Introduction

We characterise film criticism as a form of writing which addresses films as potential achievements and wishes to convey their distinctiveness and quality (or lack of it). ¹ For many people film criticism is something by an opinionated journalist, a film critic, who tells you whether a film is worth seeing. The most characteristic trait of a newspaper or web review is the announcement of judgements on the acting, story and cinematography (often narrowly conceived). If the writer avoids the temptation to indulge in superlatives and hyperbole and stays clear of well-worn adjectives such as ‘gritty’, ‘dark’, ‘glossy’, ‘cinematic’, ‘stylish’, ‘thought-provoking’ or ‘true-to-life’ – along with the stultified system of values to which they appeal – such reviews can be a source of pleasure as well as utility. But for the editors of this volume, film criticism can do a great deal more. We find the best criticism deepens our interest in individual films, reveals new meanings and perspectives, expands our sense of the medium, confronts our assumptions about value, and sharpens our capacity to discriminate. Moreover, it strives to find expression for what is seen and heard, bringing a realm of sounds, images, actions and objects to meet a realm of words and concepts. Engaging with film through criticism therefore means involving ourselves not simply with a series of points and arguments but with language and style.