Projecting: Evaluative Criticism, Black Female Losers, Oscar Obsession, Film School Bias



Editor’s Note: Projecting features a selection of great film and television focused writing from around the internet.


Jandy explains her stance against evaluative film criticism and its many limitations, for The Frame:

My thinking has changed rather radically over the past few years, and at this point in my life, I find that evaluative criticism holds less and less interest for me. I stepped back from actively reviewing films a couple of years ago, except for festivals and the infrequent press screening where I felt compelled to submit reviews. I’ve never been a big fan of reviews, to be honest – I don’t read them unless I’ve seen the movie, and if I have seen the movie, I’d prefer to read more in-depth criticism. This is a long-standing preference, and I just finally got to wondering why was I spending time writing in a form I didn’t like to read.


LaShea Delaney examines how with the rise of the strong black female character we have lost the losers, for Indiewire:

But what would happen if one of these women didn’t show up. What if her alarm didn’t go off and she has to throw on whatever is cleanest in that pile of clothes on the floor, running out of the house realizing that she doesn’t have her car keys. What if she spends 20 minutes looking for them before realizing that they’re on a little hook by the back door and misses saving humanity? What if she is a complete mess? What happened to all the black female underdogs on television?


Jason Bailey gripes with the movie press’ Oscar obsession and its ruining of fall film festivals, for Flavorwire:

But I’ve been reading about them for decades, most often (and earliest) from the pen of Roger Ebert, who called Telluride “one of the best experiences a film lover can have,” and dubbed Toronto “the world’s top festival for — well, for moviegoers.” He wrote those words in 1999 and 1998, respectively, and I get the feeling the focus of these festivals has changed quite a bit in the years since. Maybe they’re still prized destinations for film lovers, but just about all I’m reading out of them are dispatches on what each new premiere does to next year’s Oscar race. At risk of putting too fine a point on it, who gives a shit?


Erica Rose discusses the gender biases that go unspoken in film school and the need for change, for Women and Hollywood:

When I made my thesis film, I hired many female department heads. This was unusual. When conflict on set happened — something that happens a lot on any set — some commented, This is why you don’t see a female-driven crew. Too many emotions. These remarks were made in jest, but even so, it reflects a perspective that’s damaging and dangerous for all parties.


About Author

Derek was the only engineer at Northeastern University taking a class on German film and turning a sociology research paper into an examination of Scorsese’s work. Now in Austin, TX, he blatantly abuses his Netflix account on the reg, although his List mocks him as it proudly sits healthily above 200. He continues to fight the stigma that being good at math means you are not any no good at writing. I good write, very much.