Not exact matches
In his seminal 1972 book Transcendental Style in
Film: Ozu, Bresson, Dreyer (written at
age 24, two years before he turned from
film criticism to filmmaking), Schrader noted that, «The many statements [Robert] Bresson has made in interviews and discussions, properly arranged, would constitute an accurate analysis of his
films (a statement which can be made of no other filmmaker to my knowledge)....»
Of all the things to pin the decline of professional
film criticism as a career choice on, from changing audience - tastes to the globalization of the theatrical marketplace to the collapse of traditional media outlets overall, the Great Threat is actually... a college -
age kid in a funny hat cracking wise (in between actual critical insights, mind you) about Antonioni?
I'm glad to be living in such a fantastic
age of
film criticism where there exist so many personalities and outlets of getting ideas across.
Among the certainties in the world of
film criticism — there will be a series of pieces bemoaning critics» inability to stop a terrible summer
film from becoming a blockbuster; Armond White will often stake out a position in opposition to many of his fellow critics; movies about middle -
aged men having their mid-life crises sorted out by women well out of their league will always receive mostly kind notices; etc. — there's one that stands above all others.
Daily newspaper
film criticism at the national level is better and deeper than it was in Corliss» golden
age.
The centrepiece of the podcast is a wide ranging interview with Ruby herself covering, among many things, her initial entry into
film criticism, her promotion of the cinema as a social space, the legacy of her concept of New Queer Cinema, and the possibility of a political cinema in the digital
age.
In this
age when worthless celebrity gossip is replacing serious
film criticism, I may be peculiar when I find myself on a set, because I'm usually more interested in the directors than the stars.
What's most exciting about
film criticism in the internet
age is that it is truly democratic: the best
criticism can come from the most unexpected quarters, from personalities without any history or credentials in
film criticism or studies.
Special section on 54th New York
Film Festival, including Maren Ade's Toni Erdmann, Ava DuVernay's The 13th, Barry Jenkins's Moonlight, Bertrand Tavernier's My Journey Through French Cinema, Pedro Almodóvar's Julieta; American movie acting,
film criticism in the
age of social media, Kirsten Johnson's Cameraperson, Charles Burnett's To Sleep with Anger, Kleber Mendonça Filho's Aquarius