She wrote not from the elevated perch of the New Yorker critic, but from the seat next to yours. Her reviews are almost always written in first person plural, with frequent references to “us” and “we,” in lines like “we suck in our breath; we do not dare to laugh” and the aforementioned “Our experience as we watch it has some connection with the way we reacted to movies in childhood.” She addressed us as she saw us, as fellow moviegoers, compatriots in the dark, presumably looking for the same things she was: craftsmanship, humanity, truth, or (failing all that, or perhaps in addition to it) a good time. Her reviews always seem to operate under the assumption that her readership is at least as smart as she is. We usually weren’t, but if you read enough of her work, you might get closer.
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Weber's own writings support Lassman and Speirs' conclusion that Weber considered ultimate values and their subsequent political values to be subjectively determined. For instance, in "Between Two Laws" Weber writes that certain communities are able to provide the conditions for not only such "bourgeois" values as citizenship and true democracy, "but also much more intimate and yet eternal values, including artistic ones." 20 The language that Weber uses to characterize these two types of values leads to the interpretation that he held them to be a subjective matter. Regarding the first set of values, labeling them "bourgeois" brings to light their contingent nature: They are the product of a class, a strata. Regarding the second set, the labels "intimate" and "eternal" clearly set them apart from any objective foundation. An "intimate" value is by definition personal, an opinion. Further: It carries the connotation of emotion, of mystification. Likewise with "eternal."