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/314/ Shallow & Wrongheaded Filmic Squabbles ft. Maren Thom & Alex Dale (Patreon)

Published:
2023-01-17 13:35:57
Edited:
2023-01-17 13:36:20
Imported:
2026-06
Tags:

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Content

On aesthetic criticism & performance.

The hosts of a new podcast on film, Performance Anxiety, join us to talk about how a focus on performance can break through endless squabbles over wokeness and representation in film. 

We also discuss our best and worst films of 2022. 

Links:

Performance Anxiety podcast

The Greatest Films of All Time, Sight & Sound, BFI

The Radicalization of the Film Canon, Adrian Nguyen, Quillette

Files

Comments

Rory Phelan

Maren Thom said that she does not consider Sight and Sound to be a good publication. Next time she is on the pod could you ask her to recommend any film related publication/literature?

AM

In the episode about Christopher Lasch in around 2019 Phil had a great comment (referring to Ross Douthat) along the lines of “if he had read any of the original writing on these topics his analysis wouldn’t be so feeble” and that’s how it felt listening to you talk about cinema in these two episodes

L Dorman

Fantastic discovery of Performance Anxiety through these episodes, thank you very much. It’s good to have these slightly more light-hearted episodes where we step away from the BIG IMPORTANT SERIOUS BUSINESS OF THE LEFT or more accurately step round to examine the question from another less reverential angle.

Davka Smolah Collective

Based Phil Cunliffe confesses to having never seen Avatar. Entire podcast throws sci-fi Fourth Worldism out the window and endorses space colonialism. LMFAO.

Pickibun

I enjoyed the episode and will definitely check out Performance Anxiety. Listening to the discussion, I was hoping to hear an analysis of the changes in film criticism in general. The Sight and Sound list is as much an indictment of the film industry as it is of the changing role of film criticism. I’d be interested to hear what Maren and Alex think of the role of the critic in modern cinema; do they cement its post-political nature or challenge it? I’d probably say the former as the current exhausted state of the culture industry is most keenly felt in the collapse of independent film criticism within establishment media. They, meaning film critics, seemingly act as cogs in marketing campaigns.

Jolyon Nuncewit

I found the appraisal of "Jeanne Dielman..." (1975) as a meritless woke shibboleth quite bizarre. Not only is it rather vehemently anti-didactic, it is if anything a product of second-wave feminism; reflected in its treatment of sex work, "personal is political", the domestic, etc., which it treats in a wonderfully subtle, dialectical fashion. Besides, it has long ranked quite highly in various critics polls, so this is hardly a coup. Or was the idea that its having taken #1 was simply due to Akerman's gender? All I can say to that is that the film seems plainly brilliant to me (and I am the last one to care about what critics have to say).