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" ... There are obvious ethical concerns aestheticizing tragedy. By making suffering look beautiful — and even, arguably, decorative — you allow viewers to experience the hardship of others with a sense of pleasure for themselves. This, too often, is the role both photography and fine art play in our contemporary media landscape. McCloud understands this, but also hopes that his canvasses inspire empathy, and a sense of humanitarian outreach. The plastic bags he melts down on his canvasses often bear the traces of logos, which serve as a point of entry even for the very wealthy. “So many people use these bags,” he says. “When they see the logos, they relate so clearly.” ... "
" ... Unlike other films on serial killers, The House That Jack Built never makes its protagonist sympathetic. Other films have a tendency of aestheticizing murder or portraying the serial killer as a remarkable mastermind. This is not the case here. You never side with the protagonist. Virgil himself calls him a depraved human being. The film makes a point of showing that the reason why he isn’t caught is purely because people will not come to each other’s aid. One of his victims, for example, screams at the top of her lungs and even asks for a policeman’s help. No one comes to save her. In terms of the aestheticization of murder, too often present in films today, The House That Jack Built, in my view, ridicules this notion with Jack’s attempts of making his killings into a work of art. ... "