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Joshua Foa Dienstag

worst of these figures, but because he is the best of them and puts forth the most powerful and subtle case for his position, in addition to all the other ways in which his philosophy improves us. Still, I contest his position both on specific and general points. I contest, first, his interpretation of The Philadelphia Story , a film that he has said exemplifies the

in Cinema, democracy and perfectionism
A reply from Saturday Night to Mr. Dienstag
Tracy B. Strong

it. The “remarriage comedies” to which Mr. Cavell draws our attention, and the intention of which you wish to contest, are thus presentations of the achievement of a “meet and happy” marriage. They show us perfected marriage, not in the sense of the best of the best, but in the sense of having become more of a true marriage. There is no Platonic agathon here

in Cinema, democracy and perfectionism
Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

, is excessively theatrical. It could account for The Philadelphia Story as the play almost as much as the film that it became. That the theatrical spectacle could be a site of moral improvement is of course a highly Enlightened and long-disputed position. If a previous letter writer challenged that view purely with regard to the stage, then it falls to me to contest it with

in Cinema, democracy and perfectionism