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
From Michael Koresky:
First of all, thanks to all of you for what is so far an incredibly engaging, provocative, and insightful discussion. Despite the depths you’ve all plumbed in terms of defining strains and eras of cinephilia, we’ve only scratched the surface. Or rather, I feel we can take these fascinatingly nebulous diagnoses about our affliction/gluttony/passion and apply them to where we are now. 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
From Michael Koresky
To: Kent Jones, Melissa Anderson, Daniel Cockburn, Genevieve Yue
Since this cinephilic world we’re about to talk about is always plagued (from our own ranks and externally) by nattering questions about its own relevance, let me start by saying that the four of you who have agreed to participate in this roundtable discussion represent the types of people—thinkers—that keep this form we love relevant. What’s most gratifying is that you come from a cross-section of cinephilic worlds: while you are all writers, you approach writing about film from different angles: variously you have been or continue to be filmmakers, programmers, academics, and, of course, critics. You have worked at nonprofits dedicated to film preservation, or to film presentation; you have been employed at weekly newspapers, written for print magazines and blogs; you have made films that have been shown at international festivals or broadcast on public television; you have covered the contemporary avant-garde scene, the festival circuit, the art house, the films of Hollywood past. Most importantly, it would be impossible to compartmentalize any of you into any one professional category, regardless of your specialty or particular talents. Because above all, you are what I would proudly (and others might derisively) call cinephiles, a mercifully nonprofessional term that allows all of these worlds to swoop and dovetail with ease. 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.