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^Q^ [작성일 : 2006-07-18 10:27:08 ] 
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캐러비안의 해적(Dead Man’s Chest).
뉴욕 타임즈 Monday, July 17, 2006
Scot 의 글. 그중 몇줄을 발췌해본다.


Pirates of the Caribbean: Dead Man’s Chest.

Critics and the Masses Disagree About Film Choices


개봉한지 첫주 $136 Million 수익을 올렸다. 영화평론가들 협(Metacritic.com)은 100점 만점 규준 54 점을 주었으니 확실 한 낙제 F를 맞았단다. 그럼에도 돈은 돈..흥행은 흥행. 낙제건 아니건.. 오늘날 대중의 인기를 갖는 영화가 혹평을 받는 저변에 관객 수는 늘어간다. 서로 것돌고 있는건 영화계나 화랑계나 마찬가지인 모양이다. 작품의 질. 평론가들의 관점과관객의 기호, 시장바닥의 함수관계는 전혀 별개임은 미국이나 한국이나 별차이가 없는것같다...그러니 평론가들의 고민도 따를 수 밖에..





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...What is wrong with you people? I will, for now, suppress the impulse to turn the question on the moviegoing public, which persists in paying good money to see bad movies that I see free. I don’t for a minute believe that financial success contradicts negative critical judgment; $500 million from now, “Dead Man’s Chest” will still be, in my estimation, occasionally amusing, frequently tedious and entirely too long. But the discrepancy between what critics think and how the public behaves is of perennial interest because it throws into relief some basic questions about taste, economics and the nature of popular entertainment, as well as the more vexing issue of what, exactly, critics are for.

The current schism is in some ways nothing new: go back and read reviews in The New York Times of “Top Gun,” “Crocodile Dundee” and “The Karate Kid Part II” to see how some of my predecessors dealt with three of the top-earning movies 20 years ago. (The Australian with the big knife was treated more kindly than the flyboy or the high-kicker, by the way.) And the divide between critic and public may also be temporary. Last year, during the Great Box-Office Slump of 2005, we all seemed happy to shrug together at the mediocrity of the big studio offerings.

No more. Whatever the slump might have portended for the movie industry, it appears to be over for the moment, and the critics have resumed their customary role of scapegoat. The modern blockbuster — the movie that millions of people line up to see more or less simultaneously, on the first convenient showing on the opening weekend — can be seen as the fulfillment of the democratic ideal the movies were born to fulfill. To stand outside that happy communal experience and, worse, to regard it with skepticism or with scorn, is to be a crank, a malcontent, a snob.

So we’re damned if we don’t. And sometimes, also, if we do. When our breathless praise garlands advertisements for movies the public greets with a shrug, we look like suckers or shills. But these accusations would stick only if the job of the critic were to reflect, predict or influence the public taste.

That, however, is the job of the Hollywood studios, in particular of their marketing and publicity departments, and it is the professional duty of critics to be out of touch with — to be independent of — their concerns. These companies spend tens of millions of dollars to persuade you that the opening of a movie is a public event, a cultural experience you will want to be part of. The campaign of persuasion starts weeks or months — or, in the case of multisequel cash cows, years — before the tickets go on sale, with the goal of making their purchase a foregone conclusion by the time the first reviews appear. Sometimes it works and sometimes it doesn’t, but the judgment of critics almost never makes the difference between failure and success, at least for mass-release, big-budget movies like “Dead Man’s Chest” or “The Da Vinci Code.”

So why review them? Why not let the market do its work, let the audience have its fun and occupy ourselves with the arcana — the art — we critics ostensibly prefer? The obvious answer is that art, or at least the kind of pleasure, wonder and surprise we associate with art, often pops out of commerce, and we want to be around to celebrate when it does and to complain when it doesn’t. But the deeper answer is that our love of movies is sometimes expressed as a mistrust of the people who make and sell them, and even of the people who see them. We take entertainment very seriously, which is to say that we don’t go to the movies for fun. Or for money. We do it for you.

Next Article in Movies (1 of 38) »

06.07.18 삭제
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http://www.metacritic.com/

06.07.18 삭제
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깊이(새로운 사상적, 철학적, 도덕적가치)가 없는데... 그래도 대중들이 모여들었다면...ㅎㅎ.. 뛰어난 상술 선전 홍보 Commercialism을 극대화 시킨결과이거나 ....아니면.. Archetypeical.스토리를 Taste가 있던 없던 그냥 그 특유의 자질(패러다임)을 동한 제작진의 찬양할만한 천재성(?)에 있던가... 깊이가 있던 없던 표피적이기던 아니던..쌈빡한 맛을 보여 줬으면 되겠지요?.... NYT에서 떠들거나 아니거나 지구의 이쪽 저쪽 관객들이 좋다고 줄을 섰다면 나는 A +을 줄것입니다...

ㅋㅋ... 어제본 영화 곰 플레이어에서 "성 메리의 종"...... 내가 어렸을때. 잠을 못 이루게 만든 여인. 잉그릿드 버그만 빙그로스비와 함께 ....이런 영화는 왜 안만들어지누?..

잉그릿드 버그만의 눈빛이 너무선하구 아름답고..오드리햅번도 저리 가라!..

버그만수녀의 단초로운 흑백 코스츔.. 빙그로스비의 눈빛.. <아! 나 죽어! 죽어도 되>.... 이렇게 순수한 사람들을 보았으면... 옆에 있으면... 또 무엇이 필요하리..
[ IP: 221.162.72.91 ]


[ IP: 221.162.72.91 ]

06.07.18 삭제
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옛것 과 지금의 것 무엇이 달라? 다른게 무었?

06.07.18 삭제
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http://www.nytimes.com/2006/07/16/fashion/16movie.html

06.07.19 삭제
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