I'm not sure how the opposing football fans analogy works. If
opposing fans agree that watching a game is an enjoyable way
to pass the time and an author writes about it from their
perspectives, but the author loathes football, how can you
say the social assumption is the author's?
The same must apply to writing a Deadwood script. Social
assumptions are a result of very deliberate craft. If they
weren't, I imagine it'd be hard maintaining any kind of
continuity with so many scriptwriters on board.
Al
----- Original Message -----
From: Kerry J. Schooley
To:
rara-avis-l@yahoogroups.com
Sent: Tuesday, September 05, 2006 3:42 PM
Subject: Re: RARA-AVIS: Hardboiled and
Marxism
At 01:52 PM 04/09/2006 +0100, you wrote:
>Rob, surely every screenwriter on The Wire or
Deadwood can't have the same
>'social assumptions.'?
Haven't seen the series, yet, but from what I've
heard I gather that the
writers generally agreed, quite consciously, that
there was a lot of
swearing going on in the old west, and that it is
worthwhile to bring this
to the attention of arm-chair television
historians.
> What about co-authored novels -- James Patterson's
'social assumptions'
> or the guy who writes the novel from Patterson's
spec? What about books
> written under house names -- can you tell the
various authors apart by
> their different 'social assumptions'? What about
Eric Knight, who wrote
> LASSIE, and, under the name Richard Hallas, also
wrote YOU PLAY THE BLACK
> AND THE RED COMES UP -- same 'social assumptions'?
What about multiple
> viewpoint narratives, where the 'social
assumptions' differ from
> character to character -- how do you know which
'social assumption' (if
> any) is the author's?
In order to debate any issue, at least two
parties must agree the subject
is worthy of discussion. I think that would be a
common social assumption.
Supporters of opposing teams watch a football
game on telly. Do they not
share the common social assumption that this is
an enjoyable way to pass
the time?
Best,
Kerry
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http://www.murderoutthere.com
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