Introduction
First Section
Key
| Goodness | Narrative | Lasciviousness |
| I – Ideal | I – Ideal | I – Ideal |
| II – Lacks Visual | II – Ordered | II – Suggestive (no nudity) |
| III – Lacks Narrative | III – Indifferent | III – Explicit (skippable) |
| IV – Lacks both | IV – Hostile | IV – Irredeemable |
( A ) Unconditionally endorsed ( B ) Conditionally endorsed ( C ) Censured (total disapproval)
First Section: General Grades
| Narrative |
| A I-IV |
| B I-IV |
| C I-IV |
The individual categories will be graded by one of three letters which correspond to a general ranking of the whole section. This section will be elaborated upon in short detail further in the corresponding paragraphs.
The three letters are as follows:
( A ) Unconditionally endorsed
( B ) Conditionally endorsed
( C ) Censured (total disapproval)
Each specific category of which the general grade is attributed to will have a specific meaning accordingly, however distinct from the supplement article attached to the respective general grade. Thus every numerical supplement attached to the categorical general grade according to its category will in fact have a specified signification and a particular one unique to its section. For example: the letter A in regards to the narrative part shall mean unconditionally endorsed in its own context. In other words, it means that it is unconditionally endorsed in regards to the narrative part of the film. In this way the general grades; (A) (B) (C) have a static value, although yet hold a relative meaning.
Articles
| Goodness | Narrative | Lasciviousness |
| A I-IV | A I-IV | A I-IV |
| B I-IV | B I-IV | B I-IV |
| C I-IV | C I-IV | C I-IV |
This section will treat of the numerical articles attached to the general grade in a category.
Each grade will have an addendum with additional information based on the particular category which is also ordered according to respective degrees.
Articles will necessarily be attached to letter grades of categories and be signified by roman numerals I-IV. Thus, the articles illustrated will appear as such:
Each roman number will be further discussed in respect to its meaning when attached to a category. For example: articles I, II, III, IV will be individually defined in context as they are more specific than general grades. Therefore, articles are an addendum to the general grade (A), (B), (C) which have designated value according to the category. In this way, the articles can be said to be the specification of the general grade.
Summary: There will be particular information which corresponds to the additional article which gives a better understanding of the general alphabetical grade given to the category. By including an addition of numerical articles, there is a direct confirmation of certain values either having or lacking.
First Category
Goodness
For the sake of brevity and efficiency I will condense the meaning of such a truly intricate subject. Here we treat the primary aspect in the criticism of a film. It is like the amalgamation of the various distinct understandings of an ideal film, in its many derivatives.
My primary end in this novel categorization is to encapsulate and treat the lofty aspects which are wont in some way when admitting perspectives and inevitably ignoring others. If one might want to do this, they can see this category as the superordinate and most self evident qualification or statement being said about the film in question. Below, there will be the explicit resources of which I will use as general principles in my critique.
This categorical assessment will use of the following principles:
1) The ideal film under the three aspects1:
1) in relation to the subject, i.e., the spectator to whom it is directed;
2) in relation to the object, i.e., the content of the film;
3) in relation to the community
| WhatPlotCharacter (2nd most imp)Thought | MeansLanguage (Diction)Melody (simply pleasurable) | ModeSpectacle (costume, special effects, scenery–the least imp) |
2) The foundation of narrative theory; mode of imitation s, or mimesis. As such, goodness will also be concerned with Aristotle’s 6 elements for Tragedy as what he has to say about the form is the paradigm for all forms of narrative.2
According to Aristotle3, tragedy has 6 elements or parts that fall under 3 categories:
3) The general guidelines elucidated which will be considered in regards to the current discipline of film theory4, save for those aspects to be rejected from first principles.
Though these aspects will be used as resources and general principles in regards to the category, there will nevertheless be a latitude on the authors part in regards to the application. Most, if not all of the critique will be based on a derivative which can be traced back to proper sources but shall appear not entirely without personal judgment. This brings the reader to a most pivotal point regarding the category of Goodness.
4) A careful examination of certain components in film collectively judged in regards to the other categories defined by the author. In other words, the general grading in the context of the other categories. Namely Narrative and to a lesser extent, Lasciviousness. These aspects, though they are judged independently from goodness, are overall additionally considered in the grading of Goodness itself. That being said, it should be sufficiently clear that Goodness is the least precise and most abstract category, however, the most important in regards to the whole piece of art.
Articles within Goodness
Article (I) – Ideal
Article (II) – Has narrative but lacks visually
Article (III) – Has visuals but lacks narrative
Article (IV) – Lacking in all
Explanation for Article (I)
Ideal
This article directly addresses the confirmation of two distinct qualities. The quality of the narrative sufficient to be called good overall and the quality of the aesthetic elements of which it is sufficient to be called good overall. Though both these aspects are distinct from one another, they are usually in accompaniment as it’s seldom that a good director will shoot a badly written screenplay and vice versa. I will provide a short discussion of the seemingly vague meaning in regards to goodness. The reason I state this is because certain criteria might be seemingly apparent and objective, regarding the ideal film defined here as such containing both good qualities in narrative and visuals, and these can sometimes be difficult in assessment. Particular reasons why this might be would be due to certain subjective elements in the assessment of aesthetic elements and any bias in regards to narrative. And of course I will try to not stray from an overall absolute ideal person in regards to the perception of the viewer but, of course, my personal bias will undoubtedly shine through at times.
Specific details about the sufficiency of goodness would be outlined in the particular film review, upon which I will detail my reasons for labeling the film as such.5
Summary:
Inclusive aspects – The narrative indirectly and the means and mode indirectly. Thus, the plot, characters, acting, language, music, and cinematography will be generally considered.
Exclusive aspects – none
Explanation for Article (II)
Has narrative but lacks visually
This article is 2nd in degree relative to the category and thus should be treated as such. As the heading itself describes, there is the potential of a film to have an excellent narrative but fail in mode as is described in the Poetics. This would be that which is definitely lacking in visuals but may be sufficient enough to still be properly rendered. In other words, there is a relative degree within the lacking of visuals which at a certain point would nullify any height of narrative due to its failure to perform an essential rendering of the art form. As anyone would understand from colloquial conversation, if the film fails to satisfy the visual part of film itself, then it becomes a failure, or something which in truth is something else. While I wouldn’t create an incredibly rigid and exclusive definition of film, I will nevertheless harshly scrutinize the aesthetic aspect of the film as such. I will still admit it to be defined as film. Though it may fail my requirements in aesthetics, the category of goodness will not. This being said, I don’t believe that this bare minimum should be too exclusive as to hardly pass any films, but find an adequate balance which also processes context. Whether it’s prone to be judged liberally due to a director’s established character or a personal bias on my part, I will hold each piece of film up to a general standard of aesthetic value to be properly designated.
Some film theorists and experienced directors in the field would vehemently disagree with me on this but I believe a certain level of aesthetic value must exist in the film to be considered as such worth consideration.
Summary:
Inclusive aspects – The narrative directly. Thus, the plot (It’s wholeness and magnitude), characters will be considered.
Exclusive aspects – In this article, the exclusion of both the means and mode will be explicit. Thus, the acting, language, music, and cinematography will not be considered.
Explanation of Article (III)
Has visuals but lacks narrative
The third degree in the articles which signifies a serious deficiency in the film. As would be self-evident by what has been said in regards to narrative, to malfunction in that regard but excel in the mode is borderline failure. The reason being is that the visual aspect of the film is distant from the priority and thus subordinate to it. Though I would say that to be given this ranking, one could say it necessitates a lower general grade, though this is not so. For the sake of analysis and detail, I will admit the possibility of a film being unconditionally endorsed in respect to goodness while failing in the category of narrative, however, this is a novelty and highly unlikely to occur. In most circumstances this article could be designated to films which have an incredible amount of resource allotment to the visual aspects, thus possibly generating some distinct and independent aesthetic value apart from the whole.
Summary:
Inclusive aspects – In this article aspects from the means will be included under visuals for the sake of categorization.
Exclusive aspects – The narrative directly
Explanation of Article (IV)
Lacking in all
The fourth and lowest degree in the articles for the category of goodness. It is self evident to the reader at this point that all parts of the film failing to meet sufficient value save for the category of lasciviousness amounts to nought. If the film cannot be saved in its essential components or in any way hold value from its derivatives, the film will be given this article. Furthermore, it is practically impossible that it occurs where a film could be given a letter grade higher than (C) in goodness while keeping this article as the addendum. Perhaps in the case that a very instrumental and didactic film is reviewed, could this be foreseen.
Summary:
Inclusive aspects – Inclusive aspects – The narrative indirectly and the means and mode indirectly. Thus, the plot, characters, acting, language, music, and cinematography will be generally considered.
Exclusive aspects – None
Articles within narrative
Article (I) – Ideal
Article (II) – Ordered
Article (III) – Indifferent
Article (IV) – Hostile
Second Category
Narrative
This is the secondary category which corresponds to the static general grades. It specifically deals with the narrative of the film as such and all its directly connected components. Now, while I will be using the principles discussed in regards to narratives, I also have a particular motive not mentioned prior. I will be employing a kind of tolerance in regards to certain aspects which were once questionable. The reason why is not to justify evil, but to allow a certain indifferent or natural view in the context of the whole, so that, pagan and infidel perceptions are not categorically banned and thus rendering film quintessentially dead and buried. If we take certain principles of old, such as the admittance of certain works which certainly contain indecent material due to their magnitude in literary value.6 Thus we are able to save plenty of good art from modern society otherwise thought of to be categorically prohibited. So, in other words, with the proper distinctions and weeding out of the far too corrupted, we still end up with few, but wonderful pieces of art which we can value even as Catholics and members of the human race. In regards to the general grades given, the static value as given before stands, and the conditions considered in the case of those ranking lower than (A) would be elucidated in detail per review. Now, we turn in consideration of the articles, which provide us with insight as to where the category truly lies.
Explanation for Article (I)
Ideal
For purposes of cohesion I simply designated the articles in this category plainly. With the first being highest in degree and given the name ideal, it does in fact require as such the ever difficult and rare aspects in narratives which we all wish could be had. For this article, it means those narratives so clearly fixed on the end of man as it pertains to the Catholic soul that anything short of explicit, straight direction and glorification of man’s true end will fail here. There may be some interpretations of certain principles which I could be accused of as being rigid, but my purposes is to exemplify that the true ideal film as concerns us, though while it is said to not be entirely necessary at all times, is here defined strictly to explicitly treat well of and direct the viewer to the Catholic end.
This being said, many films which others might argue would meet this, I would inevitably fail. This being so, I will still critique a wholly ideal narrative in the Catholic sense, as harshly as one that is not. In other words, the film’s narrative here will have to stand on its own, it cannot rely on its ideal ordering in regards to Catholicism. So even though it meets the criteria for the ideal film in the moral sense, in the Catholic sense, it must entirely be on equal footing with the others in regards to the art of cinema itself. In this way, there must be an excellence of narrative in regards to plot, magnitude, resolution, character development, etc. While this category doesn’t deal with the mode as such, the category of goodness will be similarly unprejudiced.
One difficult question is whether the narrative which excels in ordering towards man’s final end can be granted the article if it fails in the art of narrative independently considered. If so, truly terrible stories regarding the art would be deemed ideal solely on their basic but explicit adhesion to Catholic moral teaching. I believe the important consideration here is that we must ensure to divide the didactic or instructional with the narrative art so as not to confound and grant indulgences unjustly. A vital role here is to work for the mastery of art, not as opposed to Catholic moral teaching, but in conjunction with it. If I were to let down the exigencies of the art for the sake of patronage, it would be a disservice and disgrace to not just the art but also Catholicism.
Summary:
Inclusive aspects – Explicit direction towards man’s final end in plot, independent quality of narrative as whole, plot, characters.
Exclusive aspects – Means and mode
Explanation for Article (II)
Ordered
The second degree in the category which is defined as the narrative in view of the ideal and in proportion to the limits I shall describe. Any plot in which the tension and resolution directs one towards a perspective in conjunction with the natural law shall be given this article. Though there may be many distinctions one could make within this topic, suffice it to say that the narrative must at least adhere to the morality of a “virtuous pagan” of sorts. Anything lower than this would be designated in the following article. In this way the article can be viewed in a way, as a vehicle for films from outside the ideal perspective to be properly considered as such, pieces of worthy art. The limitations given for it to meet the requirement of order outside the moral perspective will be shortly discussed.
With regards to specific criteria outside the moral perspective, verisimilitude, the laws of probability and general consistency will be required. The narrative then to be ordered must not just confirm a moral basis which can be said to be ordered in regards to the natural law, but also following principles in narrative that conform with the basic laws of probability. Thus a narrative that is exceeding in fantasy or improbability, would like a moral significance lacking concord with the natural law, would fail to be ordered. This is not to say that fantasy as a genre would fail the prerequisites to be deemed ordered but rather that the plot itself must not overstep the bounds of narrative. In many cases where we have fantastical settings such as in the Homeric poems, the plot would need proper order in regards to what is credible in the narrative itself. It is the case that in certain contexts, the particular setting could embellish the consequence of actions as necessarily a part of the fantastical world, though this latitude is seldom granted as our humanity can only be alienated so much.
Summary:
Inclusive aspects – implicit or explicit moral conformity with the natural law in the moral perspective (such as found within the resolution), the conformity with the laws of probability, general consistency and verisimilitude.
Exclusive aspects – all other considerations
Explanation for Article (III)
Indifferent
The third degree of the category which treats the film’s narrative in its moral perspective primarily and secondarily its form. In this article a certain latitude is yet again given to the moral perspective and form. The article is defined as those narratives in their whole being generally outside, but not in contradiction to, both the ideal and ordered categories described in the above articles. In this way the article can be seen as the final degree of which the film could be saved in the category of narrative, for anything less than this, becomes an opposite force which sinks the whole. There are some careful considerations which should be made here since we grant a certain license in this article for the sake of saving valuable art otherwise shipwrecked. Particular aspects considered in this category are the relative degree of opposition to the ordered and ideal articles. This could be manifested in not a direct antagonism to, but an apathetic or ignorant perspective. Thus, we can admit in this article films from simple but erroneous philosophical perspectives which are not aimed as such to be by intent or real effect, instructional or provoking to the viewer. Films of such could be said to be somewhat contemplative, yet by their lack of acknowledgment or direct treatment of the ideal and ordered, can be tolerated or saved as lesser art still considered as such. Like other articles, particular defense or justification of its moral perspective would be made on specific grounds in a written critique.
The consideration of the narrative itself would similarly be given latitude for the sake of systematic function of the articles. Thus, treatment of the parts of the narrative so far discussed is included in the assessment here. Any lesser quality parts, which drag and weigh down, but not defy, the laws of probability, general consistency and verisimilitude are considered indifferent. The level of discord is proportionate and will have to be proven as not antagonistic. Though the proper discussion in context of the whole object belongs properly to the category of goodness, there is nevertheless some treatment of it in this article.
Summary:
Inclusive aspects – implicit or explicit conformity with the natural law and the ideal in regards to the moral perspective (such as found within the resolution), the level of conformity with the laws of probability, general consistency and verisimilitude.
Exclusive aspects – Explicit antagonism to parts mentioned above.
Explanation for Article (IV)
Antagonistic
The fourth degree of the category which treats the film’s narrative in its moral perspective primarily and secondarily its form. In this article no latitude is given as such and therefore would be an absolute failure in regards its category and thus a seeming impossibility of the article being attached to a passing general grade. Technically it could be however that it is the case where an antagonistic article is given for the consideration of the moral perspective but not the form. Because the form is secondary the moral perspective takes precedence and thus there cannot be a film that is antagonistic in moral perspective yet graded exclusively by its form. In this article one should expect components in the moral perspective that are blatantly and explicitly heinous insofar as films are concerned. Topics such as the explicit treatment of religion, the direct instruction to commit evil and the simple and positive glorification of evil acts as an end of the film. And of course, other considerations are given in regards to antagonism which might be more pertinent to the category which definitely deals with the indecency in regards to the carnal passions. That being said, it’s important to note that the article in question will directly deal with that self-evident antagonism of the narrative and its parts.
Summary:
Inclusive aspects – Explicit moral hostility with the natural law and the ideal in the moral perspective (such as found within the resolution), the level of discord with the laws of probability, general consistency and verisimilitude.
Exclusive aspects – All other considerations.
Third Category
Lasciviousness
The purpose of this category is to give a thorough account of what I argue should be considered as the most pivotal evil in potential. This is simply due to the fact that while other evil aspects, such as the glorification of crime from visual depictions, might be more or less tolerated due temperaments and complexions of the viewer, the topics of lewdness are not. In other words, while there could be a frame of mind ever so disposed that a part of the film which glorifies bank robbery might not alter the disposition of the viewer, practically every aspect associated with impurity that could be depicted in film would be universally and necessarily detrimental to the viewer. There is nothing baser and more provocative to commit evil than those things which are called lewd and lascivious. For this reason, the purpose for this category in its entirety, is to have a full account and distinct understanding of this aspect within the film. I will be primarily focused on a depiction of lewdness as pertains to potential visual stimuli but furthermore treat of less apparent and peripheral objects as well, such as lewd plotlines and the like. However, note that most movies would hardly ever be even critiqued since movies of this kind would hardly qualify as anything other than obscene material in my assessment. Thus, most of what is dealt with here are strict accounts of particular scenes and their level of lewdness which shall be described in detail in the articles below.
The particular considerations will be of whether the film depicts in any way the shameful organs, primarily of women. Secondarily but not of much less importance is the content of which may be called suggestive of any lewd or lasciviousness which is overruled by explicit acts or carefully examined with a latitude aimed at the feasibility of modification. Regardless of my final assessment of whether the film is entirely censured or not, the information regarding all aspects of this category will be noted for you to make an individual judgment aligning with your conscience.
Articles within Lasciviousness
Article (I) – Ideal (No nudity, No Suggestion)
Article (II) – Suggestive (No Nudity)
Article (III) – Explicit in part (potential)
Article (IV) – Explicit whole (integral)
Explanation for Article (I)
Ideal
The first degree in the category which evidently states the film contains nothing which can be called remotely indecent. This article, while being the pinnacle of excellence in regards to this sad aspect brutishly forced into film, isn’t as widespread as one would expect. Luckily for us, there are a fair amount of great films that would be granted this wonderful article and thus almost rendered entirely purified as regards this perturbation in film viewing.
Thus, this article will entail the lack of quintessential depictions as mentioned above, that being, nudity proper, and suggestive content either with or without the former. Therefore, the article will mean the privation of anything traceable to what one may call lascivious. Additionally, in the spirit of efficiency, I’ll exclude scenes which might be vaguely suggestive (without nudity) otherwise thought to be easily tolerated. The reason being is that there is a strictness in the ideal which cannot be overstated by sheer consequence of the thing. One should probably note that it would hardly be feasible for a film which contains a female character central to the plot to be considered ideal. It might sound harsh, but sadly it is so since women are usually wont to incite evil by their appearance. The treatment of anything less than ideal, is dealt with in the following article.
Summary:
Inclusive aspects – The lack of all suggestive or lascivious depictions whether in picture or narrative.
Exclusive aspects – All other considerations.
Explanation for Article (II)
Suggestive (No Nudity)
The second degree of this article deals with anything below that of the ideal which was described in the first article but above the last two. Thus specifically, here is the very careful analysis of any content in the film which may be called suggestive but lacking explicit and base depictions of lewd objects. In this way we have an article which admits of prudent considerations of the topic on the part of the writer and director. Some raise that sometimes there can be some confusion about whether certain aspects of nudity are strictly always lewd and thus lower than implicit and obfuscated suggestive content, the article will disregard this for the sake of clarity. Therefore in this article, no nudity will be ever allowed, regardless of how little or what context. What is left behind then is the suggestive aspects which, however bad it might be, must necessarily lack nudity.
Summary:
Inclusive aspects – lasciviousness in narrative or imagery
Exclusive aspects – Blatant nudity and base acts
Explicit In Part (potential)
Explanation for Article (III)
The third article handles the beginning of content in which the viewer is generally advised against watching due to the explicit containment of nudity. However, because of the principles regarding the complete art of film, there are exceptions and possible methods for justification of viewing the whole when there is an objectionable part. The particular aspect in question is depictions or imagery of the generative organs of either sex. My consideration of the part relates to the lack as an integral component in the narrative and the ease or lightness of the particular scene or scenes in question. It may very well be that the entirety of the film is without any particular fault but nevertheless employs indecency in one scene, in which nudity is shown, either in brief or not. Because of this one scene, say, it being a second long, it in most cases would render the film unviewable. Due to contemporary attitudes of directors regarding the topic, very many films are sadly tainted by trivial and out of place nudity. Since not every scene containing nudity could be of sexual nature and some that might be argued to be, might be significantly obfuscated, I am to find methods in which one may be able to either modify their viewing experience to circumvent the scene entirely, or simply tolerate a portion of it if it’s proportionate in severity to the motive. In other words, if the film contains nudity in which the integrity of the movie is not hindered in total, and no severe blow to the viewer, such as a scene in passing and the like, there is a designated category which marks it as potentially watchable though it contains explicit material. The potential is designated as such in regards the possibility of amendment in the viewing of the film. Examples like skipping scenes or looking away and such are considered here.
Summary:
Inclusive aspects – In this case I consider the possibility of toleration in light of moral maxims, the severity of the part in question, and the possibility of alteration in viewing to either expunge the scene or bypass it. Certain methods would be particularly listed according to the movie and capacities of people.
Exclusive aspects – Integral and/or unsalvageable obscenity in the narrative, visuals, or sound.
Irredeemable (Integral)
Explanation for Article (IV)
We treat here what will be called the unsalvageable. Those films which employ far too much obscenity or incorporate it into the plot to where the narrative itself becomes intolerable and antithetical to true or proper plot. Simply put, any film which shows obscenity for the sake of pleasure to the viewer or a plot which is provoking to the viewer will be considered explicit in whole. Intention of the director and writer would be assumed as such when the content suffices to make that judgment. This would however also include those films which while pretending to treat something without the want of exciting the viewer, still employs indecent pictures or narratives in a way that the viewer must necessarily consider it or have to do way too much to prevent being hurt.
Summary:
Inclusive aspects – The integral and intolerable due to overabundance or severity of obscene pictures and narrative.
Exclusive aspects – Article III
- Cfr. Sermones d. 21 Iunii et 28 Octobris, a. 1955 habiti: ibid., pag. 502, 505 et 816 sq ↩︎
- Silenzio, Vincent Silenzio M. B. “Foundation of Narrative Theory: Aristotle’s Poetics.” Columbia University in the City of New York. Accessed 3 Aug. 2023. ↩︎
- Aristotle, Poetics, VI ↩︎
- Bordwell, The McGraw-Hill Film Viewer’s Guide ↩︎
- I say sufficiency as such in a way to show that my aims are to discover the few goods in the multitude of bad. In other words, good films are a rarity. ↩︎
- The Great Encyclical Letters of Pope Leo XIII (1903) The Prohibition and Censorship of Books by Leo XIII, Article 1, IV ↩︎
