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Journal articles on the topic 'Film criticism'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Wang, Yunning. "Film Literary Criticism and Image Aesthetics: Around Film Criticism." SHS Web of Conferences 167 (2023): 01014. http://dx.doi.org/10.1051/shsconf/202316701014.

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Film criticism has been carried out in the form of activities since its inception, in which many outstanding intellectuals and artists have participated.Especially in this respect, European intellectuals can contrast with American intellectuals, who have long held films in contempt. “In Europe, intellectuals have been fascinated by filmmaking since the beginning of their media,” writes Tim Bewart and Thomas Szobak.It is not surprising, therefore, that in the 1920s, throughout Europe, Paris, Berlin, Moscow, a group of intellectuals dedicated to all corners of the art and other artists on the same basis as art, came together to discuss and write about film. “Unlike the U.S., where movies were excluded from intellectual reflection until the late 1950s, film criticism was a battleground for intellectuals in France.

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2

Balázs, Béla. "Film Criticism!" October 115 (January 2006): 55–56. http://dx.doi.org/10.1162/octo.2006.115.1.55.

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3

Wittusen, Cato. "Romantic Film-Philosophy and the Notion of Philosophical Film Criticism." Film-Philosophy 20, no. 2-3 (October 2016): 198–218. http://dx.doi.org/10.3366/film.2016.0011.

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A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent conversations about the differences between academic writing on film and film criticism. I argue that some aspects of Sinnerbrink's approach make it natural to compare it with traditional film criticism. There are also elements of his approach that are comparable to the use of films to support and develop theoretical perspectives in some academic writings. Next, I consider whether Sinnerbrink succeeds in challenging the traditional hierarchy of philosophy over film and art. I argue that interpreting film with attention to how it contributes philosophically, as he recommends, doesn't entirely escape the philosophical disenfranchisement of film. In the final part of the paper, I argue that if we want to re-enfranchise film (and art in general), we should pay more attention to what film and other art forms offer us that we do not find in philosophy. In my discussion, I make use of André Bazin's notion of film criticism and Simone de Beauvoir's view on the metaphysical novel.

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4

Thorina, Jenifer, and Suzy Azeharie. "Representasi Kritik Sosial dalam Film ‘The White Tiger’ (Analisis Semiotika Roland Barthes)." Koneksi 7, no. 2 (October 5, 2023): 365–74. http://dx.doi.org/10.24912/kn.v7i2.21393.

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The film is an effective form of mass media to convey messages to a wide audience. Not only are films entertaining, but they also often include hidden messages such as social criticism. 'The White Tiger' is a Netflix film released in 2021. The film, which is set in the country of India, inserts many scenes and narratives that contain criticism of social problems that occur in India. This research uses a qualitative approach with a descriptive method with Roland Barthes semiotic analysis technique. The theories used are mass communication, film as mass media, Roland Barthes semiotics, and representation of social criticism. The purpose of this research is to find out the representation of social criticism in the film 'The White Tiger’. Data collection methods were observation, interview, literature study, and documentation. As a result, film becomes a means of conveying social criticism. In the film 'The White Tiger', the criticisms include the low level of education, the high dropout rate and underage labor, the lack of adequate health facilities, the high social gap, racism, caste, and discrimination against women. Film merupakan salah satu bentuk media massa yang efektif untuk menyampaikan pesan ke khalayak luas. Tidak hanya menghibur, film juga sering kali menyisipkan pesan-pesan tersembunyi seperti kritik sosial. ‘The White Tiger’ merupakan film Netflix yang dirilis pada tahun 2021. Film yang berlatar belakang di negara India ini menyisipkan banyak adegan dan narasi yang berisi kritik tentang masalah sosial yang terjadi di India. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif dengan teknik analisis semiotika Roland Barthes. Teori yang digunakan adalah komunikasi massa, film sebagai media massa, semiotika Roland Barthes, dan representasi kritik sosial. Tujuan dari penelitian ini adalah untuk mengetahui representasi kritik sosial dalam film ‘The White Tiger’. Metode pengumpulan data dilakukan dengan observasi, wawancara, studi kepustakaan, dan dokumentasi. Hasilnya, film menjadi sarana penyampaian kritik sosial. Dalam film ‘The White Tiger’, kritik tersebut antara lain rendahnya tingkat pendidikan, tingginya tingkat putus sekolah dan pekerja di bawah umur, kurang memadainya fasilitas kesehatan, tingginya kesenjangan sosial, rasisme, kasta, dan diskriminasi terhadap perempuan.

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5

Zajdel, Jakub. "Stefan Morawski o filmie i krytyce filmowej." Przegląd Kulturoznawczy, no. 3 (49) (2021): 599–621. http://dx.doi.org/10.4467/10.4467/20843860pk.21.041.14361.

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Stefan Morawski about film and film criticism The author undertook the task of describing the views of Stefan Morawski as a film critic. Morawski appreciated realistic films the most. He understood realism as a film style that gives an image of the real life of ordinary people. Looking at the film from a Marxist perspective, he described it in a historical context. In his interpretations of the films, Morawski tried to reveal their moral message. He called for the creation of films that would mobilize viewers to work for a better world. In the second part of the article, the considerations concern Morawski’s metacritical publications. Morawski described many types of film criticism. He explained the relationship between film criticism and aesthetics.

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6

Zajdel, Jakub. "Stefan Morawski o filmie i krytyce filmowej." Przegląd Kulturoznawczy, no. 3 (49) (2021): 599–621. http://dx.doi.org/10.4467/20843860pk.21.041.14361.

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Stefan Morawski about film and film criticism The author undertook the task of describing the views of Stefan Morawski as a film critic. Morawski appreciated realistic films the most. He understood realism as a film style that gives an image of the real life of ordinary people. Looking at the film from a Marxist perspective, he described it in a historical context. In his interpretations of the films, Morawski tried to reveal their moral message. He called for the creation of films that would mobilize viewers to work for a better world. In the second part of the article, the considerations concern Morawski’s metacritical publications. Morawski described many types of film criticism. He explained the relationship between film criticism and aesthetics.

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7

Nugroho, Tegar Wahyu, and Encil Puspitoningrum. "Kritik Sosial dalam Film Miskin Susah Kaya Susah dan Relevansi Pembelajaran Bahasa Indonesia." MARDIBASA: Jurnal Pembelajaran Bahasa dan Sastra Indonesia 3, no. 1 (August 25, 2023): 82–92. http://dx.doi.org/10.21274/jpbsi.2023.3.1.82-92.

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The aims of this research are (1) to describe the social criticism contained in the film Miskin Susah Kaya Susah, (2) to describe its relevance to learning Indonesian in high school. This study used descriptive qualitative method. The data source comes from the film Poor Susah Rich Susah. Data collection techniques using observation and note-taking techniques. The results of the research show that there are four social criticisms which cover the problems of poverty, population, education, and morals. In addition, the film Miskin Susah Kaya Susah can be used as Indonesian language learning material in SMA Class X1 even semester at KD 3.19 to analyze the content and language of the drama or film that is read or watched. From this it proves that there is relevance to the use of film media for learning Indonesian. The benefits that students get from analyzing social criticism in films are developing sensitivity to problems that occur in their environment.

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8

Salim, Vanessa, and Gregorius Genep Sukendro. "Representasi Kritik Sosial dalam Film Parasite (Analisis Semiotika Roland Barthes)." Koneksi 5, no. 2 (September 29, 2021): 381. http://dx.doi.org/10.24912/kn.v5i2.10387.

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Social criticism is considered as a form of deep communication that aims or controls a social system. Parasite is a film that represents sharp social inequalities and contains social criticism about social problems that occur in South Korea. This study uses various theories, namely mass communication theory, film, semiotics, representation and social criticism. By using a descriptive qualitative approach with Roland Barthes' semiotic analysis technique which consists of denotation, connotation and myth, this study aims to determine the representation of social criticism in the film Parasite. The method used in this research is semiotic analysis method. In this study, it was found that the message conveyed by the director as a communicator in the film Parasite regarding social problems was packaged with a dark comedy genre film that included some social criticism in it. Social criticisms depicted in this film include criticism of poverty which is depicted through living and living with unemployment, criticism of crimes committed by lower-class families by falsifying documents, and uneven urban planning.Kritik sosial dianggap sebagai bentuk komunikasi mendalam yang bertujuan atau mengendalikan suatu sistem sosial. Parasitemerupakan sebuah film yang merepresentasikan kesenjangan sosial yang tajam dan mengandung kritik sosial mengenai masalah sosial yang terjadi di Korea Selatan. Penelitian ini menggunakan berbagai teori yaitu teori komunikasi massa, film, semiotika, representasi dan kritik sosial. Dengan menggunakan pendekatan kualitatif yang bersifat deskriptif dengan teknik analisis semiotika Roland Barthes yang terdiri dari denotasi, konotasi dan mitos penelitian ini memiliki tujuan untuk memiliki tujuan untuk mengetahui representasi kritik sosial dalam film Parasite. Metode yang digunakan dalam penelitian ini adalah metode analisis semiotika. Dalam penelitian ini ditemukan bahwa pesan yang disampaikan oleh sutradara sebagai komunikator dalam film Parasite mengenai masalah sosial, dikemas dengan film bergenre komedi gelap yang menyelipkan beberapa kritik sosial didalamnya. Kritik sosial yang digambarkan pada film ini antara lain kritik terhadap kemiskinan yang digambarkan melalui tempat tinggal dan hidup dengan pengangguran, kritik terhadap kejahatan yang dilakukan oleh keluarga kelas bawah dengan memalsukan dokumen, dan pembangunan tata kota yang tidak merata.

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9

Buckland, Warren. "Solipsistic film criticism. Review ofThe Language and Style of Film Criticism." New Review of Film and Television Studies 10, no. 2 (June 2012): 288–98. http://dx.doi.org/10.1080/17400309.2012.672128.

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10

von Moltke, Johannes. "Selected Film Criticism, 1923–1931." New German Critique 47, no. 3 (November 1, 2020): 73–91. http://dx.doi.org/10.1215/0094033x-8607605.

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Abstract Ten film reviews by Siegfried Kracauer from the 1920s and early 1930s are translated here for the first time, with a brief introduction by the translator. Leaving aside reviews that have already been translated elsewhere, and focusing almost exclusively on the silent period, the present selection was guided by two considerations. First, it includes reviews of several films that have entered the canon of world cinema (The Last Laugh, The Blue Angel, The Man with the Movie Camera, Girls in Uniform). Second, it reflects Kracauer’s attraction, particularly during the early 1920s, to American slapstick.

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11

Mutiara, Gea, Sri Mulyati, and Marsandi Manar. "CLASS CONFLICT IN PARASITE FILM USING MARXIST CRITICISM." Akrab Juara : Jurnal Ilmu-ilmu Sosial 7, no. 2 (May 5, 2022): 180. http://dx.doi.org/10.58487/akrabjuara.v7i2.1834.

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For a long time, films have taken responsibility to spread cultural diversity, information and entertainment. It can be a medium to portray philosophical discussion and arguments, like class conflict. The writer analysis a film entitled “Parasite” by Bong Joon-ho. This film was published in 2019 and became one of the most popular films of the year. The purpose of this research is to understand the matter of class conflict that arises in Parasite film. The research method used is descriptive qualitative to dissect in detail the problem. According to issues that happened in the Parasite film, this research uses Marxism theory by Karl Marx and Friedrich Engels. For further analysis, the writer analyses the relation of narrative and cinematic structure, so class discrimination that occurs in the film can be more portrayed. The result of this research show that the theme of this film describes about hope of the- working-class to improve their live inside capitalism society. At the end, the theme of hope portrayed in a letter, imagining a better life for a working-class family, even after all they have experienced.

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12

Lorand, Ruth, and Rudolf Arnheim. "Film Essays and Criticism." Journal of Aesthetics and Art Criticism 56, no. 4 (1998): 415. http://dx.doi.org/10.2307/432140.

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13

Michelson, Annette, William H. Phillips, and Jon Tuska. "Film Criticism and Theory." Communication Booknotes 16, no. 5 (May 1985): 50–52. http://dx.doi.org/10.1080/10948008509488308.

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14

Carney, Raymond, J. P. Telotte, Gerald Mast, Marshall Cohen, Bill Nichols, Robin Wood, Joy Gould Boyum, et al. "Film Theory and Criticism." Communication Booknotes 16, no. 12 (December 1985): 141–43. http://dx.doi.org/10.1080/10948008509488359.

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15

Cahir, Linda Costanzo. "Engaging Film Criticism (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 95. http://dx.doi.org/10.1353/flm.2007.0006.

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16

Jianqiang, Li. "Chinese Popular Film Criticism." Journal of Popular Culture 27, no. 2 (September 1993): 39–50. http://dx.doi.org/10.1111/j.0022-3840.1993.00039.x.

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17

Li, Ziyi. "The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example." Learning & Education 10, no. 8 (June 20, 2022): 94. http://dx.doi.org/10.18282/l-e.v10i8.3071.

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As a critic of the classic visual art of images, Gombrich has pioneering insights into some aspects of the discourse of image criticism. This is not only used in his art history and art direction, but also in films that are also visual culture. direction. This article utilizes Gombrich’s innovation of critical discourse, combined with some cognitive models and related concepts proposed by Gombrich to inspire traditional film criticism. Combining neo-realism films with the inner characteristics of characters in the external material world, taking Italian director Fellini’s “The Great Road” as an example, this paper attempts to clarify the impact of this critical discourse innovation on film criticism.

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18

Karamatullah, Zahirah, and Bastian Zulyeno. "Citra Pengungsi dan Masalah Sosial dalam film Capernaum Karya Nadine Labaki." Jurnalika : Jurnal Ilmu Komunikasi 7, no. 1 (February 28, 2023): 115–27. http://dx.doi.org/10.37949/jurnalika7152.

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This research will discuss a film directed by Nadine Labaki, entitled Capernaum, because it managed to touch the emotions of the audience. This film received a standing ovation for fifteen minutes at the Cannes Film Festival in May 2018 in France. The film Capernaum is one of the films that has caught the attention of the writer because it depicts the reality of the lives of refugees in Lebanon which are packaged from the perspective of children. This study uses a descriptive-analysis method with an objective approach. In this research, the writer used Burhan Nurgiyantoro's fiction assessment theory. Starting from describing the intrinsic elements including the theme, setting, plot, characters, and morals. Intrinsic elements will be applied in analyzing the social criticism contained in the film Capernaum. The purpose of this research is to know the intrinsic elements and to analyze the social criticism contained in Capernaum's film. As a result, there is social criticism to be conveyed regarding the government, family and society in the film Capernaum.

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19

Moore, Candace. "Proto-Queer Media Criticism." Feminist Media Histories 1, no. 1 (January 1, 2015): 4–28. http://dx.doi.org/10.1525/fmh.2015.1.1.4.

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Lisa Ben's “Cinema Ramblings” in the 1940s underground publication Vice Versa mark some of the first media reviews to focus on homosexual themes, representations, and subtexts from a self-proclaimed lesbian perspective. While still largely unknown, the critical lenses and stylistic methods she employed set a precedent for the kind of radical queer media criticism that reviewers engage in today. Her writings deconstruct heteronormative frameworks by redefining the borders of the “normal” and the “natural”; look to the margins of media texts, often placing more focus on secondary figures than on main characters; rely on intertextual understandings that read films against their adaptation sources; and actively participate in a form of “subtexting,” or, as she puts it, “playing up” suggestive representations. Ben's film reviews present an important and relevant counterframe to cinematic deliberations on the instability of sexual and social relations. This counterframe existed among other counterpublic discourses available at the time and enables a queer reading of 1930s and ’40s film representations such as Children of Loneliness (1934), Club des femmes (1936), and Turnabout (1940). Drawing from reviews and essays published in Vice Versa, I propose a way of reading media representations of transgressive sexuality and gender—an analytic and a vocabulary—that predates queer theory as an institutionalized concern.

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20

Freeland, Cynthia, and Patricia Erens. "Issues in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 347. http://dx.doi.org/10.2307/431419.

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21

Poague, Leland, and William Cadbury. "The Possibility of Film Criticism." Journal of Aesthetic Education 23, no. 4 (1989): 5. http://dx.doi.org/10.2307/3333028.

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22

Banks, Anna. "Issues in Feminist Film Criticism." American Journalism 9, no. 1-2 (January 1992): 135–36. http://dx.doi.org/10.1080/08821127.1992.10731443.

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23

Taylor, Charles. "The Problem with Film Criticism." Dissent 58, no. 4 (2011): 81–83. http://dx.doi.org/10.1353/dss.2011.0085.

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24

Travis, Robert. "The Routinization of Film Criticism." Journal of Popular Culture 23, no. 4 (March 1990): 51–65. http://dx.doi.org/10.1111/j.0022-3840.1990.2304_51.x.

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25

Mayne, Judith. "Feminist Film Theory and Criticism." Signs: Journal of Women in Culture and Society 11, no. 1 (October 1985): 81–100. http://dx.doi.org/10.1086/494201.

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26

Lenssen, Claudia. "Film Criticism in Germany Today: A Report on Practice." New German Critique 47, no. 3 (November 1, 2020): 59–71. http://dx.doi.org/10.1215/0094033x-8607591.

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Abstract As traditional media in Germany have lost their relevance in the digital age, so has the perpetually embattled authority of film criticism diminished. The article addresses current debates about the state of criticism while critics are confronting the collapse of the media having traditionally defined their work. What does it mean that writing on film is supposed to function as the “taste tester for cultural gastronomy” (Wolfram Schütte)? Do social media marginalize critical expertise? How does film criticism work under the omen of changing concepts of the public sphere? The article discusses the prospects of film criticism “at a time when the architectonic, mythic, and social unity of film is no longer self-evident and has ceased to function hegemonically” (Georg Seeßlen). What does it mean that “writing about the audiovisual must change” and young film critics open up spaces to win back film criticism as a counterbalance to market-driven film policies?

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27

Mcwhirter, Andrew. "Film criticism, film scholarship and the video essay." Screen 56, no. 3 (September 2015): 369–77. http://dx.doi.org/10.1093/screen/hjv044.

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28

McWhirter, Andrew. "Film criticism, film theory, and the middle range." International Journal of Jungian Studies 5, no. 2 (June 1, 2013): 177–80. http://dx.doi.org/10.1080/19409052.2013.773631.

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29

Grant, Catherine. "On Drill Team and the musicality of videographic criticism." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 148–51. http://dx.doi.org/10.33178/alpha.27.13.

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An article comprising the videographic study Drill Team alongside a written framing of its film studies origins and comparative methodology. The video attempts a performative audiovisual adaptation of a chapter section from Danijela Kulezic-Wilson’s 2020 book Sound Design is the New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack. Drill Team explores both Kulezic-Wilson’s specific (if uncertain) argument about the relationship between two films, Beau Travail (Claire Denis, 1999) and The Fits (Anna Rose Holmer, 2015), and her general argument in the chapter about the “composed” nature of the sound (and music) design in these and other modern or contemporary films, as well as about the capacity of these films, and film generally, to use modes of embodied experience as the substance of their language.

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30

Sifaki, Eirini, and Anastasia Stamou. "Film criticism and the legitimization of a New Wave in contemporary Greek cinema." Journal of Greek Media & Culture 6, no. 1 (April 1, 2020): 29–49. http://dx.doi.org/10.1386/jgmc_00002_1.

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Contemporary Greek cinema garnered a great reputation in recent years, including Oscar nominations, numerous awards and distinctions in international festivals and also worldwide media coverage. The emergence of a new group of filmmakers whose creativity and avant-garde aesthetics were stimulated and heightened by the social and economic crisis was first marked by media critics (film critics and cultural journalists). As journalistic art criticism plays a prominent role in the legitimization of cultural products and artistic genres, this article examines the way in which professional film critics and journalists, both in Greece and abroad, described, evaluated and labelled the ‘Greek New Wave’. In line with cultural evaluation theories, we conducted a content analysis of film criticism articles in order to explore how professionals have reviewed and deployed their arguments towards this new phenomenon. Our results indicate that film criticism decisively influenced the Greek New Wave’s shaping and legitimization in the film industry. Even though film critics and journalists hesitated to adhere to a specific name for this phenomenon in Greek cinema, their discourses and interpretations have been based on the films’ break with previous film practices and representations of Greek society and the paradox between a ‘collapsing country’ and a flourishing arthouse cinema.

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31

Smoliński, Sebastian. "Minority Views: “Liberator”, American Cinema, and the 1960s African American Film Criticism." Kwartalnik Filmowy, no. 120 (December 31, 2022): 144–63. http://dx.doi.org/10.36744/kf.1382.

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The article reconstructs the discourse of film criticism in Liberator – a radical African American magazine published between 1961 and 1971. Employing Pierre Bourdieu’s theory of the cultural field, the author situates Liberator within the context of the 1960s, civil rights movement, and Black Arts movement, and analyses the magazine’s role in film culture of the era, as well as the links between the magazine and important black filmmakers and film writers. Four aspects of Liberator’s film criticism are explored: cultural memory of past representations, criticism of genre filmmaking, the need for cinematic realism, and the possibility of creating a distinct black cinema. The case study of the critic Clayton Riley’s career presents an author who wanted to continue his radical criticism in the mainstream press (The New York Times). Liberator’s legacy is framed as essential in understanding the tradition of African American film criticism.

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32

Tamsil, Ilma Saakinah. "Criticism of Government During New Order Era in Film Langitku Rumahku (1989)." Journal of Education, Humaniora and Social Sciences (JEHSS) 5, no. 4 (May 11, 2023): 2615–26. http://dx.doi.org/10.34007/jehss.v5i4.1752.

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During the New Order era, all comments, protests against the government, or depicting reality would receive harsh punishment, and some would be arrested. The government silences everyone’s right to freedom of speech and express opinions through state security measures. The film Langitku Rumahku (1989) owned by Slamet Rahardjo and Erros Djarot had become a controversial film because it dared to describe a picture of social differences between two classes of society which was interpreted as a criticism of the New Order government at that time so finally this film had its broadcast period limited and withdrawn from circulation. This study aims and focuses on describing criticism of the New Order government in the film Langitku Rumahku. To approach this problem, the Semiotics theory (Ferdinand de Saussure) is used to see signifier and signified which is strengthened by several social theories to describe the socio-political atmosphere of that era. Data were collected through films and analyzed qualitatively. This study concludes that criticism is clearly illustrated through the discrimination of the characters, symbols, and dialogues displayed in the film so that they have relevance to the research objectives.

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33

Deyto, Jeffrey. "From Opinion to Method: Film Criticism beyond Communicative Capitalism." UNITAS 93, no. 01 (May 5, 2020): 37–57. http://dx.doi.org/10.31944/20209301.03.

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In the light of Barthes’s failed assassination of the author, this essay will tread on the plane of film criticism’s practices of resuscitation of the author. Looking at the current phenomenon of the explosion of quantification in social media space, this essay considers the way communicative capitalism and neoliberal psychopolitics regulate points of view, analyses, and criticism in the internet, and funnel them into a single unit, which is in the form of opinion. This essay will look into three reviews of Citizen Jake (2018) which, as will be argued, often function in double: not only as reviews, but also as consumer guides, which come from the individual opinion of a privileged member of the audience, the reviewer. As a recommendation to resist these reductions, it is suggested that the film critic must practice a self-conscious theorization by looking at the social practices governing the production of the film, the subject of criticism. Dialectically, this will also resolve the failed modernist projects of defacing the author, defacing capitalist subjectivities, toward a materialist conception of film.

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34

Bell, Melanie. "Film Criticism as ‘Women's Work’: the Gendered Economy of Film Criticism in Britain, 1945–65." Historical Journal of Film, Radio and Television 31, no. 2 (June 2011): 191–209. http://dx.doi.org/10.1080/01439685.2011.572605.

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35

WON, Eunyoung. "SOCIAL CONDITIONS OF FILM CRITICS IN SOUTH KOREA FROM 2000 TO 2020." International Journal of Korean Humanities and Social Sciences 7 (December 27, 2021): 83–99. http://dx.doi.org/10.14746/kr.2021.07.04.

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This paper empirically analyzes the social status of film critics in the Korean film industry. Film critics contribute to the creation of films as producers of specific values in film art by producing cinematographic discourse. Then how does one become a film critic? How does the film critic space operate – which can be understood as structured based on the development of the market for film magazines in the 1990s? The result of quantitative and qualitative analysis of the social recruitment of film critics from 2000 to 2020 shows that those who attained the legitimate status of film critic by winning awards in contests possess a high level of academic capital. It was also found that the location of higher education among these laureates was mainly concentrated in Seoul. Although film critics are not fully institutionalized and have an artistic mission to some extent, to access the profession of film criticism, they need to be controlled by established film critics who share similar cultural and symbolic capital each other. This suggests that symbolic power exists in the world of film criticism and that the structure can be reproduced through gatekeeping by the owners of symbolic power.

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Yamazaki, Junko. "Embedded film, embodied reception: Tsurumi Shunsuke’s autobiographical film criticism." Journal of Japanese and Korean Cinema 10, no. 2 (July 3, 2018): 130–46. http://dx.doi.org/10.1080/17564905.2018.1517711.

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Crawford, Larry, Raymond Bellour, and D. Matias. "Monstrous Criticism: Finding, Citing. Analyzing Film." Diacritics 15, no. 1 (1985): 58. http://dx.doi.org/10.2307/464631.

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Lorraine, Renee Cox, Diane Carson, Linda Dittmar, and Janice R. Welsch. "Multiple Voices in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 328. http://dx.doi.org/10.2307/431364.

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Ivakhiv, A. "Green Film Criticism and Its Futures." Interdisciplinary Studies in Literature and Environment 15, no. 2 (July 1, 2008): 1–28. http://dx.doi.org/10.1093/isle/15.2.1.

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Lee, Josephine. "Countervisions: Asian American Film Criticism (review)." Journal of Asian American Studies 5, no. 1 (2002): 78–81. http://dx.doi.org/10.1353/jaas.2002.0004.

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Chan, Hiu M. "Film Criticism in the Digital Age." Digital Journalism 5, no. 10 (September 5, 2017): 1353–54. http://dx.doi.org/10.1080/21670811.2017.1368639.

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Fenner, David E. W. "Virtues and Vices in Film Criticism." International Journal of Applied Philosophy 15, no. 2 (2001): 309–22. http://dx.doi.org/10.5840/ijap200115218.

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O’Regan, Tom, and Huw Walmsley-Evans. "The Emergence of Australian Film Criticism." Historical Journal of Film, Radio and Television 38, no. 2 (June 2, 2017): 296–321. http://dx.doi.org/10.1080/01439685.2017.1300409.

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LORAND, RUTH. "Rudolf Arnheim, Film Essays and Criticism." Journal of Aesthetics and Art Criticism 56, no. 4 (September 1, 1998): 415–16. http://dx.doi.org/10.1111/1540_6245.jaac56.4.0415.

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James, Nick. "Rip It Up: Revitalizing Film Criticism." Film Quarterly 62, no. 3 (2009): 14–15. http://dx.doi.org/10.1525/fq.2009.62.3.14.

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Verevis, Constantine, and Deane Williams. "Contemporary Australian Film Theory and Criticism." Media International Australia 136, no. 1 (August 2010): 177–90. http://dx.doi.org/10.1177/1329878x1013600118.

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Naqvi, Fatima. "Kakanian Flyspecks: Film Criticism in Austria since the 1990s." New German Critique 47, no. 3 (November 1, 2020): 21–31. http://dx.doi.org/10.1215/0094033x-8607549.

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Abstract Film criticism helped constitute what is now called New Austrian Cinema. This article looks at “short form” criticism in edited volumes and emerging journals that worked to establish this cinema’s coherence and prestige. The virtuous cycle inaugurated in the 1990s—when critics wrote with great acuity about recent films, and filmmakers seemed to work to meet heightened expectations—has continued with full-length monographs for a wider audience in the new millennium. This development, however, has not been without its detractors. Specifically, Michael Haneke’s Caché (2005) can be interpreted as an ambivalent statement about the power of the critic.

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Wartenberg, Thomas. "Film as Argument." Film Studies 8, no. 1 (2006): 126–37. http://dx.doi.org/10.7227/fs.8.13.

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Film theorists and philosophers have both contended that narrative fiction films cannot present philosophical arguments. After canvassing a range of objections to this claim, this article defends the view that films are able to present philosophical thought experiments that can function as enthymemic arguments. An interpretation of Michel Gondry‘s Eternal Sunshine of the Spotless Mind (2004) is given in which the films criticism of the technology of memory erasure is just such a thought experiment, one that functions as a counter-example to utilitarianism as a theory for the justification of social practices.

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Gjelsvik, Anne. "Etiske lesninger i fiksjonens frirom." K&K - Kultur og Klasse 36, no. 106 (March 22, 2009): 120–41. http://dx.doi.org/10.7146/kok.v36i106.22027.

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Ethical Readings in the Unbiassed Sphere of Fiction:This article defends an ethical criticism of fiction film. Drawing on the so-called »ethical turn« in philosophy and literary criticism, as well as perspectives from new tendencies in cognitive film theory, Gjelsvik argues that an ethical criticism is not just possible, but unavoidable.Using contemporary American fiction film and the depiction of violence as her main case-study, she aims to show that there is no such thing as a separate fictional realm beyond the scope of ethical evaluations. A central example in her discussion is Quentin Tarantino’s Kill Bill, a movie which was regarded by the Norwegian film reviewers as a fairy-tale and »just for fun«; accordingly the movie’s depiction of violence was not subject to an ethical criticism. Gjelsvik points to several reasons why this position (close to »aestheticism« in art theory) is inadequate, and she proposes a moderate version of ethical criticism instead. She discusses the moderate position as formulated by Berys Gaut and Noël Carroll, both philosophers who also have worked extensively on film art, trying to transfer their perspectives on art onto popular culture.She argues that such an approach also needs to take into consideration the emotions evoked by the movie and by violent depictions in particular. Whereas cognitive film theorists have foregrounded the similarities between the viewers’ emotional response to film and their real-life emotions, Gjelsvik makes a case for the importance of considering the distinctive features of fiction and cinematic depictions.The overall argument is that, as the relation between moral and aesthetic values is complex, ethical criticism should not aim for categorical evaluation. On the contrary, the position should take into consideration the heterogeneousness of fiction film, for instance in the differences between different movies’ depiction of violence, and acknowledge the value of ambivalent reactions towards fiction as well.

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Zhiyong, Sun, Liu Ye, and Chen JiaHui. "A Film Criticism Website Based on “ThinkPHP”." International Journal of Advanced Pervasive and Ubiquitous Computing 9, no. 1 (January 2017): 1–22. http://dx.doi.org/10.4018/ijapuc.2017010101.

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With the continuous development of science and technology and progress of society, the rise of Internet plus era, the cinema began to build their own website in order to expand the film to improve the efficiency, to provide a common discussion for film enthusiasts. This paper uses ThinkPHP framework to complete the needs of the site, it is to simplify the enterprise application development and agile WEB application development and the existence of a fast, compatible and simple lightweight domestic PHP development framework. The analysis in detail on the film critic website in addition, the ThinkPHP framework were analysis explain, on the basis of that tool use is Webstorm development tools with Wamp integrated development tools and environment related structures, database using mysql, ThinkPHP film critic website based on is not only convenient for the users to understand the new release of the news and information, more convenient is that one can allow managers to facilitate the management of a good movie dynamic information and view the user to give the evaluation and so on.

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