I have other topics in mind that I want to write about, but right now I'm struck by a sudden desire to recapitulate and summarise what I studied last year. Maybe it is the desire to seize something tangible before my memory of it fades. So here goes.
The main lesson I derived from the research I did for my dissertation is that any claim that film critics have as arbiters of a non-pluralistic (in both the moral and universal senses of it) notion of good taste is undermined by the idea that taste is a means of social distinction; a means of thinking of oneself as superior or different based on vague but compelling categories of identity with which one identifies.
This implies that taste is neither objective nor entirely subjective. While critics often try seductively to suggest the former, aesthetic 'laymen' tend to stress the latter. Rather, according to my research, taste should perhaps be described as 'intersubjective'. But, more precisely, it is constituted by hyperreal categories (such as socio-economic class) that often appear to us as objective categories.
In other words, from the perspective of theories of language, taste is an entirely practical concept in human language that has perhaps received far too much theoretical attention. It is very much rooted in our social structures and psychology and does not properly belong in the domain of the aesthetic.
I understand that aestheticians may want to think of (good) taste as the practical implication of what is good or beautiful in aesthetics. But I think that's just not the case in contemporary reality. Taste has much less to do with aesthetics than with social categories.
And as articulations of the social structures that give rise to this social phenomenon, the pieces of film criticism I examined do not even use the language of aesthetics, contradictory or hypocritical as it might often be. Tellingly, the critics do not seem to care to exhibit a grasp of aesthetics before presenting themselves as an authority on film tastes.
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