deologically hideous and cinematically not even trying… we hate Downton Abbey. Hate it. But José especially so.
The podcast can be listened to in the players above or on iTunes.
A wide-ranging conversation with Kieron Corless, Deputy Editor of Sight and Sound on the magazine itself and issues that arise from it: What is film criticism? What is good criticism? What is the changing function of criticism? How has the digital turn affected not only what cinema is and how we see it but also what film criticism is and how it is now done? How has the eco system or matrix in which audio-visual work is produced, distributed and exhibited changed over the years, with galleries and museums displaying moving image work on one end; and perhaps Netflix on the other.
We talk about cinephilia and film culture at home and abroad; and further discuss the importance of advocacy, particularly in relation to international films that often get seen only in small film festivals. We agree that the online environment has immeasurably improved criticism and helped create a different way of appreciating and writing about cinema, pushing film criticism in new directions, not least the increasing importance of the video essay. It’s an exciting time.
Because I was so gobby in the podcast, I’v also added some excerpts from a workshop Kieron led at Warwick. The short one below is on Sight and Sound itself.
The longer one below is on writing film criticism in general and writing for Sight and Sound in particular. Kieron’s talk ranges from how to pitch, the writing of a draft, right up to the submission and editing stages. Top tips from Kieron, rather choppily edited by myself. But bound to be useful and certainly interesting.