The main theme of Snyder's "Batman v Superman" on spiritual dematerialism is not eschatological...

The main theme of Snyder's "Batman v Superman" on spiritual dematerialism is not eschatological, but a phenomenological ontology. Thus he implies that we have to choose between predialectic construction and deconstructivist neodialectic theory, essentially Heideggerian as seen in the concept of Dasein. The subject is interpolated then into a cinematic dematerialism that includes spirituality as a whole. But if the Kierkegaardian worldview holds, we have to choose between the cultural paradigm of expression and atomism. In Snyder's own "Man of Steel" he has a character says that "the world's too big”. Inherent in this is how the function of Lebenswelt (cinematically translated by Snyder as "world of life") operates in all his films, chiefly in "Sucker Punch" and "300". We see a phenomenological approach to the world showing a cinematic logic that presupposes a strucutral constraint in rootedness, another intentionality central to his filmography and philosophy. Because "metaphysical comfort" is not an object of temporality per se, but rather an aspect of automatic condition, as suggested by Cavell. Hermeneutic interpretations are also apparent in his post-"Watchmen" movies; in fact the interchangeable subjectivities are but another representation of Husserl's and Wittgenstein's "form of life". As his academic hero Heidegger succintly noted, "freedom is the ‘abyss’ of Dasein, its groundless or absent ground". This is essentially the thesis operating in Snyder's films.

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nationalreview.com/article/433246/batman-v-superman-culture-war-gets-mythic
youtube.com/watch?v=bcF48z6TVf4
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“Art is intrinsically meaningless,” says Ben Affleck. The primary theme of BvS' analysis of Sontagist camp is a mythopoetical totality. The characteristic theme of the works of Snyder is the common ground between society and language. But the premise of dialectic superheroism holds that the establishment is capable of social comment. The subject is interpolated into a social realism that includes narrativity as a whole.

“Society is unattainable,” says Kal-El. It could be said that Luthor uses the term ‘neomaterial desituationism’ to denote not sublimation, but presublimation. If social realism holds, the works of Snyder are an example
of purposeful superhero movies, also known as "capekino."

In a sense, Marveldrones promote the use of postdeconstructive objectivism to attack capekino. The subject is contextualised into a neomaterial desituationism that includes reality as a reality.

But dialectic superheroism suggests that culture serves to entrench outmoded, elitist perceptions of capeshit. Terrio uses the term ‘neomaterial desituationism’ to denote a self-supporting totality.

Did you just do a doodly?

>DCucks still shitter shattered

kek
looks like /tv/ is leaking again
I like it

nationalreview.com/article/433246/batman-v-superman-culture-war-gets-mythic

youtube.com/watch?v=bcF48z6TVf4

Holy fuck.

Simply put, you have a low cinematic IQ, or some sort of Stockholm Syndrome, from overexposure to bland, safe, PC and soulless mass-produced blockbusters, which has conditioned you into accepting the absolute lowest common denominator standards in filmmaking, writing and cinematography as somehow acceptable, when you should in fact feel nothing but contempt or disgust for any Kevin Feige-conceived product.

Even strictly in the field of capeshit entertainment, where the bar has always been pretty low, since they're primarly a children media, the level of genuine quality and creative abilities (which comes from studios giving freedom to an auteur with a strong personality and vision towards the material) has kept dropping since the 90's.

When Raimi's Darkman/Spider-Man, Del Toro's Blade 2/Hellboy, Burton's Batman 2 or Bird's The Incredibles offered innovative and playful set pieces, meaningful and relevant themes, each with a very distinct, appropriate tone and truly cinematic aesthetics (simply compare the lighting or editing to today's equivalents), none of these qualities are to be found in Avengers or any of the previous MCU entries. This is why Edgar Wright got fired from Ant-Man. This is why Feige keeps hiring visionless point-and-shoot directors who come from TV or comedy, colorblind cinematographers and art/set design teams who seem to be in love with grey, sterile hangars for some unexplainable reason. Action scenes are now being conceived by CGI teams months before the movie begins shooting and all follow the exact same formula.

Even as a child, I couldn't imagine being dazzled or amused by those turds, as they're utterly devoid of any charm, colors, magic or imagination.

The opening scene of The Dark Knight Returns, sometimes known as "Bane on Plane," is generally considered to be a variant of surrealism or Dadaism, usually with existential or postmodern undertones related to collapse of meaning and the visceral absurdity of confusion in a symbolic order. On this reading, the scene is designed to evoke a kind of uncanny valley effect in the viewer by presenting him with what is ostensibly an incredibly conventional narrative and semiotic holism - an American action caper, constructed so prototypically from cliches and familiar devices that even the exciting "reveal" of Bane's identity has its anagnorisis and payoff botched well before its presentation as dramatic climax - but subtly and systemically undermining the possibility of semiotic stability throughout the scene, and thereby sabotaging the possibility of the viewer's fusion with the film's semiotic horizon. The experience of watching Bane on Plane is one of profound unease and even dissociation, as the viewer continually tries to assemble coherent meanings, motives, and purposes from a train of malformed tropes, allegories, and metaphors; narratological intuition continually fails to discover any implicit humanity in the behaviour of the actors. The mind reflexively brackets the scene as likely to admit of little variation in its seemingly familiar, even monolithic tropes, but is continually surprised to find that near every trope is "misbehaving." Where at first a single puzzle piece does not "fit" with its puzzle, it is quickly realised that none of the pieces fit; and that this, perhaps, is not a puzzle at all. When asked whether the work of Foucault and Deleuze on the epistemic experience of schizophrenia influenced his choices in his role as Bane, Tom Hardy declined to comment, but referenced Foucault on the discursive constitution of the author-function.

yes op, we know -- amphetamines make sophistry and word-dazzlin feel like so much fun!

drink lots of water and also some milk.