User:Shapeyness/sandbox

Alongside political videos, Brewis also produces media reviews and video essays on a number of topics, including television series and videogames—such as Sherlock, Braid, Fallout 3, and Bloodborne—and aspects of gaming culture like speedrunning.

In general, Brewis does not run YouTube ads on his channel, instead opting to use the crowdfunding website Patreon. According to Brewis, this is so that he is beholden to his audience and not to advertisers, which allows him to maintain creative control over his videos.

References

The film was largely ignored by audiences and went on to be a commercial flop, being re-released under various titles in an attempt to recoup losses. As a result, it has been called one of Hooper's "lost films" despite still being extant. [Normanton, Muir might be useful]

Production

Working under the title Death Trap, Eaten Alive was filmed entirely on the sound stages of Raleigh Studios in Hollywood, California, which had a large-scale pool that could double as a swamp.[Check if a better source is appropriate here] Shooting on a sound stage instead of a practical location contributed to the atmosphere of the film, which director Tobe Hooper described as a "surrealistic, twilight world."[Check if a better source is appropriate] [Southern Gothic design of the set] [Lighting and camerawork from Caramico]

In April 1978, when Eaten Alive was halfway through filming, Hooper called the movie a "commercial film that I feel good about" in an interview with Variety [Variety, also in Jaworzyn]. The film eventually proved to be problematic for the director, though, who left the set shortly before production ended, due to a dispute with the producers. Rustam reportedly pushed for increased nudity, which Hooper was unhappy with, and the two apparently had different views on the film's tone [Muir, Jaworzyn, American Twilight]. It was rumoured that Hooper handed over directing to either Caramico or Jones, and additional scenes were shot without his involvement [Muir, Tafoya]. [also mentioned in interview with Englund in Fangoria #47 (p.11)]

Next bit is questionable and needs rewriting or better sourcing Hooper's good relationship with his actors remained intact, though. The director later recalled how he worked with actor Neville Brand to fully develop the character of Judd, declaring, "He understood what he was doing exactly.”

Similarly to The Texas Chain Saw Massacre, the film was scored by Wayne Bell and Hooper. The score, which consisted of synthesizer music

[This section also needs details on the soundtrack by Wayne Bell]

[Lots of sources mention inspiration from EC Comics]

[Should/can interviews from DVD/Blu-Ray special features be used to flesh this out? (If I can access them somehow)]

Themes

Much of the emphasis on base desires is sexual in nature; the very first line of the film is "Name's Buck and I'm rarin' to fuck" immediately followed by Buck attempting to rape a prostitute. According to John Kenneth Muir, the film relies on "the timeworn yet nonetheless controversial movie conceit of a sexual dysfunction's fostering homicidal impulses." The use of frequent nudity within the film was also controversial, .... [tighten up the prose, talk about Judd]

Artificiality

Madness/normality

References

Realism and anti-realism

Maybe different types of reductionism + OQA as bridging paragraph between realism and anti-realism? Then debunking + supervenience after anti-realism and Frege-Geach after expressivism (also to motivate discussion of quasi-realism) - Schmagency can go at end if there's still room - invariantism/contextualism either at the end or after relativism

Arguments: open-question argument, evolutionary debunking, supervenience, Frege-Geach, schmagency

Semantics: invariantism vs contextualism

Normativity and reasons for belief

Epistemology is widely agreed to be a normative discipline. It investigates what ought to be believed and when beliefs are justified or unjustified. A common way to understand justification is in terms of deontic concepts such as permission and obligation. For example, some epistemologists hold that there is an obligation not to have any unjustified beliefs.[check if this is supported by the previous citation] Opponents of this view argue that since there is no voluntary control over belief, it is inappropriate to apply concepts such as ought or obligation to it. Proponents of a deontic conception of justified beliefs have responded in a number of ways. Some argue that at least some beliefs are under direct voluntary control while others argue that indirect influence is enough to support deontic concepts.

Deeply related to the notion of normativity are reasons. Epistemic reasons are differentiated from practical reasons (such as moral or prudential reasons) in that they apply to beliefs rather than actions. Further distinctions are...

Normativity is often characterised in terms of reasons - distinguish epistemic from non-epistemic reasons (belief vs action) [worth mentioning zetetic reasons?] - what is the source of epistemic normativity? intrinsicalism vs instrumentalism, buck-passing, trivial/counterproductive beliefs - non-normative reasons for belief - reasons and motivation (expressivism vs cognitivism)

Star 2018 - Oxford Handbook of Reasons ch.24, Boespflug&Jackson 2024 - SEP on doxastic voluntarism

Flamboyant

Naming of the album - reclaiming of the term flamboyant + etymology of flamboyant (Guardian, Gay Times [1])

Album cover: Billboard, Paper [2]

"Dorian doesn't directly mix or produce, but carefully orchestrated the mood across the record."[3]