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For the final episode in the current season I'm speaking to leading academic on Black British and African American film, Dr Clive Nwonka. Clive's latest book Black Boys: The Social Aesthetics of British Urban Film is the first to have been written on the subject. In it, Clive argues the need for this often overlooked and denigrated genre to be properly recognised in its own right - so that it might take its rightful place in arts and culture. Clive shares his insights on the social and political history from the 70s and 80s that fed into the emergence of British Urban projects in the 2000s; how Black representation has suffered a default construction around negative portrayals of Black culture and social crises; how the TV series Top Boy and the era of streaming heralded a new - and much needed - platform for British Urban storytelling; and much much more. We also discuss Clive's programme of films inspired by James Baldwin at London's Barbican in May 2024.
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The much maligned Rom-Com is a perfect example of how a whole film genre can be dismissed by dint of who the stories are for, and who they are about. (Clue: it's not men!). After a classy start in Hollywood, Rom Coms - and their sister genre 'Chick Flicks" - have been used to dismiss a particular type of love story, and anyone who's dared to enjoy them. And so the Guilty Pleasure was born. Thankfully times are changing, and there's a realisation that many films that have been overlooked - at best! - might be worth revisiting in our more enlightened times. Step up this week's guest, critic Corrina Antrobus, who's new book, a 'manifesto in 100 films' entitled "I Love Rom-Coms and I am a Feminist", is released in August. We discuss how lighthearted love stories haven't been given their due over the years and how that's not unrelated to who makes and watches them. And how the genre has only recently begun to recognise love beyond the white heterosexual gaze. Corrina shares her insights from rewatching films spanning 100 years of cinema and together we celebrate a genre which - unlike all others - has a long and strong history of female filmmakers. To preorder Corrina's book, click here: https://geni.us/ILoveRomcoms
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Saknas det avsnitt?
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I return to the subject of critics versus influences this week, following my enlightening chat with critic and industry influencer Ashanti Omkar back in Season 1. Influencers are increasingly being used by film publicists to provide exposure and hype ahead of film releases - especially Blockbusters. But has it gone too far? Some critics think so - and there was industry outrage last summer when many felt their freedom to express genuine reactions to the film Barbie was being curtailed by publicists. I wanted to have a reasoned debate about this from the perspective of a long-time critic, and Anton Bitel was the man for the job. With a balanced recognition about the reality of criticism as an ever-changing discipline, and the authority to call-out where he sees influencers and their role in marketing impinging on critics' editorial independence, Anton provides an important and interesting perspective on screening etiquette, the reality of modern film promotion, the scourge of 'star ratings', and why critics need to not assume spoilers are always a bad thing. #Barbie
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In the hierarchy of film genres, those aimed at kids, or "family" movies, don't tend to be up there. Even though from Toy Story, to Finding Nemo to Snow White and her Dwarves, there's a long history of iconic movies that have defined the childhoods of generations. Kids' films are also a minefield for parents - discerning what is age appropriate and what to expect from the somewhat confusing certification. Film Critic Jo Berry has carved out an important and much needed niche reviewing family films on her Movies4Kids website. There, parents can get the lo-down on specific causes for a concern so they can make informed and responsible decisions - as well as identify the movies that won't bore them to tears as chaperones! The British Board of Film Classification (BBFC) recently released the findings of their latest five year public survey, which revealed what parents are currently concerned about when it comes to their kids' media consumption. Jo shared her thoughts on this, and a lot of very funny and enlightening stories about her life navigating kids' films and their target audience. #KillBill #PawPatrol #ToyStory #ABugsLife #Pixar #Disney #Wish #Paddington #Paddington #FindingNemo #Armageddon #MrBean #ThomasTheTankEngine #DespicableMe #Tarantino #HItchcock #Oscars #TheWizardOfOz #ChittyChittyBangBang #NormOfTheNorth #TheChildCatcher #SnowWhiteAndTheSevenDwarves #CruellaDeVille #GlennClose #Bambi
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Perhaps it's rash of me to assume you're on board with my narrative about inequalities in film criticism and its skewed white male demographic. Perhaps you need to hear from someone at the coalface of data who can confirm my claims - and add to them with their own reputable research. If so, then this week's conversation with Stephen Follows should be just the ticket. Stephen's a data researcher and educator in the film industry whose work focussing on patterns and trends has been widely published and recognised. Stephen's also written and produced numerous short films and two feature films. He co-founded Catsnake, a story agency serving non-profits, and serves as chair of the Central Film School. An utter pleasure to chat with Stephen about his research on the continued lack of women in criticism, his theories on why the inequalities remain pervasive and persistent, and what he thinks might improve it.
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We're back to sex again, because let's face it, it's a key area where inequality and abuse can take place onscreen. However, since the Weinstein furore, more attention is being paid to how intimate scenes are filmed, and how actors are supported in these vulnerable spaces. So how about changes in the way that audiences and critics are perceiving and discussing the sex and other intimate scenes they watch? Are we responding to this new era of consent with respect and appreciation? To find out I went to the top woman in this field. Ita O'Brien - who's the UK's leading Intimacy Practitioner in film, TV and theatre. Ita shared her experience of choreographing these scenes - and the politics of production she has to negotiate; the way you can never anticipate what audiences will pick up on; and how onscreen representations of sex and bodies can be a powerful way to help us all better relate to our desires. #NormalPeople #IMayDestroyYou #SexEducation
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This week I talk to critic Gabriella Geisinger about the representation of Jews onscreen, prompted by several big movies in the past year that provoked debate about authentic casting. I'm talking of course about Maestro, Oppenheimer and Golda. I reached out to Gabriella after reading her insightful article about Bradley Cooper's prosthetic nose and the debate that it, and his casting in the role of Leonard Bernstein, prompted. I wanted her perspective on non-Jewish actors being cast in major stories about real life Jews, and what that says about the status of Jewish actors and the opportunities then available to them when the tasty roles get taken by gentiles. For context, our conversation took place last September before the events in the Middle East the following month. We also talked critic identity and how this naturally evolves in line with the evolution of audiences to embrace and value different perspectives in the critique they seek. Which as you know, I'm all for! Here's the link for Gabriella's article discussed: https://www.msn.com/en-gb/lifestyle/other/bradley-coopers-fake-nose-in-maestro-has-sparked-a-complicated-but-necessary-debate/ar-AA1fobmN #Maestro #Oppenheimer #Golda #TheEyesOfTammyFaye #TheWhale #TheMarvelousMrsMaisel #PunchDrunkLove #TheFabelmans #BradleyCooper #CillianMurphy #AdamSandler #RachelBrosnahan #OscarIsaac
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Film festivals are more than just red carpet glamour. They're THE launchpad for movies, and the difference between a positive critic reaction versus an across the board trashing can make or break a film. But whilst there are a much more representative cohort of critics working today, it's still the same faces and traditional demographic attending the big festivals. Which means those big first reviews that can decide whether a film gets picked up for distribution and ends up on cinema screens - or not - are being written by the same narrow demographic, which potentially continues to exclude films that aren't traditionally valued. PR and film festival strategist Mia Farrell has worked for most if not all of the big festivals over the years so she was my go-to expert for a look at the relationship between critics and festivals. What might still need to happen for more films to get a fair shot at success and how exactly do critics play a role in that? #critics #festivals #filmfestivals #paolamalanga
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I'm back for a new season of my two-time award nominated podcast! Kicking off in fine style with critic, author, podcaster, author and film programmer Anna Bogutskaya. Anna's fascinating book Unlikeable Female Characters interrogates nine key tropes of female representation, including the angry woman and the pyscho. We dig into the long history of moralising about how women have been permitted to carry themselves onscreen and offscreen, and how things have been shifting for female creators and their protagonists in recent years. #FatalAttraction #ThelmaAndLouise #PromisingYoungWoman #GoneGirl #UnlikeableFemaleCharacters.
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The two-time UK Independent Award nominated podcast Open To Criticism is back for season 2! And to mark International Women's Day 2024 the trailer goes live and features four awesome women coming up in the season: Critics Gabriella Geisinger and Anna Bogutskaya, onset intimacy co-ordinator Ita O'Brien and Film Festival PR and strategist Mia Farrell. Check out the first episode coming March 15th
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For the final episode of season 1 I dig deep into the theme of critic identity, in a bid to really illustrate how beneficial it is to gain alternative perspectives to the false norm of the straight white male. My guest Guy Lodge is a very established critic whose queer perspective challenges the heteronormative assumptions of both mainstream filmmaking and traditional criticism. This week we discuss the initially overlooked queer themes of The Power Of The Dog; queer cinema then and now - including how it might have been critically received back in the day; the surprise queer reading of The Babadook movie, the impact of AIDS on criticism at the height of the crisis, and how in general, filmmakers are still resisting realistic representations of queer sex onscreen.
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This week we look at the recent explosion of quality filmmaking in Asia, Africa and across the Arab world with critic, producer and author Kaleem Aftab. Kaleem explains how cheaper technology, recent social movements and streaming are just some of the factors enabling new filmmakers from these regions to start taking ownership of their stories - stories that have often been misrepresented and exploited by Hollywood. We discuss how some notable female filmmakers from these regions are coming through, how censorship becomes a much more nuanced conversation when cultures beyond the white west are included, and how the ongoing squeeze of film critics' pay is damaging the wider film industry.
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The issue of identity and how much a critic brings theirs into their work has been a longstanding debate. Traditionally critics believed in assuming a neutral detached standpoint. Now however, that supposed 'universal' position is being challenged for actually being the white male perspective born of their domination of the field. My guest this week Hanna Flint and her book Strong Female Character are great examples of how a critic's love of film is woven into the very fabric of their life. And in turn, how our life experience from whatever background informs how we see the world and the films made about it. Hanna's also a lot of fun and provides much food for thought about the continued misrepresentations and appropriation of Arab and MENA culture onscreen, and how female archetypes are so often simplified and misused to negative effect.
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Rethinking criticism in the light of wider changes in the film industry - as a result of MeToo, BLM and Times Up - helps determine a way forward. But what does that mean for cinema's history? How do we now reappraise many classic films and their increasingly troublesome representations from our viewpoint of the 21st century? The person to ask is definitely this week's guest: critic and film historian Pamela Hutchinson, who authors books, curates film seasons and writes extensively on classic and silent cinema. Pamela has long argued that it's not about simply dismissing films that depict casual sexism and racism prevalent at the time. Instead we need to see old films as important archives of how things were - and what still needs to change.
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For the longest time, critics have been an important cog in the wheel of film promotion. However, film publicists are now utilising social media influencers and their huge numbers of followers. By wooing influencers and inviting them to special preview screenings, vast online attention is garnered via viral photos from these glitzy media events - with the bonus that enthusiastic influencers can help counter any potentially negative critical reviews. So are influencers and blockbuster film promotion a match made in heaven? Or are critics getting pushed out in favour of paid-for promotion that undermines critical quality control for film-goers? To lift the veil on the true impact of influencers on criticism, I'm joined by critic and industry influencer Ashanti Omkar, who has experience on both sides of this promotional fence.
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This week I'm being a swotty fangirl, as my guest is someone whose work I've revered for several years now. Mattias Frey is a film and media industries scholar and he's Professor and Head of the Department of Media, Culture and Creative Industries at City, University of London. He's written several books, but his 2015 publication The Permanent Crisis of Film Criticism: The Anxiety of Authority was my Bible during my Masters research. So the chance to discuss his work first-hand, and pick his brains about where we're at right now - especially in the context of the history of criticism - seemed too good an opportunity to miss. If you've ever pondered the story of film criticism and how it's morphed over cinema's 100+ year history then look no further than this week's episode.
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Sex and the movies. It's a perfect combination, except when it isn't. #MeToo has prompted a realisation that onscreen depictions of sex need rethinking - especially when it comes to women. There's a wider understanding of the Male Gaze now, so how is it impacting the way we perceive and discuss female sex and nudity? And can we be more more careful about sex onscreen without losing the intended sexiness? As former sex columnist "Dear Karen" from the 90s, film critic and film production researcher Karen Krizanovich was my first port of call for an overview of onscreen sex and how we critics do - and don't - talk about it.
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Amon Warmann is one of very few black male film critics in the UK, and despite having carved out an impressive career over the.past decade he can still struggle to be seen beyond his racial credentials. Amon reflects upon this in this weeks episode, along with how he found his voice in a decidedly white space, how lighthearted film chats on social media can get messy, and his frustrations with the repeated pushback against diverse casting. Our chat took place in summer 2022 and I date it, because he discusses his "BFI Greatest films of All Time" list which has since been made available online.
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Whilst the push for better representation for women and people of colour has become more mainstream, the disabled community are yet to be included to the same degree. This matters hugely when it comes to cinema because of its long-standing problematic history when representing disability. From failing to cast disabled actors, to entrenched tropes where disability denotes evil or societal outsiders to be avoided, we've been drip-fed many taken-for-granted representations that need significant revision. After reading journalist and author Cathy Reay's recent review of the film Champions, which features a supporting cast of learning disabled actors, I was keen to chat with her and hear firsthand the many ways non-disabled critics and filmmakers are failing the disabled community.
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This week I chew the fat with film critic Anna Smith who's done much to progress film and critic culture, especially for women via her award winning podcast Girls On Film. Anna was Chair of the UK Film Critics' Circle for six years and was key to making changes that reflect the MeToo, BLM and Times Up era. We ruminate over how film criticism has changed since we both came on board many years ago, how writing from a feminist perspective has gone mainstream. and how it's imperative that all critics are paid for their work.
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- Visa fler
