From Melissa Anderson:
Michael, in response to the question you posed to me—“How has the new accessibility of cinema changed your way of taking it in, or, as you put it, your ‘bingeing,’ and how has that affected your writing and consideration of film?”—my answer is simple: not at all. I don’t collect DVDs, am not a member of Netflix, don’t have cable, and own few gadgets (my home/portable screens are limited to a TV and a laptop). Keeping up with my journalism assignments requires me to watch three to ten films a week; the average skews higher if I’m covering a series. Most of the films I review I see in screening rooms, though occasionally titles are available only on screeners. Continue reading
From Melissa Anderson:
A few years ago, a French friend, in introducing me to a new word, helpfully elucidated the distinction between two terms: cinéphile versus cinéphage—a lover of movies versus someone who consumes them voraciously and indiscriminately. Terence Davies recalls such an insatiable appetite in Of Time and the City, his exquisite 2008 documentary about Liverpool, his hometown: “At age seven, I saw Gene Kelly in Singin’ in the Rain. I discovered movies and swallowed them whole.”
This kind of gluttony, it seems to me, is a necessary first step to being a film critic: devouring cinema (and being devoured by it), sampling and discovering as much as you can. But eventually you realize that it’s impossible to ingest—or love—it all; after a period of prolonged bingeing, you should know what you really crave and what satisfies you. Continue reading
From: Michael Koresky
Thanks so much, Kent. Daniel, I’d obviously like for you specifically to keep in mind Kent’s closing words regarding filmmaking and its critical appreciation existing on what seem like two different planets. Considering you’ve played both sides of that fence, you seem well positioned to talk about this….especially considering that you refuse to play both sides of that fence….your critical writing is not about evaluation per se, but rather, like your feature You Are Here, it’s about searching for a way to describe a form. Or at least it seems to me. Continue reading
On the heels of our first Online Roundtable, Project: New Cinephilia has invited five critics based in North America (New York, Los Angeles, Toronto) to discuss how cinephilia manifests in today’s digital age, how it differs from past incarnations, and what this means for criticism, filmmaking, and cinema culture in general.
Our distinguished chair for this session is Michael Koresky, co-founding Editor-in-Chief of Reverse Shot and the staff writer for the Criterion Collection. Joining him are the estimable Kent Jones (author of Physical Evidence), Melissa Anderson (Village Voice, Artforum), Daniel Cockburn (director of You Are Here) and Genevieve Yue (Film Comment, Reverse Shot). Check back daily all week as the conversation continues.
For full biographies please visit our Contributors page. You will find all related posts under the Online Roundtable 2 heading. Read, enjoy, and be sure to respond by clicking the link at the bottom of each post.