by Vadim Rizov
One of the many pleasures of reading Sight & Sound comes in the two pages of book criticism at the back. It's here that I often get to learn about ideas and buzzwords making the academic rounds that might someday percolate down into the broader critical world. Often these remind me precisely why I'm not in academia, which is some kind of service. It was in the March 2009 issue, for instance, that I read Catherine Wheatley—in an aside about a critical anthology of Mark Cousins' writing—noting that Cousins admits he works from a "masculine" urge to "praise or excoriate." Wheatley continued: "I'm not sure that I myself don't prefer the alternative: a 'feminine' form of criticism that opens up a film's potential by refusing to read it as this or that, rather than closing it down through sheer force of rhetoric." I bow to the...
One of the many pleasures of reading Sight & Sound comes in the two pages of book criticism at the back. It's here that I often get to learn about ideas and buzzwords making the academic rounds that might someday percolate down into the broader critical world. Often these remind me precisely why I'm not in academia, which is some kind of service. It was in the March 2009 issue, for instance, that I read Catherine Wheatley—in an aside about a critical anthology of Mark Cousins' writing—noting that Cousins admits he works from a "masculine" urge to "praise or excoriate." Wheatley continued: "I'm not sure that I myself don't prefer the alternative: a 'feminine' form of criticism that opens up a film's potential by refusing to read it as this or that, rather than closing it down through sheer force of rhetoric." I bow to the...
- 2/10/2010
- GreenCine Daily
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