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“Not in one dream, but in many”

“Not in one dream, but in many” "NOT IN ONE DREAM, BUT IN MANY": DISCIPLINE, DIALOGUE, AND THE CINEMA OF RICHARD LINKLATER David T. Johnson I want to stress here the desirability for the critic--whose aim should always be to see the work, as wholly as possible, as it is--to be able to draw on the discoveries and particular perceptions of each theory, each position, without committing himself exclusively to any one. . . . to "live historically" need not entail commitment to a system or a cause; it can involve, rather, being alive to the opposing pulls, the tensions, of one's world. --Robin Wood, "Ideology/Genre/Auteur" studies are more open than they have been in decades. Whether a sign of growth, a result of multiple new authors and audiences entering the field, or a sign of contraction, a preservation impulse designed to slow the cessation of tenure lines and whole departments, the field has become unusually accepting of multiple, even incompatible voices. Reflecting on the state of things in her foreword to Cinema and Experience, Miriam Bratu Hansen notes that "there no longer seems to be any ruling paradigm, but rather a plurality--and healthy eclecticism--of theories and methodologies, ranging from phenomenological to Deleuzian, Wittgensteinian, Cavellian, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

“Not in one dream, but in many”

Johnson, David T.
Film Quarterly , Volume 68 (3) – Apr 1, 2015
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Publisher
University of California Press
Copyright
© 2015 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, http://www.ucpressjournals.com/reprintinfo.asp .
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/fq.2015.68.3.37
Publisher site
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Abstract

"NOT IN ONE DREAM, BUT IN MANY": DISCIPLINE, DIALOGUE, AND THE CINEMA OF RICHARD LINKLATER David T. Johnson I want to stress here the desirability for the critic--whose aim should always be to see the work, as wholly as possible, as it is--to be able to draw on the discoveries and particular perceptions of each theory, each position, without committing himself exclusively to any one. . . . to "live historically" need not entail commitment to a system or a cause; it can involve, rather, being alive to the opposing pulls, the tensions, of one's world. --Robin Wood, "Ideology/Genre/Auteur" studies are more open than they have been in decades. Whether a sign of growth, a result of multiple new authors and audiences entering the field, or a sign of contraction, a preservation impulse designed to slow the cessation of tenure lines and whole departments, the field has become unusually accepting of multiple, even incompatible voices. Reflecting on the state of things in her foreword to Cinema and Experience, Miriam Bratu Hansen notes that "there no longer seems to be any ruling paradigm, but rather a plurality--and healthy eclecticism--of theories and methodologies, ranging from phenomenological to Deleuzian, Wittgensteinian, Cavellian,

Journal

Film Quarterly – University of California Press

Published: Apr 1, 2015

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