At Edinburgh’s Inspace gallery on June 16, Project: New Cinephilia proudly debuted Reverse Shot Video’s inaugural attempt at video film criticism following a panel entitled “Critical Approaches II: Tools, Formats, and Experiments.” The four-part piece puts two quintessential New York filmmakers–Martin Scorsese and Woody Allen–under the microscope, finding correspondences and divergences between their depictions of urban space in Taxi Driver and Hannah and Her Sisters, respectively, while also laying bare the process of the filmmakers themselves. It was presented by Eric Hynes, Jeff Reichert, and Michael Koresky.
By Michael Koresky and Jeff Reichert
Why would we ever want a website? That was the question that arose among Reverse Shot’s founding editors in 2003. It had been almost six months since we, along with our friends Neal Block and Erik Syngle, started what we had then dubbed, somewhat grandiosely, “the new magazine of film culture,” but until that moment we hadn’t much considered the possibility, let alone the necessity, of establishing a web presence. But now we knew we had to give it serious consideration. Reverse Shot was at this point a staple-bound, 8.5 x 5.5–inch twenty-plus-page print magazine with a “widescreen” design, self-published and hand-distributed around New York art-house theaters and museums; those who knew about it knew because they had grabbed a free issue after a screening at Film Forum or Brooklyn Academy of Music’s BAMcinématek, or after a shopping trip at dearly departed Kim’s Video on St. Marks, the Valhalla of rental stores (its contents currently taking up space in Sicily). Continue reading