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Author: Huw Walmsley-Evans Publisher: Routledge ISBN: 1317286987 Category : Social Science Languages : en Pages : 382
Book Description
At the beginning of the 21st century film criticism was described as in crisis. The decline of print journalism, a series of lay-offs of prominent critics, and the rise of "amateur" reviewing online spurred a conversation about the decline, even death, of film criticism. This discourse flourished in part because film criticism has been little examined in scholarship to date. This book takes a deeper look at film criticism by focusing on its institutional contours. This is achieved through a combination of archival research and interviews with prominent film critics and stakeholders, including Adrian Martin (LOLA), Stephanie Zacharek (Time), Peter Bart (Variety), and Andrew Sarris (The Village Voice). Film Criticism as a Cultural Institution first examines the contemporary crisis conversation surrounding film criticism, comparing this to historical precedents. It then provides what today’s crisis conversation does not: an account of film criticism’s institutional formations. Using primarily U.S. and Australian case studies based on interviews, observation and archival research—as well as accounts from other national schools—the book maps contemporary film criticism. Across various sites, such as publications or online spaces, and organisations, such as film critics circles, it elucidates film criticism’s institutional practices, tasks, comportments, and personae. Looking at the history of conversations about film criticism shows us that "crisis" has always been a leitmotif. While acknowledging the considerable changes and challenges that film criticism faces today, this book situates these within an historical context and proposes an institutional framework that allows us to move beyond crisis discourse. Looking at film criticism in this way allows us to see that the very question of what counts as film criticism is continually contested within an institutional ecology made up of distinctive critical comportments addressed to distinctive audiences.
Author: Huw Walmsley-Evans Publisher: Routledge ISBN: 1317286987 Category : Social Science Languages : en Pages : 382
Book Description
At the beginning of the 21st century film criticism was described as in crisis. The decline of print journalism, a series of lay-offs of prominent critics, and the rise of "amateur" reviewing online spurred a conversation about the decline, even death, of film criticism. This discourse flourished in part because film criticism has been little examined in scholarship to date. This book takes a deeper look at film criticism by focusing on its institutional contours. This is achieved through a combination of archival research and interviews with prominent film critics and stakeholders, including Adrian Martin (LOLA), Stephanie Zacharek (Time), Peter Bart (Variety), and Andrew Sarris (The Village Voice). Film Criticism as a Cultural Institution first examines the contemporary crisis conversation surrounding film criticism, comparing this to historical precedents. It then provides what today’s crisis conversation does not: an account of film criticism’s institutional formations. Using primarily U.S. and Australian case studies based on interviews, observation and archival research—as well as accounts from other national schools—the book maps contemporary film criticism. Across various sites, such as publications or online spaces, and organisations, such as film critics circles, it elucidates film criticism’s institutional practices, tasks, comportments, and personae. Looking at the history of conversations about film criticism shows us that "crisis" has always been a leitmotif. While acknowledging the considerable changes and challenges that film criticism faces today, this book situates these within an historical context and proposes an institutional framework that allows us to move beyond crisis discourse. Looking at film criticism in this way allows us to see that the very question of what counts as film criticism is continually contested within an institutional ecology made up of distinctive critical comportments addressed to distinctive audiences.
Author: Mattias Frey Publisher: Rutgers University Press ISBN: 0813570743 Category : Performing Arts Languages : en Pages : 285
Book Description
Over the past decade, as digital media has expanded and print outlets have declined, pundits have bemoaned a “crisis of criticism” and mourned the “death of the critic.” Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that “everyone’s a critic,” urgent questions have emerged about the status and purpose of film criticism in the twenty-first century. In Film Criticism in the Digital Age, ten scholars from across the globe come together to consider whether we are witnessing the extinction of serious film criticism or seeing the start of its rebirth in a new form. Drawing from a wide variety of case studies and methodological perspectives, the book’s contributors find many signs of the film critic’s declining clout, but they also locate surprising examples of how critics—whether moonlighting bloggers or salaried writers—have been able to intervene in current popular discourse about arts and culture. In addition to collecting a plethora of scholarly perspectives, Film Criticism in the Digital Age includes statements from key bloggers and print critics, like Armond White and Nick James. Neither an uncritical celebration of digital culture nor a jeremiad against it, this anthology offers a comprehensive look at the challenges and possibilities that the Internet brings to the evaluation, promotion, and explanation of artistic works.
Author: Malte Hagener Publisher: Berghahn Books ISBN: 1782384243 Category : Performing Arts Languages : en Pages : 392
Book Description
Between the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and history was written that took cinema seriously as an art form; and critical writing that created the film canon flourished. This scene was decidedly transnational and creative, overcoming traditional boundaries between theory and practice, and between national and linguistic borders. This new European film culture established film as a valid form of social expression, as an art form, and as a political force to be reckoned with. By examining the extraordinarily rich and creative uses of cinema in the interwar period, we can examine the roots of film culture as we know it today.
Author: Mathew P. John Publisher: Fortress Press ISBN: 1506421709 Category : Religion Languages : en Pages : 170
Book Description
Film is popularly described as a mirror of culture. It plays a pivotal role in facilitating intercultural dialogue in our global village. World cinema helps us understand and appreciate each other’s cultural identity, and promotes harmony across different cultures in our pluralistic society. It introduces us to the life of “the other” in an entertaining yet engaging fashion, creating cultural bridges that foster a sense of unity in the midst of our diversity. This book argues that “cultural anthropology” and “theology” offer two distinct, yet intrinsically connected theoretical frameworks to formulate a more “holistic” reading of religion from world cinema. It proposes an integrated methodology for religious criticism of film in which we look at religion as a subsystem of culture and observe how religious experiences depicted on the screen are mediated through the personal bias of the auteur and the context in which the film is produced. It thus creates a renewed appreciation for the religious diversity in our world by providing a new way of observing and interpreting ethnographic information from world cinema.
Author: James R Russo Publisher: Liverpool University Press ISBN: 1782847642 Category : Performing Arts Languages : en Pages : 318
Book Description
This film analysis textbook contains sixteen essays on historically significant, artistically superior films released between 1922 and 1982. Written for college, high school, and university students, the essays cover central issues raised in todays cinema courses and provide students with practical models to help them improve their own writing and analytical skills. This film casebook is geographically diverse, with eight countries represented: Italy, France, the United States, Russia, Germany, Great Britain, Japan, and India. The essays, sophisticated yet not overly technical or jargon-heavy, are perfect introductions to their respective films as well as important contributions to the field of film studies in general. The books critical apparatus features credits, images, and bibliographies for all films discussed, filmographies for the directors, a glossary of film terms, the elements of film analysis, a chronology of film theory and criticism, topics for writing and discussion, a bibliography of film criticism, and a comprehensive index. Understanding Film: A Viewers Guide bucks the trend of current film analysis texts (few of which contain actual film analyses) by promoting analysis of the chosen films alongside the methods and techniques of film analysis. It has been prepared as a primary text for courses in film analysis, and a supplementary text for courses such as Introduction to Film or Film Appreciation; History of Film or Survey of Cinema; and Film Directors or Film Style and Imagination.
Author: Gracia Ramirez Publisher: Lexington Books ISBN: 1666928089 Category : History Languages : en Pages : 181
Book Description
This book examines the role that the American Film Institute (AFI) had in supporting experimental and independent cinema at a key moment of change in the history of American film. Weaving a rich historical narrative, Ramirez argues that the Cold War struggle for cultural supremacy motivated the creation of the federally-funded AFI. Exploring the intersection of business interests and political objectives, Ramirez demonstrates how the AFI’s approach to experimental and independent cinema was marked by an interest in promoting innovative aesthetics and protecting the creative freedom of filmmakers but lacked the attention to distribution and exhibition that would strengthen the viability of experimental and independent filmmaking as professional practices. Scholars of film, history, and American studies will find this work particularly useful.
Author: Chris Cagle Publisher: Rutgers University Press ISBN: 0813576954 Category : Performing Arts Languages : en Pages : 189
Book Description
After World War II, Hollywood’s “social problem films”—tackling topical issues that included racism, crime, mental illness, and drug abuse—were hits with critics and general moviegoers alike. In an era of film famed for its reliance on pop psychology, these movies were a form of popular sociology, bringing the academic discipline’s concerns to a much broader audience. Sociology on Film examines how the postwar “problem film” translated contemporary policy debates and intellectual discussions into cinematic form in order to become one of the preeminent genres of prestige drama. Chris Cagle chronicles how these movies were often politically fractious, the work of progressive directors and screenwriters who drew scrutiny from the House Un-American Activities Committee. Yet he also proposes that the genre helped to construct an abstract discourse of “society” that served to unify a middlebrow American audience. As he considers the many forms of print media that served to inspire social problem films, including journalism, realist novels, and sociological texts, Cagle also explores their distinctive cinematic aesthetics. Through a close analysis of films like Gentleman’s Agreement, The Lost Weekend, and Intruder in the Dust, he presents a compelling case that the visual style of these films was intimately connected to their more expressly political and sociological aspirations. Sociology on Film demonstrates how the social problem picture both shaped and reflected the middle-class viewer’s national self-image, making a lasting impact on Hollywood’s aesthetic direction.
Author: Maarit Jaakkola Publisher: Springer Nature ISBN: 3030848485 Category : Language Arts & Disciplines Languages : en Pages : 249
Book Description
This book examines how ordinary users review cultural products online, ranging from books to films and other art objects to consumer products. The book maps different communities—in institutional and non-institutional settings—which intersect with the genre of review, especially in the social web where reviewing is conducted on platforms such as Instagram, YouTube and Vimeo. The book, drawing on the key concepts of cultural intermediation, platformized cultural production and post-professionalism, looks at user-generated content in lifestyle communities beyond the binary of professional and amateur production.
Author: Michael Eckardt Publisher: AFRICAN SUN MeDIA ISBN: 191998061X Category : Performing Arts Languages : en Pages : 124
Book Description
This book examines the development of film criticism in Cape Town’s daily press from 1928 to 1930, using film reviews from the Cape Times and Die Burger. The character of film criticism in the period under discussion is explained by describing the general function of film criticism, as well as comparing the local with the international film press. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town.
Author: Huw Walmsley-Evans
Author: Huw Walmsley-Evans
Author: Mattias Frey
Author: Malte Hagener
Author: Mathew P. John
Author: 
Author: James R Russo
Author: Gracia Ramirez
Author: Chris Cagle
Author: Maarit Jaakkola
Author: Michael Eckardt