ABSTRACT
The discourses of promotion and distinction anatomized in the previous chapter – suggesting film is worthy of criticism, borrowing elements from established (and especially theatre) critical formats, invoking authoritative critics from the past, elaborating rules unique to an independent film criticism, founding professional standards, and distinguishing good practice from bad – served to create the perception of authority needed to justify film critics’ activity and be recognized professionally. By the early 1920s, discussion of film was becoming more common in the mainstream press and in arts and culture periodicals. These new venues entailed new audiences and new ways of addressing them; as stated, film criticism’s readership broadened from industry insiders to both producers and consumers. Nevertheless, as we shall see, this transition was not as smooth as sometimes implied. The struggle marks the entire history of criticism to this day.
