TY  - BOOK
AU  - Ansen,David
AU  - Antin,Eduardo
AU  - Belston,Schawn
AU  - Bodde,Margaret
AU  - Butcher,Pedro
AU  - Campbell,Zach
AU  - Carr,Jay
AU  - Cashill,Robert
AU  - Cherchi Usai,Paolo
AU  - Cheshire,Godfrey
AU  - Cheuk-to,Li
AU  - Chikhaoui,Tahar
AU  - Ciment,Michel
AU  - Clark,Mike
AU  - Contis,Angelike
AU  - Crisp,Grover
AU  - Crowdus,Gary
AU  - Dargis,Manohla
AU  - Denby,David
AU  - Dickstein,Morris
AU  - Doros,Dennis
AU  - D’Angelo,Mike
AU  - Ebert,Roger
AU  - Edelstein,David
AU  - Erickson,Steve
AU  - Ewing,John
AU  - Frodon,Jean-Michel
AU  - Fuller,Graham
AU  - García Tsao,Leonardo
AU  - Gianvito,John
AU  - Goldstein,Bruce
AU  - Grant,Andrew
AU  - Guest,Haden
AU  - Hamid,Rahul
AU  - Healy,Jim
AU  - Heller,Amy
AU  - Hoberman,J.
AU  - Hongyu,Li
AU  - Horak,Jan-Christopher
AU  - Huber,Christoph
AU  - Jellinek,Jorge
AU  - Jones,Kent
AU  - Karakhan,Lev
AU  - Kardish,Laurence
AU  - Kauffmann,Stanley
AU  - Kenigsberg,Ben
AU  - Kenny,Glenn
AU  - Kezich,Tullio
AU  - Klawans,Stuart
AU  - Klinger,Gabe
AU  - Koehler,Robert
AU  - Koresky,Michael
AU  - Lee,Kevin B.
AU  - Longworth,Karina
AU  - Losier,Marie
AU  - Lucia,Cynthia
AU  - Martin,Adrian
AU  - McCarthy,Todd
AU  - McGrath,Declan
AU  - Melville,Annette
AU  - Möller,Olaf
AU  - Nayman,Adam
AU  - Nierop,Leon van
AU  - Panayides,Theodoros
AU  - Peña,Richard
AU  - Pogorzelski,Michael
AU  - Porton,Richard
AU  - Quandt,James
AU  - Quart,Leonard
AU  - Rainer,Peter
AU  - Reardon,Kiva
AU  - Rithdee,Kong
AU  - Romney,Jonathan
AU  - Rosenbaum,Jonathan
AU  - Sallitt,Dan
AU  - Sarris,Andrew
AU  - Sato,Tadao
AU  - Schickel,Richard
AU  - Schwartz,David
AU  - Schwarzbaum,Lisa
AU  - Sekuler,Adam
AU  - Shambu,Girish
AU  - Shedde,Meenakshi
AU  - Sicinski,Michael
AU  - Silvestri,Roberto
AU  - Simon,John
AU  - Skolnick,Dylan
AU  - Sterritt,David
AU  - Taubin,Amy
AU  - Tracy,Andrew
AU  - Trainor,Katie
AU  - Travers,Peter
AU  - Turan,Kenneth
AU  - Vera,Noel
AU  - Vick,Tom
AU  - Wagner,Daniel
AU  - White,Armond
AU  - Zacharek,Stephanie
TI  - Cineaste on Film Criticism, Programming, and Preservation in the New Millennium
SN  - 9781477313428
AV  - PN1995 .C48517 2017
U1  - 791.43015 23
PY  - 2021///]
CY  - Austin : 
PB  - University of Texas Press, 
KW  - Film criticism
KW  - Mass media criticism
KW  - Mass media
KW  - Technological innovations
KW  - Motion pictures
KW  - Periodicals
KW  - Reviews
KW  - Motion pictures--Periodicals
KW  - PERFORMING ARTS / General
KW  - bisacsh
N1  - Frontmatter --; Contents --; Acknowledgments --; Editors’ Introduction --; Part I. Film Criticism in the New Millennium --; 1. Film Criticism in America Today: A Critical Symposium --; 2. International Film Criticism Today: A Critical Symposium --; 3. Film Criticism in the Age of the Internet: A Critical Symposium --; 4. Film Criticism: The Next Generation: A Critical Symposium --; 5. “I Still Love Going to Movies”: An Interview with Pauline Kael --; 6. Cult Films, Commentary Tracks, and Censorious Critics: An Interview with John Bloom --; Part II. The Art of Repertory Film Exhibition and Digital-Age Challenges --; 7. Repertory Film Programming: A Critical Symposium --; 8. Utopian Festivals and Cinephilic Dreams: An Interview with Peter von Bagh --; 9. The (Cinematic) Gospel According to Mark: An Interview with Mark Cousins --; Part III. Film Preservation in the Digital Age --; 10. Film Preservation in the Digital Age: A Critical Symposium --; 11. MOD Man: An Interview with George Feltenstein --; Notes on the Editors --; Index; restricted access
N2  - 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
UR  - https://doi.org/10.7560/313404
UR  - https://www.degruyter.com/isbn/9781477313428
UR  - https://www.degruyter.com/document/cover/isbn/9781477313428/original
ER  -