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.
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 Antonion
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 Antonion
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 Antonion
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 Antonion
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?
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.
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.
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