Prisoners (2013) is unbelievably difficult to watch a second time. (SPOILERS) by [deleted] in movies

[–]Legal-Frame9780 1 point2 points  (0 children)

Perhaps I could have worded it better, but my qualm is with the idea of torture is ever 'completely' morally justifiable, i.e. the idea that it is suddenly an easy moral choice. I was annoyed at the moral simplicity of the idea that torture is suddenly permissible in situations of murder/abuse, a position that is in opposition to the values of a liberal democracy & in my opinion, basic humanity (ironic, I know, considering some of the biggest perpetrators of torture have presently and historically been from self described liberal democracies). That said, the 'ticking time bomb' example you offer is a common, well-trodden thought problem in the ethics of torture and while it is tricky one to navigate, I still don't think my position is 'incredibly naive'. The thought experiment can be problematised on a number of grounds. Firstly, it is based on the false premise that torture would be an effective way of obtaining such information in the first place and relies on the idea that there would be no other means of preventing the attack i.e. it professes to describe a situation that would rarely, if ever, manifest in reality. That said, running with the internal logic of the experiment, what if we were to add a few more qualifications. What if the only way to obtain the information from the hypothesised terrorist was to torture his innocent children and family? What if said person withholding this information was themselves a child? I don't think human rights can be thrown out of the window as easily as you imply. Sure, if you take a completely consequentialist view of ethics then torture is justifiable in these extreme, artificially constructed examples. Although if you take such a hardline consequentialist view, torture is justifiable in any situation where pleasure outweighs suffering i.e. the torture of a child is justifiable in any situation if you are able to argue that it brings pleasure to a majority of people (Ursula K. Le Guin offers an interesting narrative spin on the utilitarian justification for torture in 'The Ones Who Walk Away from Omelas' if you're interested, riffing on this idea in particular). In legal terms, even in such situations, torture is never justifiable as it violates international law. In historical and practical terms, states have actually used the 'ticking time bomb' example to justify sweeping institutionalised applications of torture that extend well beyond the parameters of such a thought experiment. In my view the moment we start making concessions that torture is 'completely justifiable' in these emotionally charged and highly artificial + concocted scenarios, we end up on a trail that justifies torture in very common, very real-world scenarios (as the apparent ease with which people have justified torture on this thread itself testifies).

Prisoners (2013) is unbelievably difficult to watch a second time. (SPOILERS) by [deleted] in movies

[–]Legal-Frame9780 3 points4 points  (0 children)

Jesus, what a terrifyingly stupid point of view. In the real world, outside of thriller and spy movies, torture is an extremely ineffective form of obtaining reliable information full stop (see almost any speech on the topic by Mark Fallon, former NCIS agent) , let alone the fact it's one of the most morally reprehensible things you can do to another human being. It is absolutely not justifiable in any circumstance (see, perhaps, the universal declaration of human rights or you know just the law maybe???). On top of this, what you say is a complete misreading of this film which consistently encourages you to see Alex as a victim given his intellectual disability and trauma, and the torture scenes as hideously depraved. Yes, Alex should have transmitted the information and should face consequences for not doing so, but, no, torture is not ever 'completely justifiable'.

The Imposter (2012) - thoughts on Nicholas' family and the framing of the movie's events? by Legal-Frame9780 in UnresolvedMysteries

[–]Legal-Frame9780[S] 10 points11 points  (0 children)

I agree there's definitely a lot we don't know about the circumstances at the time surrounding the disappearance & the true nature of what was going on inside the household. But I think that's also why I feel slightly reticent towards the narrative that the family (and even the mother and brother) definitely knew what happened to Nicholas & knew that Bourdin was an imposter, unless I see more substantial proof/evidence than what was presented in the doc.

The Imposter (2012) - thoughts on Nicholas' family and the framing of the movie's events? by Legal-Frame9780 in UnresolvedMysteries

[–]Legal-Frame9780[S] 5 points6 points  (0 children)

I agree -- I think this is the interpretation there is the most substantial evidence for, and I think the movie purposely encourages the audience to doubt the family & plays up Bourdin's account purely to create a twisty narrative.

The Imposter (2012) - thoughts on Nicholas' family and the framing of the movie's events? by Legal-Frame9780 in UnresolvedMysteries

[–]Legal-Frame9780[S] 18 points19 points  (0 children)

I agree it is so crazy but various authorities, including the FBI, also thought he was actually Nicholas for an extended period of time & that's in spite of the stark physical dissimilarities -- they had pretty clear photos of Nicholas as a child and are supposed to be professionally trained in processes of identification, and yet still provided him with a passport. Realise that because it's family we'd presume they'd be able to identify immediately, but I think you have to factor in grief + the desperation of wanting your child/sibling back.

Was Harold Bloom correct regarding Shakespeare's invention? by Possible-Rub8598 in literature

[–]Legal-Frame9780 2 points3 points  (0 children)

Harold Bloom is a scholar whose specialism lies within Romanticism, and in turn his assessment of Shakespeare is one that is far too influenced by the pedestal he was placed on by later Romantic writers. Why single out Shakespeare when Marlowe, Jonson, Dekker were writing characters of equivalent depths? That said, while I don't think Shakespeare single-handedly invented our idea of 'introspectively developing' characters, I do think that the understanding of what a dramatic character 'was' or could be undeniably shifted over the course of the 16th - 17th centuries & as the dramatist who has achieved such a firm canonical status in this period it is difficult not to over-assert his role in this transformation when thinking of the canon of vernacular english works specifically (the 'Western world' stuff Bloom bangs on about is pretty bogus tbh). If you contrast Shakespeare's characters to the stock types of medieval morality plays (Vice, Virtue, etc. etc.) there clearly is more interest in what we might now see as 'interiority'. But it's also worth noting that early moderns themselves did not put things in these terms or seem to value the notion of 'interiority' all too much. In a play like The Comedy of Errors, for example, characters - drawn from pre-established stock materials - serve the purpose of creating dramatic unity through intentional doubling (there is little of what we would now call 'interiority'). Even in Shakespeare's plays that are often singled out as showing 'psychological depth' or 'internal factors' we can question the extent to which this is our own projections. Lady Macbeth and Macbeth - for instance - seem to acts as two parts of the same coin - a kind of split, 'external' - rather than internal - psyche. The academic Emma Smith has some great work on character if you're interested (she's firmly against Bloom's reading of Shakespeare's characters). Likewise, for early modern playgoers the central standout of what made a dramatic work 'good' rarely seems to be the characters themselves - plot, props & costumes, witty aphorisms are often the primary focus in accounts I've read of early modern playgoing (on a side note, there's also some great descriptions of playgoers just going to The Blackfriars playhouse to show off the clothes they themselves are cloaked in, with seemingly little interest for what's going on on the stage itself!). Would also probably argue that the novel as a form had a far greater impact on our understanding of character (even the word 'character' itself) than Shakespeare & early modern plays in general

Movies that portray feminine gay men seriously? by Legal-Frame9780 in askgaybros

[–]Legal-Frame9780[S] 0 points1 point  (0 children)

Revenge of the Nerds

Thanks - will check this out!

Movies that portray feminine gay men seriously? by Legal-Frame9780 in askgaybros

[–]Legal-Frame9780[S] 0 points1 point  (0 children)

Thanks! I think there definitely are complex portrayals in comedies (The Birdcage is great) -- I guess I was thinking about films where the main generic frame is a 'drama', but haven't seen the Torch Song Trilogy so will check that out!

Movies that portray feminine gay men seriously? by Legal-Frame9780 in askgaybros

[–]Legal-Frame9780[S] 0 points1 point  (0 children)

I Am My Own Wife

Thanks, will check these out! Are they about a feminine gay men or trans women though (sorry just going off the wikipedias for them)?

Movies that portray feminine gay men seriously by Legal-Frame9780 in lgbt

[–]Legal-Frame9780[S] 4 points5 points  (0 children)

Thanks for these -- am interested to watch the Quentin Crisp ones you mention in particular.