same thing as expecting an encyclopedic dissection of a comic book character's publication history.

Safety Factor
Oct 31, 2009




Grimey Drawer
The only spider-man you need is Newspaper Spider-Man

Bongo Bill
Jan 17, 2012

Ghost Leviathan posted:

Though comes to mind Ursula Le Guin's whole essay about how genre snobbery means that critics get some really stupid reads on media- like Harry Potter being thought of as original and groundbreaking when it really wasn't, and critics come off as incredibly juvenile and silly when they're surprised by what are standard genre tropes to people who actually read those books. It basically comes off as 'guy who's only seen Boss Baby'.

Got a link to that essay?

Sir Kodiak
May 14, 2007


Bongo Bill posted:

Got a link to that essay?

As an Ursula K. Le Guin fan, I'm going to butt in here. I wasn't able to find a full essay in which she addresses Harry Potter. Instead I found a couple of quotes.

The first is from this 2004 interview with The Guardian:

quote:

Q: Nicholas Lezard has written 'Rowling can type, but Le Guin can write.' What do you make of this comment in the light of the phenomenal success of the Potter books? I'd like to hear your opinion of JK Rowling's writing style

UKL: I have no great opinion of it. When so many adult critics were carrying on about the "incredible originality" of the first Harry Potter book, I read it to find out what the fuss was about, and remained somewhat puzzled; it seemed a lively kid's fantasy crossed with a "school novel", good fare for its age group, but stylistically ordinary, imaginatively derivative, and ethically rather mean-spirited.

She later had a 2005 interview with The Guardian for which I've been unable to find a transcript, but they have some quotes from her here:

quote:

Le Guin, who also writes realist fiction, poetry, essays and books for young children, says: "I'm impatient with genre as a label of quality. But if we could stop critics being ignorant, genre would be interesting."

Her credit to JK Rowling for giving the "whole fantasy field a boost" is tinged with regret. "I didn't feel she ripped me off, as some people did," she says quietly, "though she could have been more gracious about her predecessors. My incredulity was at the critics who found the first book wonderfully original. She has many virtues, but originality isn't one of them. That hurt."

The question of whether JK Rowling had ripped her off is in reference to Le Guin's 1968 novel A Wizard of Earthsea, about a boy who goes to a wizarding school, though in a more fantastical setting than Harry Potter's alternate-reality 1990s.

Her big essay on genre is "Despising Genre" from her short-story collection The Birthday of the World, which addresses the ghettoization of genre fiction, the likely cause of critics misapprehension of Harry Potter's originality. It doesn't seem to be available online, so I've reproduced it at the bottom of this post. But to address something else first:

KVeezy3 posted:

If an analysis is worthless because of unfamiliarity with the tropes of a genre, then that belies much bigger problems. Besides, there are many classic works that are (retroactively) trope laden.

For the topic at hand, do people believe it's better to consume all of the spidermans media in order to grasp the essence of those multiverse spider man movies?

If you read the quotes above, she didn't claim that critics couldn't understand Harry Potter because of their unfamility with genre fiction or that their analysis is worthless. It was specifically a response to critics praising Harry Potter's originality. And it is absolutely fair to say that, if you don't generally read genre fiction, then you shouldn't be judging whether a piece of genre fiction is original. I remember having a similar conversation about Cormac McCarthy's The Road, which is a good book from a hell of a writer, but was similarly praised for the originality of its genre elements by people who only read literary fiction.

So, in regards to the multiversal Spider-Men, it's not that you have to consume all Spider-Man media in order to comment on them, but if you specifically want to write about, say, the relationship between Spider-Man: Across the Spider-Verse and the many comic books it draws from, you should probably have read those comic books.

Ursula K. Le Guin, Despising Genre posted:

Basically my attitude is that genre is A) an unpronounceable French word; B) a very useful descriptive tool; and C) a pernicious instrument of prejudice.

Division of fiction into genres is like all classification, useful — useful to readers who like fiction of a certain kind or about certain subjects and want to know where to find it in a bookstore or library; and useful to critics and students and Common Readers who have realized that not all fictions are written in the same way with the same aesthetic equipment.

Genre has no use at all as a value category and should never be used as such.

But the concept or category of genre is used to evaluate fiction unread. To sort out the real books — that is, realistic fiction — from the “subliterature” — that is, everything else — every other kind of fiction written in this century. Everything but realism, including the very oldest and most widespread forms of story such as fantasy, gets shoved into a ghetto.

I mostly live in ghettos. My fiction-ghettos are kiddilit, YA, regional, historical, SF, fantasy. I write realism too, but that’s not a ghetto, that’s Lit City. Where the real people live. At least it was until a bunch of subversive South Americans came along and made this barrio called Magic Realism, which kind of shook up the vanilla suburbs and in fact may have actually breached some ghetto walls. But magic realism gets shelved with realism. Why?

Genre categories are confirmed and perpetuated by the shelving practices of bookstores. Here in Portland, our Powell’s Books subcategorizes right down to Sea Stories — Napoleonic Era. Our Multnomah County Library is less detailed and invidious in gentrification-by-shelving. It sets apart only four genres from fiction as a whole: mystery, SF, Western, and YA. In “New Books” there are several genre shelves such as Suspense and Romance, but if thrillers and romances outlive the New Book category they get shelved in Fiction. The science fiction section includes fantasies and horror novels, neither of which belong there; the attitude apparently is, “This is irresponsibly imaginative so it’s SF.”

Not only is this practice incredibly invidious, randomly including some genres with the Real Books and excluding others, but it’s also shamelessly inconsistent: the librarians admit that they use personal evaluation of the quality of the book in deciding where to shelve it. Tolkien is famous, so Tolkien gets shelved with Realism. But almost no SF gets de-ghettoized this way, because few librarians read enough SF or fantasy or know enough about it to pick out the books of “genuine literary value” from the commercial schlock.

Commercial schlock is not limited to genre fiction — and so fiction of absolutely no literary merit at all, commercial junk realism, gets shelved with Austen and Bronte and Woolf, while SF and fantasy of real merit and real interest gets treated as junk by definition. No wonder writers like Kurt Vonnegut deny strenuously that their SF is SF — no wonder fantasists try to crawl under the magic realism label. They want respect.

Segregated shelving helps addicts find their fix. But couldn’t its convenience to readers in libraries be replaced by really good lists for addicts? Lists describe and make accessible without evaluating. Our library here in Portland — Multnomah County Library — has a wonderful “readers’ advisory binder” at the desk at the Central Library branch, listing all the popular genres and others I never would have thought of, such as baseball novels. Thrillers are divided into Spy, Legal, Techno, and Apocalyptic. Romance has seven subcategories: Family Saga, Gothic, Historical, Light, Period, Suspense, and Regency. I looked in vain for Bodice-Rippers. My two favorite subgenres were Novels About Older Women and Younger Men, and Seriously Humorous Mysteries.

If we have to have segregated shelving, then it should be consistent. It should not shelve the “good” authors with “literature” and the “popular” ones in the genre ghetto. Who decided popular was not good and good was not popular? Of course there’s a lot of clearly commercial genre fiction — most long-running series mysteries; most modern fantasy trilogies; a terribly high percentage of romance novels; all Louis L’Amour — junk food at worst, comfort food at best. Little nourishment, much grease. But as soon as you get above the McBooks level, who makes the call?

Only somebody who really reads in that field, really knows that field, can do it. An expert. The reputation of the publisher means little anymore: all big publishers are intensely commercial, and most are subsidiaries of corporations that have no interest whatever in literature. Their lists are controlled by Barnes & Noble and Borders; their books are principally chosen not by editors but by the accounting department. What blurbs mean depends on the integrity of the blurber. How useful are critics and reviewers as a guide to quality in genre fiction? Almost useless, unless you read critics who know the field. Almost all literary and academic reviewers are appallingly ignorant of genre fiction, don’t know how to read it, and pride themselves on their ignorance. Kirkus and the other review factories tend to be fairly knowledgeable about mysteries and thrillers, totally erratic about science fiction, and blankly ignorant of most other genres, unless a Patrick O’Brian comes along and they have to admit he exists.

Some authors, they say, “transcend genre.” They say that about me, and I know they mean well, but I do not understand what they mean.

If a book gets called or shelved with “literature” because you think it transcends its genre, the implication is, it’s good because it’s more like realism. So it would be even better, more literary, if it was entirely realistic. Moby-Dick, or Frankenstein, or The Time Machine, or The Baron in the Trees, or The Lord of the Rings, or A Hundred Years of Solitude, or The Man in the High Castle, or The Left Hand of Darkness, or The Handmaid’s Tale, or Carmen Dog, or The Dazzle of Day — would these books be better, be a “higher” form of literature, if all the events were mundane and all the characters were ordinary: if they were classifiable as realistic?

Realism is not a standard of excellence in fiction. Realism is not an adequate definition of literature. To use it as such is to misread every kind of fiction except realism. You can’t read Gulliver’s Travels the same way as you read War and Peace. That’s obvious to most critics and teachers — yet they try to read Tolkien the same way they read James Michener. No wonder they don’t get it!

Realism is a genre, just as fantasy is a genre or romance is a genre. It’s a recent one — much younger than either fantasy or romance. Though it’s a genre at which we in the West in the last couple of hundred years have excelled, there is no way in which it is superior to other genres — except in being more realistic. It is, accordingly, less imaginative, less mysterious, less romantic, less scientific, less magical, less Western, less thrilling, less...

As long as critics and the academy use realism as a single standard for the vast diversity of fictional modes, teachers will remain contemptuous of what most people read, ignorant of the particular beauties and devices of each genre, and incompetent to judge most fiction.

And libraries, by perpetuating shelving by genre, will perpetuate the bizarre and arbitrary limitation of literary fiction to one modern genre.

Why did I settle in the ghetto, or actually six or seven ghettos?

Well, I knew what I was good at: telling stories, mostly, in a free range between realistic and imaginative fiction — including SF, fantasy, kiddilit, YA, historical, etc. All ghettos. And I had no intention of living in some fancy literary gated community just to get respect from the ignorant.

But I do value the respect of the interested and informed. And when I wrote SF, or fantasy, or for children, or for young adults, I got real criticism from people knowledgeable in that genre, and also heard directly from readers — which many novelists never do. Genre and “popular” writers aren’t considered by their readers to be dead (an unfortunate side-effect of respectability). So, represented by an agent who was willing and able to sell work in any genre, and having some very broadminded editors, I could just sit around in Oregon and write. I had freedom. Why should I give that freedom up? What for?

Well, I know what for, every time they give an award to another brand name novel, or some lady says to me, “Oh, my son just loves your books — of course I don’t read Sci Fi.” And she stands there expecting me to say, “No, of course you don’t, you’re far too mature, intelligent, discerning, and, above all, tactful.” Then I usually find out she thought I was Madeleine L’Engle, anyhow. And the critics: “If it’s SF it can’t be good; if it’s good it can’t be SF.” And so they tell me that Left Hand of Darkness, The Handmaid’s Tale, and The Dazzle of Day aren’t SF. What ignorance.

But, for getting on to forty years now I’ve published literary fiction in genres considered sub-literary and, though it’s getting harder and harder, I have gotten away with it. And I go on writing in both respectable and despised genres because I respect them all, rejoice in their differences, and reject only the prejudice and ignorance that dismisses any book, unread, as not worth reading.

— Ursula K. Le Guin

Bongo Bill
Jan 17, 2012

Thanks.

feedmyleg
Dec 25, 2004
"genre" is an extremely useful identifier, because if something is "grenre" it's got a chance at being fun and interesting, while if something is not, it probably isn't

josh04
Oct 19, 2008


"THE FLASH IS THE REASON
TO RACE TO THE THEATRES"

This title contains sponsored content.

feedmyleg posted:

"genre" is an extremely useful identifier, because if something is "grenre" it's got a chance at being fun and interesting, while if something is not, it probably isn't

this mfer said 'grenre'

Grendels Dad
Mar 5, 2011

Popular culture has passed you by.
Yo, ask the horror thread what they think about genre.

They will be extremely friendly and chill, but also kinda critical.

AccountSupervisor
Aug 3, 2004

I am greatful for my loop pedal

Horizon Burning posted:

imo the 'snyder is brainless' take is, or should be, impossible to cling to after the justice league superman death yell shockwave was revealed to be in bvs from the start

Wow I never ever caught this, they are absolutely there.

2:17 you can clearly see them in the wide shot

https://www.youtube.com/watch?v=ttEZ7b4Cf9w

teagone
Jun 10, 2003

That was pretty intense, huh?

I'm almost certain Robot Style had brought up that the shockwaves persistent in BvS through to being a plot component in ZSJL was a thing before ZSJL was released.

Tuxedo Catfish
Mar 17, 2007

You've got guts! Come to my village, I'll buy you lunch.

feedmyleg posted:

"genre" is an extremely useful identifier, because if something is "grenre" it's got a chance at being fun and interesting, while if something is not, it probably isn't

man i am halfway through a loving warhammer novel and even i'm embarassed to be in the same thread as this post

Guy A. Person
May 23, 2003

Some of the best authors just write blatant genre poo poo anyway like McCarthy and Atwood and Pynchon but then when people ask them they are just like “what are you talking about what’s sci-fi lol check this weirdo out”

Barry Foster
Dec 24, 2007

What is going wrong with that one (face is longer than it should be)
Le Guin rules so hard

Bogus Adventure
Jan 11, 2017

More like "Bulges Adventure"

Barry Foster posted:

Le Guin rules so hard

I prefer Le Gruin

Total Meatlove
Jan 28, 2007

:japan:
Rangers died, shoujo Hitler cried ;_;

“JKR in The Times” posted:

The most popular living fantasy writer in the world doesn't even especially like fantasy novels. It wasn't until after Sorcerer's Stone was published that it even occurred to her that she had written one. "That's the honest truth," she says. "You know, the unicorns were in there. There was the castle, God knows. But I really had not thought that that's what I was doing. And I think maybe the reason that it didn't occur to me is that I'm not a huge fan of fantasy." Rowling has never finished The Lord of the Rings. She hasn't even read all of C.S. Lewis' Narnia novels, which her books get compared to a lot. There's something about Lewis' sentimentality about children that gets on her nerves. "There comes a point where Susan, who was the older girl, is lost to Narnia because she becomes interested in lipstick. She's become irreligious basically because she found sex," Rowling says. "I have a big problem with that."*

“Terry Pratchett” posted:


WHY IS it felt that the continued elevation of J K Rowling can only be
achieved at the expense of other writers (Mistress of magic, News
Review, last week)? Now we learn that prior to Harry Potter the world of
fantasy was plagued with "knights and ladies morris-dancing to
Greensleeves."

In fact the best of it has always been edgy and inventive, with "the
dark heart of the real world" being exactly what, underneath the top
dressing, it is all about. Ever since The Lord of the Rings revitalised
the genre, writers have played with it, reinvented it, subverted it and
bent it to the times. It has also contained some of the very best, most
accessible writing for children, by writers who seldom get the
acknowledgement they deserve.

Rowling says that she didn't realise that the first Potter book was
fantasy until after it was published. I'm not the world's greatest
expert, but I would have thought that the wizards, witches, trolls,
unicorns, hidden worlds, jumping chocolate frogs, owl mail, magic food,
ghosts, broomsticks and spells would have given her a clue?

“Neil Gaiman” posted:

Mostly what it makes me think of is the poem in Kingsley Amis and Robert Conquest's NEW MAPS OF HELL, which went, from memory,

"SF's no good!" they bellow till we're deaf.
"But this is good." "Well, then it's not SF."

And it's an odd double-standard that applies to all genre work as much as to SF. It's always been easier for journalists to go for the black and white simplicities of beginning with the assumption that the entire body of SF (or Fantasy, or Comics, or Horror, or whatever the area is under discussion) is and always has been fundamentally without merit -- which means that if you like someone's work, whether it's J.G. Ballard or Bill Gibson or Peter Straub or Alan Moore or Susanna Clarke or J.K. Rowling -- or Terry Pratchett -- it's easier simply to depict them as not being part of that subset.

The nice thing is that all the arguments are cyclical because genre snobs will never stop gate keeping, but the internet means you can read both authors discussing their views on usenet and blogs.

Turpitude
Oct 13, 2004

Love love love

be an organ donor
Soiled Meat
I love Le Guin discusso, I just finished "Worlds of Exile and Illusion" a collection of her three Hainish Cycle novels. Can't recommend them enough, they are so beautifully written, entertaining, mentally engaging and thought provoking. And for three novels where SO MUCH happens, it clocks in at only 370 pages.

teagone
Jun 10, 2003

That was pretty intense, huh?

teagone posted:

I'm almost certain Robot Style had brought up that the shockwaves persistent in BvS through to being a plot component in ZSJL was a thing before ZSJL was released.

Did some sleuthing in the old thread. Robot Style made this post in 2019:

Robot Style posted:



This was the original opening to the film, similar to BvS starting with the end of MoS, and MoS starting with the end of Krypton.

In BvS, there's a shockwave/signal that emanates from Supeman and Doomsday upon their death, and this scene would have followed the shockwave as it travelled across the bay and activated the motherbox in Silas Stone's apartment. It might have gone around the world to awaken the Atlantis/Amazon boxes too, but we only had the gotham portion of the scene so I can't say for sure.

Only Kindness
Oct 12, 2016

The Grauniad posted:

Q: Nicholas Lezard has written 'Rowling can type, but Le Guin can write.' What do you make of this comment in the light of the phenomenal success of the Potter books? I'd like to hear your opinion of JK Rowling's writing style

Yep, typical Guardian, some real-rear end neoliberal more-money-means-better-than question-begging right there. Le Guin, bless her, doesn't rise to the bait though.

wyoming
Jun 7, 2010

Like a television
tuned to a dead channel.
There is this bit from Le Guin's "Genre: A Word Only a Frenchman Could Love"

quote:

A writer sets out to write science fiction but isn’t familiar with the genre, hasn’t read what’s been written. This is a fairly common situation, because science fiction is known to sell well but, as a subliterary genre, is not supposed to be worth study—what’s to learn? It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

In the same way, critics who set out to talk about a fantasy novel without having read any fantasy since they were eight, and in ignorance of the history and extensive theory of fantasy literature, will make fools of themselves because they don’t know how to read the book. They have no contextual information to tell them what its tradition is, where it’s coming from, what it’s trying to do, what it does. This was liberally proved when the first Harry Potter book came out and a lot of literary reviewers ran around shrieking about the incredible originality of the book. This originality was an artifact of the reviewers’ blank ignorance of its genres (children’s fantasy and the British boarding-school story), plus the fact that they hadn’t read a fantasy since they were eight. It was pitiful. It was like watching some TV gourmet chef eat a piece of buttered toast and squeal, “But this is delicious! Unheard of! Where has it been all my life?”

Sir Kodiak
May 14, 2007


There it is. Good find.

Bongo Bill
Jan 17, 2012

Buttered toast is much better than Harry Potter, however.

Ghost Leviathan
Mar 2, 2017

Exploration is ill-advised.
That's the one I was thinking of, yeah. It's like a goon who can't stop bitching about how awful, exploitative and formulaic anime is and then one day they run in gushing about Sword Art Online.

well why not
Feb 10, 2009




like how DBZ doesn’t count, or how Pokémon doesn’t count, or how Digimon doesn’t count, or how

Jimbot
Jul 22, 2008

Zack Snyder's Ursula K Le Guin's A Wizard of Earthsea.

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checkplease
Aug 17, 2006



Smellrose
Just read this part from Birthright writer Mark Waid on his review of man of steel.

The rest of his review complains about Superman not saving enough people and Superman snapping necks, but this was a good read of pa Kent.

“And I think you’d be surprised to find that I loved everything about Jonathan Kent. I loved his protectiveness, even when it made him sound like an rear end in a top hat. (“Maybe.”) And I loved, loved, loved that scene where Clark *didn’t* save him, because Goyer did something magical–he took two moments that, individually, I would have hated and he welded them together into something amazing. Out of context, I would have hated that Clark said “You’re not my real dad,” or whatever he says right before the tornado. And out of context, I would have *loathed* that Clark stood by frozen with helplessness as the tornado killed Jonathan. But the reason that beat worked is *because* Clark had just said “You’re not my dad,” the last real words he said to Pa. Tearful Clark choosing to go against his every instinct in that last second because he had to show his father he trusted him after all, because he had to show Pa that Pa could trust *him* and that Clark *had* learned, Clark *did* love him–that worked for me, hugely. It was a very brave story choice, but it worked. It worked largely on the shoulders of Cavill, who sold it. It worked as a tragic rite of passage. I kinda wish I’d written that scene.”

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