Word: reader
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...insistence, and the courts have not yet finally resolved whether or not the missing material deserves national-security classification. A larger number of portions initially deleted by the agency and then reluctantly restored by it will be included; they will be printed in boldface type so that a reader can readily identify those tales, statistics and names that the CIA would just as soon not have had made public...
Sometimes, I feel I'd almost prefer that system again (as a reader). What happened to it, of course, was that the pendulum swung the other way both in connection with attitudes toward the medium (movies began to be called films), and attitudes toward journalism. The rationale for the latter was very simple: Since reviewing cannot help but be in very large measure a matter of personal taste anyway, why not drop the facade of objective reporting, and let the reviewer display his personality...
...plot" as a reasonable basis for the review. Certainly, if the review is nothing but a plot summary, there is little to recommend it; but I think it's a mistake to categorically avoid detailing aspects of the plot as a general principle. For one thing, the reader, regardless of whether or not he has seen the film, has much more difficulty in knowing what the critic is talking about if the critic refuses to be specific. But perhaps more serious, the deliberate omission of plot elements is the first step towards omitting any corroborating detail, those specific facts within...
...favorable, and which cannot help but precondition the reviewer to have certain expectations. Confronted with this state of psychic anarchy, the reviewer essentially has two options. He can accept his preconditioning as a given, and simply write down his reactions as they occur, leaving it to the reader to determine the extent to which the reviewer's tastes overlap with the reader's own. The other option is to attempt to make an objective appraisal of the film in the film's own terms, either omitting, or specifically identifying the critic's personal prejudices...
...critic is the way he is--not the question of why the film is doing what it does. In other words, the personal approach to criticism almost by definition involves a personal language and aesthetics system--but if there is to be dialogue between artist and critic or between reader and critic a common language must be found. The other approach, by attempting to deal with a film in its own terms, minimizes the critic's own personality precisely in order that he may find the common language with the filmmaker and viewer-reader: the language of the film itself...