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Cineaste on Film Criticism, Programming, and Preservation in the New Millennium

Cineaste on Film Criticism, Programming, and Preservation in the New Millennium

Collecting some of the most frequently requested articles from one of the most influential publications on film, this volume explores the paradoxical ways that digital technology and the Internet have transformed film criticism, programming, and preservation.

November 2017
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392 pages | 6 x 9 | 20 b&w photos | Hardcover has a printed case, no dust jacket |

Digital technology and the Internet have revolutionized film criticism, programming, and preservation in deeply paradoxical ways. The Internet allows almost everyone to participate in critical discourse, but many print publications and salaried positions for professional film critics have been eliminated. Digital technologies have broadened access to filmmaking capabilities, as well as making thousands of older films available on DVD and electronically. At the same time, however, fewer older films can be viewed in their original celluloid format, and newer, digitally produced films that have no “material” prototype are threatened by ever-changing servers that render them obsolete and inaccessible.

Cineaste, one of the oldest and most influential publications focusing on film, has investigated these trends through a series of symposia with the top film critics, programmers, and preservationists in the United States and beyond. This volume compiles several of these symposia: “Film Criticism in America Today” (2000), “International Film Criticism Today” (2005), “Film Criticism in the Age of the Internet” (2008), “Film Criticism: The Next Generation” (2013), “The Art of Repertory Film Exhibition and Digital Age Challenges” (2010), and “Film Preservation in the Digital Age” (2011). It also includes interviews with the late, celebrated New Yorker film critic Pauline Kael and the critic John Bloom (“Joe Bob Briggs”), as well as interviews with the programmers/curators Peter von Bagh and Mark Cousins and with the film preservationist George Feltenstein. This authoritative collection of primary-source documents will be essential reading for scholars, students, and film enthusiasts.

  • Acknowledgments
  • Editors’ Introduction. By Cynthia Lucia and Rahul Hamid
  • Part I. Film Criticism in the New Millennium
    • 1. Film Criticism in America Today: A Critical Symposium (2000). By David Ansen, Jay Carr, Godfrey Cheshire, Mike Clark, Manohla Dargis, David Denby, Morris Dickstein, Roger Ebert, David Edelstein, Graham Fuller, J. Hoberman, Stanley Kauffmann, Stuart Klawans, Todd McCarthy, Peter Rainer, Jonathan Rosenbaum, Andrew Sarris, Richard Schickel, Lisa Schwarzbaum, John Simon, David Sterritt, Peter Travers, Kenneth Turan, Armond White
    • 2. International Film Criticism Today: A Critical Symposium (2005). By Argentina: Quintín (Eduardo Antin); Australia: Adrian Martin; Austria: Christoph Huber; Brazil: Pedro Butcher; China: Li Hongyu; France: Michel Ciment; France: Jean-Michel Frodon; Germany: Olaf Möller; Greece: Angelike Contis; Hong Kong: Li Cheuk-to; India: Meenakshi Shedde; Italy: Tullio Kezich; Italy: Roberto Silvestri; Japan: Tadao Sato; Mexico: Leonardo García Tsao; Philippines: Noel Vera; Russia: Lev Karakhan; South Africa: Leon van Nierop; Thailand: Kong Rithdee; Tunisia: Tahar Chikhaoui; United Kingdom: Jonathan Romney; Uruguay: Jorge Jellinek
    • 3. Film Criticism in the Age of the Internet: A Critical Symposium (2008). By Zach Campbell, Robert Cashill, Mike D’Angelo, Steve Erickson, Andrew Grant, J. Hoberman, Kent Jones, Glenn Kenny, Robert Koehler, Kevin B. Lee, Karina Longworth, Adrian Martin, Adam Nayman, Theodoros Panayides, Jonathan Rosenbaum, Dan Sallitt, Richard Schickel, Campaspe, Girish Shambu, Michael Sicinski, Amy Taubin, Andrew Tracy, Stephanie Zacharek
    • 4. Film Criticism: The Next Generation: A Critical Symposium (2013). By Ben Kenigsberg, Gabe Klinger, Michael Koresky, Kiva Reardon, Andrew Tracy
    • 5. “I Still Love Going to Movies”: An Interview with Pauline Kael (2000). By Leonard Quart
    • 6. Cult Films, Commentary Tracks, and Censorious Critics: An Interview with John Bloom (2003). By Gary Crowdus
  • Part II. The Art of Repertory Film Exhibition and Digital-Age Challenges
    • 7. Repertory Film Programming: A Critical Symposium (2010). By John Ewing, John Gianvito, Bruce Goldstein, Haden Guest, Jim Healy, Kent Jones, Laurence Kardish, Marie Losier, Richard Peña, James Quandt, David Schwartz, Adam Sekuler, Dylan Skolnick, Tom Vick
    • 8. Utopian Festivals and Cinephilic Dreams: An Interview with Peter von Bagh (2012). By Richard Porton
    • 9. The (Cinematic) Gospel According to Mark: An Interview with Mark Cousins (2013). By Declan McGrath
  • Part III. Film Preservation in the Digital Age
    • 10. Film Preservation in the Digital Age: A Critical Symposium (2011). By Schawn Belston, Margaret Bodde, Paolo Cherchi Usai, Grover Crisp, Dennis Doros and Amy Heller, Jan-Christopher Horak, Annette Melville, Michael Pogorzelski, Katie Trainor, Daniel Wagner
    • 11. MOD Man: An Interview with George Feltenstein (2011). By Robert Cashill
  • Notes on the Editors
  • Index

New York, New York

Lucia has served on Cineaste’s editorial board for more than two decades. She is a professor of English and the director of the Film/Media Studies Program at Rider University.

New York, New York

Hamid has been an editor at Cineaste for ten years. He teaches film studies at New York University’s Gallatin School of Individualized Study, where he is director of student affairs.


“The collection provides a fascinating look into how film criticism, programming, preservation, and cinema itself have evolved to meet the changes wrought by the rise of the internet during the early years of the twenty-first century...Cineaste on Film Criticism, Programming, and Preservation in the New Millennium should be of interest to scholars, students, and anyone seriously interested in film.”
Popular Culture Studies Journal

“The symposia and interviews published in Cineaste magazine over the years constitute an essential archive as well as a reference source for multiple reading communities. This book will certainly appeal to film scholars but also to any reader who takes movies seriously. No other book is at all comparable.”
Krin Gabbard, Columbia University, editor-in-chief of the cinema and media studies section of the Oxford Bibliographies


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