These are ‘aesthetics of taste’, writes Christian Metz, The Imaginary Signifier, found in
certain young cinephiles who substantially change their opinion of the cinema, sometimes in an exuberant or dramatic way, after each film they have seen which has strongly attracted them: the new theorisation is tailored each time to the precise measure of this unique and delicious film, and yet it is indispensible that it be sincerely experienced as ‘general’ to prolong and amplify, to sanction the vivid momentary pleasure they obtained on seeing the film.
(10-11)
