The Language and Style of Film Criticism

The Language and Style of Film Criticism brings together a range of original essays from international academics and film critics highlighting the achievements, complexities and potential of film criticism. Film criticism is a form of ...


Author: Andrew Klevan

Publisher: Routledge

ISBN: 9781136728280

Category: Performing Arts

Page: 208

View: 818

The Language and Style of Film Criticism brings together original essays from an international range of academics and film critics highlighting the achievements, complexities and potential of film criticism. In recent years, in contrast to the theoretical, historical and cultural study of film, film criticism has been relatively marginalised, especially within the academy. This book highlights the distinctiveness of film criticism and addresses ways in which it can take a more central place within the academy and develop in dynamic ways outside it. The Language and Style of Film Criticism is essential reading for academics, teachers, students and journalists who wish to understand and appreciate the language and style of film criticism.

Film Criticism as a Cultural Institution

(Sparshott, 1967: 15) Another attempt to delimited film criticism comes in Clayton and Klevan's The Language and Style of Film Criticism (2011). As I have written (with Tom O'Regan) elsewhere, this edited collection makes a useful ...


Author: Huw Walmsley-Evans

Publisher: Routledge

ISBN: 9781317286981

Category: Social Science

Page: 202

View: 994

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.

Ambiguity and Film Criticism

The Ambiguous Image: Narrative Style in Modern European Cinema. London: Secker and Warburg. Barthes, Roland. 1974. ... Bazin at Work: Essays and Reviews from the Forties and Fifties. ... In The Language and Style of Film Criticism, ed.


Author: Hoi Lun Law

Publisher: Springer Nature

ISBN: 9783030629458

Category: Performing Arts

Page: 188

View: 335

This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to persistently ask “why is it as it is?” Notably, this account of the concept is also an account of its criticism. It recognises that a satisfying assessment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism.

Film Criticism in the Digital Age

YNaija, 11 April 2013. www Itzkoff, Dave. “Rotten Tomatoes Halts Comments on 'Dark Knight. ... In The Language and Style of Film Criticism, edited by Alex Clayton and Andrew ...


Author: Mattias Frey

Publisher: Rutgers University Press

ISBN: 9780813570747

Category: Performing Arts

Page: 284

View: 771

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.

Film Criticism and Digital Cultures

... -sway-do-film-critics-hold/ (accessed 23 December 2014) Keathley, Christian (2011) 'La Camera-Stylo: Notes on Video Criticism and Cinephilia' in Clayton, Alex and Klevan, Andrew (eds) The Language and Style of Film Criticism, ...


Author: Andrew McWhirter

Publisher: Bloomsbury Publishing

ISBN: 9781786720399

Category: Social Science

Page: 272

View: 172

'The critic is dead.' 'Everyone's a critic.' These statements reflect some of the perceptions of film criticism in a time when an opinion can be published in seconds, yet reach an audience of millions. This book examines the reality of contemporary film criticism, by talking to leading practitioners in the UK and North America - such as Nick James, Mark Cousins, Jonathan Rosenbaum and Richard Porton - and by covering a broad spectrum of influential publications - including Sight & Sound, The Guardian, Cineaste, indieWIRE and Variety. Forming a major new contribution to an emerging field of study, these enquiries survey the impact of larger cultural, economic and technological processes facing society, media and journalism. Historical perspectives on criticism from ancient times and current debates in journalism and digital media are used to unravel questions, such as: what is the relationship between crisis and criticism? In what way does the web change the functions and habits of practitioners? What influences do film industries have on the critical act? And how engaged are practitioners with converged and creative film criticism such as the video essay?In the face of transformative digital idealism, empirical findings here redress the balance and argue the case for evolution rather than revolution taking place within film criticism.

Breaking Bad and Dignity

Clayton, Alex (2011) 'Coming to Terms' in Alex Clayton and Andrew Klevan (eds) The Language and Style of Film Criticism (London: Routledge), pp. 27–37. Clayton, Alex and Andrew Klevan (2010) 'Introduction: The Language and Style of Film ...


Author: Elliott Logan

Publisher: Springer

ISBN: 9781137513731

Category: Performing Arts

Page: 181

View: 100

An ambitious interpretation of the critically celebrated and widely popular crime drama Breaking Bad , this book argues that not only should the series be understood as a show that revolves around the dramatic stakes of dignity, but that to do so reveals - in new ways - central aspects of serial television drama as an art form.

Film Studies

1 Jonathan Rosenbaum, “Introduction,” in Placing Movies: The Practice of Film Criticism (Berkeley, CA: University of California Press, 1995), 15. 2 Alex Clayton and Andrew Klevan, “Introduction: The Language and Style of Film Criticism ...


Author: Glyn Davis

Publisher: Routledge

ISBN: 9781317623380

Category: Social Science

Page: 530

View: 473

Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age. Glyn Davis, Kay Dickinson, Lisa Patti and Amy Villarejo’s approach encourages readers to think about film holistically by looking beyond the textual analysis of key films. In contrast, it engages with other vital areas, such as financing, labour, marketing, distribution, exhibition, preservation, and politics, reflecting contemporary aspects of cinema production and consumption worldwide. Key features of the book include: clear definitions of the key terms at the foundation of film studies coverage of the work of key thinkers, explained in their social and historical context a broad range of relevant case studies that reflect the book’s approach to global cinema, from Italian "white telephone" films to Mexican wrestling films innovative and flexible exercises to help readers enhance their understanding of the histories, theories, and examples introduced in each chapter an extensive Interlude introducing readers to formal analysis through the careful explication and application of key terms a detailed discussion of strategies for writing about cinema Films Studies: A Global Introduction will appeal to students studying film today and aspiring to work in the industry, as well as those eager to understand the world of images and screens in which we all live.

Film Study

A ninth critic cares mostly about the style of the film . How are the cinematic elements structured and how effectively are cinematic relationships developed ? Although each critic takes a different tack , they are all concerned with ...


Author: Frank Manchel

Publisher: Fairleigh Dickinson Univ Press

ISBN: 083863186X

Category: Performing Arts

Page: 988

View: 320

The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.

A Companion to American Indie Film

according to a criterion of independence create reading strategies and frameworks not only for one film product, but for indie films more ... In The Language and Style of Film Criticism, edited by Alex Clayton and Andrew Klevan, 1–26.


Author: Geoff King

Publisher: John Wiley & Sons

ISBN: 9781118758328

Category: Performing Arts

Page: 544

View: 392

A Companion to American Indie Film features a comprehensive collection of newly commissioned essays that represent a state-of-the-art resource for understanding key aspects of the field of indie films produced in the United States. Takes a comprehensive and fresh new look at the topic of American indie film Features newly commissioned essays from top film experts and emerging scholars that represent the state-of-the-art reference to the indie film field Topics covered include: indie film culture; key historical moments and movements in indie film history; relationships between indie film and other indie media; and issues including class, gender, regional identity and stardom in in the indie field Includes studies of many types of indie films and film genres, along with various filmmakers and performers that have come to define the field

Teaching Sound Film

Agee on film: Criticism and comment on the movies, 1958. ... Film as art. Berkeley, CA: University of California Press. Arnheim, R. (1997). Film essays and criticism. ... The language and style of film criticism.


Author: R. J. Cardullo

Publisher: Springer

ISBN: 9789463007269

Category: Education

Page: 460

View: 235

Teaching Sound Film: A Reader is a film analysis-and-criticism textbook that contains 35 essays on 35 geographically diverse, historically significant sound films. The countries represented here are France, Italy, England, Belgium, Russia, India, China, Cuba, Germany, Japan, Russia, Romania, Czechoslovakia, Brazil, Taiwan, Austria, Afghanistan, South Korea, Finland, Burkina Faso, Mexico, Iran, Israel, Colombia, and the United States. The directors represented include Jean Renoir, Orson Welles, Akira Kurosawa, Federico Fellini, Woody Allen, Aki Kaurismäki, Ken Loach, Tomás Gutiérrez Alea, Abbas Kiarostami, Michael Haneke, and Hong Sang-soo. Written with university students (and possibly also advanced high school students) in mind, the essays in Teaching Sound Film: A Reader cover some of the central films treated—and central issues raised—in today’s cinema courses and provide students with practical models to help them improve their own writing and analytical skills. These essays are clear and readable—that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. Moreover, this book’s scholarly apparatus features credits, images, bibliographies for all films discussed, filmographies for all the directors, a list of topics for writing and discussion, a glossary of film terms, and an appendix containing three essays, respectively, on film acting, avant-garde cinema, and theater vs. film.