Posts Tagged ‘film criticism’
July 11, 2014 | by Dan Piepenbring
- Allan Ahlberg, a British author who’s written more than 150 children’s books, declined a lifetime-achievement award (and a nice cash prize) because Amazon sponsors it.
- In the silent-film era, a movie’s typeface was a crucial part of its identity. Now, a type designer in Minneapolis has tried to re-create the font from The Good Bad Man, a Douglas Fairbanks vehicle from 1916. “In 1916 the titles would have been painted or drawn on a smooth surface and then photographed with the motion-picture camera. There were no optical printers in those days, so the titles would literally have been shot by someone hand cranking a motion-picture camera.”
- In Athens, the Caryatid statues (five maidens “among the great divas of ancient Greece”) have emerged from a three-year cleaning with “their original ivory glow.”
- “Movies, if they’re very good, aren’t a conversation; they’re an exaltation, a shuddering of one’s being, something deeply personal yet awesomely vast. That’s what criticism exists to capture. And it’s exactly what’s hard to talk about, what’s embarrassingly rhapsodic, what runs the risk of seeming odd, pretentious, or gaseous at a time of exacting intellectual discourse.”
- A friendly reminder: your brain is on the brink of chaos.
August 16, 2012 | by Harry Stein
In early July, 1971, just out of journalism school, I took off for Paris. My intention was to spend a year or so freelancing. To this end, I carried with me assignments from two very small magazines and a sealed envelope, which I’d been given by Judith Crist, lately my critical-writing professor at Columbia’s School of Journalism.
“Give this to Murray Weiss at the International Trib,” she instructed.
Weiss was the editor in chief of that august journal and, she said, formerly a colleague of hers at its long-defunct but still much-admired progenitor, the New York Herald Tribune.
“What’s in it?”
“Don’t worry, just give it to him.”
A week or so later, in the Trib offices on the rue de Berri, I handed it over to Weiss’s no-nonsense assistant. “It’s from Judith Crist,” I said meaningfully—not the twenty-two-year-old nothing standing before her.
She walked briskly to the office beyond, and, after a long beat, like in a too-obvious movie, there came a roar of laughter. “Send him in!”
Weiss was behind his desk, holding the letter, still looking much amused. He half rose to shake my hand. “Listen,” he said, chuckling, “this is very nice of Judy. But, no, I’m not going to fire our film critic and hire you.”