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MCN Curated Headlines Archive for November, 2011

110 Features From 31 Countries
88 World Premieres
46 First-Timers
4,042 Feature Submissions
Sundance 2012 Announces Films In Competition

BBC

“We have to react against the theme park film, as well made as they are, and as enjoyable as some of them are.”
Marty Says: Don’t Take The Ride

Early Voters Give Out Only One Award For A Film Not Seen Or Released By October 1
NYFCC Announces The Early Winners

The Artist vs The Descendants is the story in another year of all big indies duking it out
Indies Spirit Noms Announced

“The film must be refused classification because it contains gratuitous, exploitative or offensive depictions of violence with a very high degree of impact and cruelty which has a high impact. Films classified RC cannot be sold, hired, or advertised in Australia.”
Oz Censors Refuse Human Centipede 2‘s Refuse

“Much of the drama emerges through the interstices of the tensely unfolding scenes of emotional writhing and indecision; the sixty-nine-minute sketchbook implies a novelistic amplitude of experience.”
Sounds Like Richard Brody Likes What’s Likely 2011’s Last Joe Swanberg Joint

MCN Curated Headlines

Quote Unquotesee all »

“To be a critic is to be a workaholic. Workaholism is socially conditioned: viewed favourably by exploiters, it’s generally ruinous to a worker’s mental health. When T.S. Eliot said criticism was as inevitable as breathing, he failed to mention that, respiratory problems notwithstanding, breathing is easy. Criticism is reflexive before reflective: to formalise/industrialise an involuntary instinct requires time, effort and discipline. The reason we seek remuneration, as opposed to the self-hatred of being a scab, is because all labour should be waged…

“Criticism, so the cliché by now goes, is dying. None of the panel discussions on its death agony, however—including those in which I’ve formally participated—come at it from the wider perspective that the problem surely needs. They defend the ways in which criticism functions in relation to the industry and to the public, but they fail to contextualise these relationships as defined by ultimately rotten and self-harming imperatives.

“Criticism was a noble profession so long as only a few could practice it for money; when the field expands, as it has with a so-called ‘democratisation’ of our practice, those few lose their political power. Competition grows and markets are undercut: publications are naturally going to start paying less. Precarity is both cause and effect of a surplus workforce: the reason you’re only as good as your last article is because there are plenty of other folks who can write the next one in your place. The daily grind is: pitch, or perish.

B”ut criticism, so a counter-cliché goes, is not dying. An irony: this is an elite sport that is no longer elite in terms of who is able to practice it, but in economic terms it’s clutching to a perverse and outmoded hierarchical structure. It’s more meritocratic than ever, now: which is to say it isn’t meritocratic at all. That’s a paradox in bad need of a resolution…”

~ Michael Pattison Manifestoes Film Criticism

“It’s easy to forget when you’re reading a critic every single week or multiple times a week, that most of us who do this job, and have been doing it for a long time, understand that this is basically a parasitic profession. I don’t mean in the sense that we’re evil bloodsucking creatures, but we couldn’t exist if we didn’t have something to analyze. And I’m always conscious of that. So whether I like or don’t like a particular thing you do, my point of view is always that of an appreciator. I just like to be in the world that you create.”
~ Matt Zoller Seitz To Sam Esmail

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