Below we’ve gathered a collection of fiery, disputatious articles touching on different aspects of the cinematic experience: rants, screeds, opinionated musings, declarations of allegiance and resistance. These writers take up the joys and pitfalls of online criticism, Internet cinephilia, digital reproducibility, and the uses and misuses of cinema itself, often in unpredictable ways.
Cinematheque Ontario programmer James Quandt casts a gimlet eye on how the new proliferation of digital media is transforming film culture and our experience of cinema.
Chris Fujiwara redefines “contemporary cinema,” examining shifts in how cinema has been made, viewed, and evaluated over the past 40 years.
In the introduction to his latest collection, Rosenbaum looks at the crisis/non-crisis divide over the end of cinema and cinephilia, grappling with a film culture in transition.
Are the digital media having a positive effect on cinema appreciation, or depleting it? Rosenbaum dives in.
Is there a difference between cinephiles and cinemaniacs? Film theorist David Bordwell thinks there is, and explains why, in a long, fascinating, and playful exegesis.
The formidable New York Times critic finds reasons to be circumspect about the new cinephilia of small screens and digital media in this 2005 article. But she says it’s still too early to determine what’s lost or gained.
Taiwanese filmmaker Tsai Ming-liang discusses his concerns about the commodification of cinema and cultural experiences, as well as many other topics.
New York Film Critics Circle member and longtime reviewer Armond White argues that the practice of critical thinking about film is under assault.
Author and filmmaker Paul Schrader (Taxi Driver) pulls apart the notion of canons in this lengthy piece–and then creates one himself.
The editors of Cineaste polled a number of established and younger film critics about the presumed divide between print and Internet film writing.
The Guardian‘s critic, also a professor of film history and theory, has a bone to pick with reviewers who don’t know the tools of the trade.
Bergan assesses the state of professional reviewing in the wake of downsized positions at major publishers.
New York Times film reviewer Scott wonders if there is a future for arts criticism after the cancellation of his TV program At the Movies.
A young writer offers practical advice on how to improve the art of criticism, by looking to the examples of past (and present) masters of the form. In two parts.
Thanks to the Internet, there is more and better writing on film than ever before, says Roger Ebert.
The editor of Inventing Film Studies considers the institutional entanglements of the discipline today.
In a talk at the Valdivia Film Festival, Adrian Martin proposes some ideas for how to develop online discussion around cinema.