Why Criticism: Richard Dyer’s ‘White’ and Writing About Race
A Column on Film Criticism by Justine A. Smith
Why Criticism: Thom Andersen and the Critic as a Worker
A Weekly Column on Film Criticism by Justine A. Smith
Why Criticism: We Need to Talk About Short Films
A Column on Film Criticism by Justine A. Smith
Why Criticism: So, You’re Covering a Film Festival?
A Column on Film Criticism by Justine A. Smith
Why Criticism: Bechdel and Comics as Film Criticism
A Column on Film Criticism by Justine A. Smith (@redroomrantings)
Why Criticism: Jean Epstein and Photogénie
A Column on Film Criticism by Justine A. Smith
Why Criticism: The Inexpressible ‘House of Psychotic Women’ by Kier-La Janisse
A Column on Film Criticism by Justine A. Smith
Why Criticism: James Agee – From Critic to Filmmaker
A Column on Film Criticism by Justine A. Smith
Why Criticism: James Agee’s Vision of the American Cinema
A Column on Film Criticism by Justine A. Smith
Why Criticism: James Agee’s Voice
A Column on Film Criticism by Justine A. Smith
Why Criticism: Writing about Acting and Performance in 2016
A Column on Film Criticism by Justine A. Smith
Why Criticism: Setting Up a Podcast with Francisco Peres
A Column on Film Criticism by Justine A. Smith
Why Criticism: When Podcasts Reign and 5 Essentials
A Column on Film Criticism by Justine A. Smith
Why Criticism: Writing Prompts and Fiction
A Column on Film Criticism by Justine A. Smith
Why Criticism: The Deception of Plain Style
A Column on Film Criticism by Justine A. Smith
Why Criticism: Andrew Sarris vs. Pauline Kael
A Column on Film Criticism by Justine A. Smith
Why Criticism: In Defence of the Personal
A Column on Film Criticism by Justine A. Smith
Why Criticism?
A Column on Film Criticism by Justine A. Smith
SANFIC 11: Kill (f)or Love: Hou Hsiao-Hsien’s ‘The Assassin’
Jaime Grijalba on Santiago Festival Internacional de Cine