Sentences with phrase «called film criticism»

When I discovered that you could combine writing with watching movies, and this thing was called film criticism, I recognized it as the thing for me.

The Daniels call this listen «existential» in their brief audio intro; I call it film criticism.

Not exact matches

Agee's words have an indignant tone, calling for a reverence that is out of fashion in much academic film criticism, and which Naremore clearly champions.

Mike Higgins calls Brooks «unfairly neglected»; Robert DiMatteo claims that «no one can represent and redeem obnoxiousness» like Brooks.27 But Brooks barely registers in academic film criticism, which is a great loss.

She wasn't necessarily all that big on what he calls «subtextual film criticism,» but she knew how to write in a readable, engaging and idiosyncratic style.

But now, «boring» is hot, at least in overheated Interwebular film criticism circles, since the publication of Dan Kois» New York Times Magazine piece called «Eating Your Cultural Vegetables,» in which he says:

A dear professor named Bill Mackie taught film production, veteran director Edward Dmytryk an editing workshop and I took film criticism courses with Tom Schatz, and did a lot of what would now be called interdisciplinary study, mixing courses in folklore and anthropology and psychology with courses in Communications and film studies.

I'd also call him a film critic and a screenwriter, though his criticism, like much of Godard's and Rivette's, is made up of sounds and images rather than words and his screenwriting is always built on the writing of others.

It didn't affect the Oscar nominations, since voting closed prior to its publication — but it is a potent piece of writing that went beyond criticism, calling into judgment the voting bodies that have heaped so much praise on the film already.

One, the possibility that the imminent degeneration of film (call it the Death of Cinema) may paradoxically preserve it as a «destination» art akin to opera; and two, the notion that film and its attendant criticism might be compelling not by being genius, but by being awesome.

The third enemy is what we laughingly call «the American film criticism establishment.»

Weighing in on topical debates — from 3 - D and hyper - fast editing to the culture of the Academy Awards and (yes) the future of film criticism — Emerson isn't afraid to call bullshit when he sees it, but he reliably turns every takedown into a constructive «learning moment.»

It's hard for me to imagine how the dominant, non-formalist form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.