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Reviewing the Reviewers the Impact of Individual Film Critics on Box Office Performance

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Analysis and evaluation of films

Film criticism is the analysis and evaluation of films and the movie medium. In general, film criticism can exist divided into two categories: journalistic criticism which appears regularly in newspapers, magazines and other popular mass-media outlets; and academic criticism by moving picture scholars who are informed past film theory and are published in academic journals. Academic film criticism rarely takes the form of a review; instead it is more likely to analyse the movie and its identify within the history of its genre, or the whole of film history.[i]

History [edit]

Film was introduced in the late 19th century. The primeval artistic criticism of motion picture emerged in the early 1900s. The beginning newspaper to serve as a critique of film came out of The Optical Lantern and Cinematograph Journal, followed by the Bioscope in 1908.[2]

Film is a relatively new grade of art, in comparison to music, literature and painting which accept existed since ancient times. Early writing on flick sought to fence that films could also be considered a form of fine art. In 1911, Ricciotto Canudo wrote a manifesto proclaiming cinema to be the "Sixth Art" (afterward "Seventh Art").[three] For many decades after, movie was still beingness treated with less prestige than longer-established art forms.[4] In Sweden, serious film criticism was spearheaded by Bengt Idestam-Almquist, to the point of the Swedish Motion-picture show Establish calling him the father of Swedish moving picture criticism.[5]

Past the 1920s, critics were analyzing moving-picture show for its merit and value as more than but entertainment. The growing popularity of the medium acquired major newspapers to outset hiring motion-picture show critics.[2] In the 1930s, the film industry saw audiences grow increasingly silent as films were now accompanied by sound. Notwithstanding, in the late 1930s audiences became influenced past impress news sources reporting on movies and criticism became largely centered around audition reactions within the theaters.[six]

It was in the 1940s that new forms of criticism emerged. Essays analyzing films with a distinctive amuse and style sought to persuade the reader of the critic's statement.[2] It was the emergence of these styles that brought picture show criticism to the mainstream, gaining the attention of many popular magazines; this fabricated flick reviews and critiques an eventual staple among most impress media. As the decades passed, the fame for critics grew and gave rise to household names among the craft like James Agee, Andrew Sarris, Pauline Kael and in modern times Roger Ebert and Peter Travers.

Journalistic criticism [edit]

Film critics working for newspapers, magazines, broadcast media, and online publications, mainly review new releases, although besides review older films.[7] An important job for these reviews is to inform readers on whether or non they would desire to see the picture show. A movie review will typically explicate the premise of the film before discussing its merits or flaws. The verdict is oft summarized with a class of rating. Numerous rating systems exist, such as 5- or 4-star scales, academic-style grades and pictograms (such as in the San Francisco Relate).

Some well-known journalistic critics have included: James Agee (Time, The Nation); Vincent Canby (The New York Times); Roger Ebert (Chicago Sun-Times); Mark Kermode (BBC, The Observer); James Berardinelli; Philip French (The Observer); Pauline Kael (The New Yorker); Manny Farber (The New Republic, Time, The Nation); Peter Bradshaw (The Guardian); Michael Phillips (Chicago Tribune); Andrew Sarris (The Village Vox); Joel Siegel (Good Morning America); Jonathan Rosenbaum (Chicago Reader); and Christy Lemire (What The Moving picture?!).

Roger Ebert and Cistron Siskel popularised the concept of reviewing films in a television format in the show Siskel & Ebert At the Movies which became syndicated in the 1980s. Both critics had established their careers in print media, and continued to write written reviews for their newspapers alongside their television show.

Online film criticism [edit]

Aggregators [edit]

Websites such every bit Rotten Tomatoes and Metacritic seek to improve the usefulness of picture reviews by compiling them and assigning a score to each in social club to guess the general reception a film receives.[8] Other less well known aggregators such equally the Flick Review Query Engine (MRQE) are besides available.

Online moving-picture show critics [edit]

Blogging also introduced opportunities for a new wave of amateur film critics to have their opinions heard. These review blogs may focus on i genre, director or actor, or encompass a much wider variety of films. Friends, friends of friends, or strangers are able to visit these blogsites, and can often exit their own comments nearly the motion-picture show and/or the author'due south review. Although much less frequented than their professional person counterparts, these sites tin can gather a following of like-minded people who look to specific bloggers for reviews, equally they take plant that the critic consistently exhibits an outlook very similar to their own.[nine] YouTube has too served equally a platform for amateur film critics.

Some websites specialize in narrow aspects of picture show reviewing. For instance, there are sites that focus on specific content advisories for parents to judge a film's suitability for children. Others focus on a religious perspective (eastward.g. CAP Alert). Still others highlight more esoteric subjects such as the depiction of science in fiction films. One such example is Insultingly Stupid Moving-picture show Physics past Intuitor. Some online niche websites provide comprehensive coverage of the contained sector; ordinarily adopting a manner closer to impress journalism. They tend to prohibit advertisement and offer uncompromising opinions gratuitous of whatever commercial involvement. Their film critics ordinarily accept an academic moving picture background.[2]

The Online Film Critics Society, an international professional clan of Internet-based picture palace reviewers, consists of writers from all over the globe,[x] while New York Film Critics Online members handle reviews in the New York tri-state area.[11]

User-submitted reviews [edit]

Community-driven review sites, that allow internet users to submit personal movie reviews, have allowed the common movie goer to express their opinion on films. Many of these sites permit users to rate films on a 0 to x scale, while some rely on the star rating system of 1–5, 0–5 or 0–iv stars. The votes are then converted into an overall rating and ranking for whatsoever particular picture show. Some of these community driven review sites include Letterboxd, Reviewer, Movie Attractions, Flixster, FilmCrave, Flickchart and Everyone's a Critic. Rotten Tomatoes and Metacritic aggregate both scores from accredited critics and those submitted by users.[12]

On these online review sites, users generally simply have to register with the site in order to submit reviews. This means that they are a form of open access poll, and have the aforementioned advantages and disadvantages; notably, there is no guarantee that they volition be a representative sample of the film's audition. In some cases, online review sites have produced wildly differing results to scientific polling of audiences.[thirteen] Likewise, reviews and ratings for many movies can greatly differ between the different review sites, even though at that place are certain movies that are well-rated (or poorly-rated) beyond the board.[14] [xv]

Academic film criticism [edit]

More oftentimes known as motion-picture show theory or film studies, academic critique explores movie theater across journalistic film reviews. These film critics effort to examine why film works, how information technology works aesthetically or politically, what it means, and what effects information technology has on people. Rather than write for mass-market publications their articles are normally published in scholarly journals and texts which tend to exist affiliated with university presses; or sometimes in upward-market magazines.[16]

Most academic criticism of film often follows a similar format. They usually include summaries of the plot of the film to either refresh the plot to the reader or reinforce an idea of repetition in the film's genre. After this, in that location tends to be discussions about the cultural context, major themes and repetitions, and details nearly the legacy of the film.[17]

Academic flick criticism, or film studies can likewise be taught in academia, and is featured in many California colleges in the United States due to its established dwelling house of film: Hollywood. Some of these colleges include University of California, Davis, Academy of California, Berkeley, Academy of California, Los Angeles, Stanford University, as well equally many other colleges beyond the world.[18]

Academic criticism is typically divided and taught in the form of many different disciplines that tackle critique in different manors. These tin can include:

  • Ceremonial, that analyzes the way that things are washed and the appearance of their form or shape.
  • Structuralism, that examines the way that movies are sequenced, accept a defended manner, and the way that language and art itself can create meaning.
  • Historical, a form of criticism that doesn't look at the direct things beingness said, but the culture and surrounding environments of a given picture show. The historical critic will create meaning from something that is not explicitly stated or shown in the film.
  • Psychoanalysis, that breaks downward the unconscious that ane can feel while observing a given film.
  • Political and economical, which not only looks into how economics and politics are depicted directly inside the movie, but also how information technology effects the films creation, marketing, screening, and auction.[19]

Academic moving picture criticism tackles many aspects of motion picture making and production also every bit distribution. These disciplines include photographic camera work, digitalization, lighting, and sound. Narratives, dialogues, themes, and genres are among maty other things that academic film critics take into consideration and evaluate when engaging in critique.[20]

Some notable academic film critics include André Bazin, Jean-Luc Godard and François Truffaut (all writers for Cahiers du Cinéma); Kristin Thompson, David Bordwell, and Sergei Eisenstein. Godard, Truffaut and Eisenstein were also film directors.

Issues and controversies [edit]

Influence [edit]

In the 2000s, the result that reviews accept on a film'due south box part performance and DVD rentals/sales have become a matter for debate. Some analysts argue that modernistic motion picture marketing, using pop culture convention appearances (e.1000., Comicon) and social media along with traditional means of advertising, has led, in function, to a decline in the readership of many reviewers for newspapers and other print publications. There are fewer critics on television and radio in the final 30 years.[ commendation needed ]

However, in contempo years, in that location has been a growing conventionalities in the film manufacture that critic aggregators (especially Rotten Tomatoes) are increasing the collective influence of moving picture critics. The underperformance of several films in 2017 was blamed on their low scores on Rotten Tomatoes.[21] This has led to studies such every bit ane commissioned by 20th Century Fox claiming that younger viewers requite the website more than credibility than the major studio marketing, which undercuts its effectiveness.[22]

Today, fan-run film analysis websites like Box Office Prophets, CineBee and Box Role Guru routinely factor more into the opinions of the full general public on films produced.

The "undulating bend of shifting expectations" [edit]

The "undulating bend of shifting expectations" (UCoSE) refers to both the title of a recurring entertainment manufacture characteristic in New York mag past cultural critic Adam Sternbergh and also to a concept of media analysis co-adult by writer Emily Nussbaum.[23] [24]

UCoSE refers to the dynamic tension between pre-release promotional efforts and subsequent audience reactions to entertainment media.

The UCoSE provides a style of analyzing the trajectory of entertainment products as they metamorphize their way through his theorized seven-phase growth chart: Pre-Buzz, Buzz, Rave Reviews, Saturation Point, Overhyped, Backlash, and finally, Backlash To The Backfire.[25]

Female representation [edit]

In that location have been many complaints against the picture-criticism industry for its underrepresentation of women.[26] A written report of the top critics on Rotten Tomatoes shows that 91 per cent of writers for flick or entertainment magazines and websites are men, as are 90 per cent of those for trade publications, 80 per cent of critics for general interest magazines like Time, and lxx per cent of reviewers for radio formats such every bit NPR.[27]

Writing for The Atlantic, Kate Kilkenny argued that women were meliorate represented in film criticism before the rising of the Net. In the past, when film was considered less prestigious than visual art and literature, it was easier for women to pause into flick criticism. Judith Crist and Pauline Kael were two of the well-nigh influential film critics of the 1960s and 1970s. The Internet led to a turn down in jobs at small newspapers where women were more than likely to review films, whereas the more male person-dominated jobs at major newspapers survived better. The Cyberspace too encouraged a growth in niche review websites that were even more male-dominated than older media. Kilkenny also suggested that the shortage of female critics was related to the shortage of female stance columnists.[4]

Clem Bastow, culture author at The Guardian Australia, discussed the possible effects of this on the disquisitional response to the 2015 film The Intern,[28] which received mixed reviews from critics:

The critical response to The Intern was fascinating. There'south a subset of male critics that clearly see Nancy Meyers every bit code for chick flick and react with according bile. What's very interesting, though, is that I think female critics, working in an industry that is coded as very male, if not macho, oft feel the demand to go hard on certain films for women, presumably because they worry that they'll be dismissed, critically speaking, if they praise a picture like The Intern as though they're only reviewing it favorably because they're women.[26]

Matt Reynolds of Wired pointed out that "men tend to wait much more favorably on films with more masculine themes, or male leading actors." On online review sites such as IMDb, this leads to skewed, imbalanced review results as 70 per cent of reviewers on the site are men.[14]

A report using Johanson analysis was used evaluate the representation of women in 270 films.[29] Johanson complied statistics for the year 2015 on how having a female person protagonist affected a movie, with the following results:[29] [30]

  1. 22% of 2015'due south movies had female protagonists.
  2. Critics are slightly more likely to charge per unit a picture show highly if information technology represents women well.
  3. Mainstream moviegoers are not turned off by films with female protagonists.
  4. Movies that represent women well are just as likely to exist assisting as movies that don't, and are less risky as business organization propositions.

Bacon [edit]

As of 2021 film critics earned a yearly average salary of $63,474.[31]

Equally of 2013, American film critics earn about US$82,000 a year.[32] Newspaper and magazine critics would brand $27,364-$49,574.[33] Online movie critics would make $2-$200 per review.[33] Telly critics would make up to $40,000-$lx,000 per month.[33]

Run into also [edit]

  • Prestige picture
  • List of pic critics
  • List of film journals and magazines
  • List of films considered the all-time
  • Listing of films considered the worst
  • For the Love of Movies: The Story of American Moving picture Criticism, a 2009 documentary film

References [edit]

  1. ^ "Reviews vs Criticism - Film & Television Studies". The University of Vermont Libraries Inquiry Guides. Oct 15, 2017. Archived from the original on October half dozen, 2017. Retrieved Oct 23, 2017.
  2. ^ a b c d Battaglia, James (May 2010). "Anybody's a Critic: Film Criticism Through History and Into the Digital Age". Senior Honors Theses: 32 – via Digital Commons.
  3. ^ Giovanni Dotoli, Ricciotto Canudo ou le cinéma comme art, Preface by Jean-Louis Leutrat, Fasano-Paris, Schena-Didier Érudition, 1999
  4. ^ a b "How the Internet Led to the Decline of Female Motion-picture show Critics". The Atlantic. 2015-12-27. Retrieved 2018-06-21 .
  5. ^ Forslund, Bengt (2012). "Bengt Idestam-Almquist". Swedish Film Database (in Swedish). Retrieved 10 September 2020.
  6. ^ Butsch, Richard (2001). "American Movie Audiences of the 1930s". International Labor and Working-Grade History (59): 106–120. ISSN 0147-5479.
  7. ^ "The Classic". At the Movies with Margaret and David. ABC.net.au. Retrieved 26 May 2014.
  8. ^ Beam, Christopher; Vocalist-Vine, Jeremy (2011-06-06). "Slate's Hollywood Career-O-Matic". Slate. ISSN 1091-2339. Retrieved 2017-10-25 .
  9. ^ "What is blogging?". The Balance . Retrieved 2017-10-25 .
  10. ^ "Our Bylaws – Online Film Critics Club". ofcs.org . Retrieved 2017-10-25 .
  11. ^ "New York Moving picture Critics Online - Who Nosotros Are". world wide web.nyfco.internet . Retrieved 2017-x-25 .
  12. ^ "Rotten Tomatoes: About". world wide web.rottentomatoes.com . Retrieved 2017-x-25 .
  13. ^ D'Alessandro, Anthony (2017-12-17). "Did Audiences Enjoy 'Star Wars: The Last Jedi'? Deciphering Online User Reviews From Leave Polls". Borderline . Retrieved 2017-12-xviii .
  14. ^ a b "Y'all should ignore film ratings on IMDb and Rotten Tomatoes". www.wired.co.united kingdom . Retrieved 2019-xi-30 .
  15. ^ "Elevation 10 Movies of All Fourth dimension". www.alltopeverything.com . Retrieved 2019-eleven-thirty .
  16. ^ "Faculty publications".
  17. ^ Hantke, Steffen (2007). "Academic Moving picture Criticism, the Rhetoric of Crunch, and the Current State of American Horror Cinema: Thoughts on Canonicity and Academic Feet". College Literature. 34 (4): 191–202. doi:10.1353/lit.2007.0045. JSTOR 25115464.
  18. ^ Svetkey, Benjamin, ed. (2018-08-16). "The Tiptop 25 American Film Schools". The Hollywood Reporter . Retrieved 2021-11-04 .
  19. ^ Ryan, Michael (2012). An introduction to criticism: literature, film, culture. Chichester, Due west Sussex; Malden, MA: Wiley-Blackwell. ISBN978-1-4051-8283-half dozen. OCLC 752909880.
  20. ^ Braudy, Leo; Cohen, Marshall (2009). Film theory and criticism: introductory readings. New York: Oxford University Printing. ISBN978-0-19-536562-7. OCLC 262430698.
  21. ^ Mendelson, Scott (13 June 2017). "Rotten Tomatoes, Netflix And A Perfect Storm That Dooms Hollywood". Forbes . Retrieved 14 June 2017.
  22. ^ Lee, Chris (9 June 2017). "How Hollywood Came to Fright and Loathe Rotten Tomatoes". Vanity Fair . Retrieved xiv June 2017.
  23. ^ "When Is It OK to Spoil?". On the Media . Retrieved ii August 2015.
  24. ^ "The Mathemagical Earth of New York Mag". mediabistro.com. Retrieved 2 Baronial 2015.
  25. ^ "Whitney Cummings, The Television Industry's About Criticized Female, Comes Out In Support Of Lana Del Rey, The Music Industry's Most Criticized Female". VH1 Music News. Retrieved 2 Baronial 2015.
  26. ^ a b Adams, Thelma (2015-12-29). "The Curious Case of the Missing Women in Picture show Criticism". Variety . Retrieved 2017-ten-24 .
  27. ^ Devan Coggan (2016-06-23). "Male moving-picture show critics greatly outnumber female critics, study finds". EW.com . Retrieved 2017-ten-25 .
  28. ^ Clem Bastow (September 30, 2015). "The Intern has been panned by film critics. Why am I not surprised?". theguardian.com . Retrieved Dec 15, 2015.
  29. ^ a b Johanson, MaryAnn (2016-04-11). "Where Are the Women?: crunching the numbers". FlickFilosopher.com . Retrieved 2020-07-16 .
  30. ^ Johanson, MaryAnn (Apr 2016). "Where Are the Women? : Information Spreadsheet". Google Docs.
  31. ^ "Pay Scale for Pic Critics". Work - Chron.com . Retrieved 2021-11-03 .
  32. ^ "Pay Calibration for Movie Critics". Retrieved 2018-05-02 .
  33. ^ a b c "How Much Money Do Moving picture Critics Brand?". Bizfluent . Retrieved 2018-05-02 .

Further reading [edit]

  • Peter Bradshaw gives advice to young, aspiring, would-be moving picture critics (The Guardian, eight July 2008)
  • Haberski, Raymond J. Jr. It'southward Only a Movie!: Film and Critics in American Civilization, University Press of Kentucky, 2001. ISBN 0813121930
  • Rosenbaum, Jonathan. Motion picture Wars: How Hollywood and the Media Conspire to Limit What Films We Tin See, A Cappella Books, 2000. ISBN 1556524544

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Source: https://en.wikipedia.org/wiki/Film_criticism

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