Goodbye Cinema, Hello Cinephilia: Film Culture in Transition
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Facebook Twitter Pinterest Share. Description The esteemed film critic Jonathan Rosenbaum has brought global cinema to American audiences for the last four decades.
His incisive writings on individual filmmakers define film culture as a diverse and ever-evolving practice, unpredictable yet subject to analyses just as diversified as his own discriminating tastes. For Rosenbaum, there is no high or low cinema, only more interesting or less interesting films, and the pieces collected here, from an appreciation of Marilyn Monroe's intelligence to a classic discussion on and with Jean-Luc Godard, amply testify to his broad intellect and multifaceted talent.
Charting our changing concerns with the interconnected issues that surround video, DVDs, the Internet, and new media, the writings collected here also highlight Rosenbaum's polemics concerning the digital age.
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From the rediscovery and recirculation of classic films, to the social and aesthetic impact of technological changes, Rosenbaum doesn't disappoint in assembling a magisterial cast of little-known filmmakers as well as the familiar faces and iconic names that have helped to define our era. As we move into this new decade of moviegoing - one in which Hollywood will continue to feel the shockwaves of the digital age - Jonathan Rosenbaum remains a valuable guide.
About the Author Jonathan Rosenbaum wrote for many periodicals including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment before becoming principal film critic for the Chicago Reader from until his retirement in He is the author of many books, including, most recently, Discovering Orson Welles and the major collection of essays Essential Cinema. He continues to write for both print and online publications and maintains a blog at www.
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Cinephilia / Cinephobia: New Mediations of Desire and Disgust
In this two — part series for Film Comment , Paul Brunick finds the practice of professional and serious nonprofessional film criticism alive and well in the wilds of the Web. New York Film Critics Circle member and longtime reviewer Armond White argues that the practice of critical thinking about film is under assault.
Author and filmmaker Paul Schrader Taxi Driver pulls apart the notion of canons in this lengthy piece—and then creates one himself. The editors of Cineaste polled a number of established and younger film critics about the presumed divide between print and Internet film writing. Bergan assesses the state of professional reviewing in the wake of downsized positions at major publishers.
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New York Times film reviewer Scott wonders if there is a future for arts criticism after the cancellation of his TV program At the Movies. A young writer offers practical advice on how to improve the art of criticism, by looking to the examples of past and present masters of the form.
Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Jonathan Rosenbaum - deddiodolel.tk
In two parts. Thanks to the Internet, there is more and better writing on film than ever before, says Roger Ebert.
The editor of Inventing Film Studies considers the institutional entanglements of the discipline today. In a talk at the Valdivia Film Festival, Adrian Martin proposes some ideas for how to develop online discussion around cinema. You are commenting using your WordPress. You are commenting using your Google account.
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