In his Critique of Judgment, Kant prolifically and Germanically grapples with the experience of a human consciousness encountering and evaluating aesthetics (beauty, the good, the sublime). His work is concerned with the notion that human beings form "subjective universal" judgments -- opinions that seem purely subjective yet are made in the hopes that everyone will agree with them. He thought there was something sufficiently interesting about this seeming paradox that he spilled over 76,000 words on the topic.
In my own personal interplay between emotional and intellectual responses to art, I would describe myself as 60% intellectual and 40% emotional. A work has to engage my brain as well as my eye, but my brain's opinion wins out. Hence, I "like" a fair amount of ugly, atonal, emotionally-lacking, structural stuff because I can appreciate the idea behind it. However, if a work is mostly "idea" (like a lot of avant-garde or experimental cinema, music, and painting) I don't like it if it also lacks the emotional impact and connection.
Take, for example, Michael Snow's 1966 avant-garde "masterpiece," Wavelength, which mostly consists of a 45-minute long slow zoom from one side of an apartment to the other. On the intellectual level, I can appreciate how the film plays with the audience's expectations of narrative and foregrounds the control of the camera's fixed position, blah, blah, blah. But the emotional side of me says: "I want that forty-five minutes of my life back, you pretentious art-house wanker!"
When I sat down to determine my list of Top 25 Movies (see Top25MoviesIntro), I needed some criteria for evaluating which movies should be on the list and how they should be ranked. My intellectual and emotional responses needed to be quantified, but I also realized that, despite my aspirations toward anti-establishmentarianism, I really do care what other people think, so I needed to also factor in whether a particular movie was critically well-received or not. Kant would refer to this as Geschmack, or the community of taste.
I settled on the following formula to determine my list. Each film gets 1-10 points in each category, and the categories themselves are weighted from more to less important.
1. Objectively Good: In my considered and degreed opinion, is this a "good" movie -- well made, well-acted, well-written, intellectually challenging and stimulating.
2. Important: In the annals of filmdom, how groundbreaking is this film? Was it critically acclaimed and inspirational? Does it define its genre?
3. Enjoyable: This is the more subjective ranking. Do I actually like watching this movie over and over again? Or is the experience more like working out: I know it's good for me so I just need to power through it?
First, I note that my personal enjoyment is considered less important than the other two categories. Maybe this says something about how screwed up my brain is and that I really don't "like myself." Whatever. Second, I applied these rankings to a list of 50 or so movies, and I was surprised that a number of ones that I really liked fell off the Top 25 list. I agree with the overall results, but am disappointed that I don't get to write about some of them. Maybe I'll add an "honorable mentions" category of the end of all this.
So, here are films 25-21 according to my convoluted system.