- The history of American film criticism.
- Relied upon by some moviegoers and reviled by others, film critics for over 100 years have represented a form of journalism that sought to find and judge film as an art in a way others might want to heed. This film presents a comprehensive history of this form of writing as it developed with the film medium itself. With historical profiles on major contributors like Pauline Kael along with interview with contemporary figures like Roger Ebert, the nature of the profession is explored both for its illustrious past and its uncertain future.—Kenneth Chisholm (kchishol@rogers.com)
- The history of American film criticism is presented on what is its just over one hundred year existence. The changing nature of the criticism over the century, what the reading public was looking for in what has largely been the written criticism, who are arguably the most influential critics of their era and the reason for such, the relationship of film critics to filmmakers, the reason film critics become film critics, and the representation of certain film critics as average Joes/Janes Public versus others who are purported intellectuals, film or otherwise, are discussed. Those influential critics, in chronological order, include: Frank E. Woods - widely regarded as the first true film critic - with the New York Dramatic Mirror; Robert E. Sherwood - the first resembling what may considered a film critic of the modern era - with Life Magazine; James Agee - the first to recognize the stylistic differences between directors - with Time Magazine and The Nation; Bosley Crowther with the New York Times; Andrew Sarris with the Village Voice and New York Observer, and Pauline Kael with The New Yorker, whose joint influences on the public are largely due to their differences in view, especially in the notion of auteurism, with their opposing respective film critic followers known as the "Sarrisites" and the "Paulettes"; Vincent Canby with the New York Times; and Gene Siskel with the Chicago Tribune, and Roger Ebert with the Chicago Sun-Times, the two, in their want to be superior compared to the other in their views, who brought film criticism to the television viewing masses. The changes in the last twenty years are discussed, those changes which are fueled by home video, the rise of the Internet which allows anyone to post their views of anything and everything online, and the decline of traditional print media.—Huggo
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By what name was For the Love of Movies: The Story of American Film Criticism (2009) officially released in Canada in English?
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