The newest book from critic J. Hoberman, Film After Film, comes at a fascinating time, as digital technology threatens film (as celluloid loses popularity) and film criticism faces threats of its own (signified by Hoberman’s own unceremonious canning from The Village Voice in early 2012). Film After Film aims to account for the former problem by making sense of how exactly cinema has changed in the first decade of the 21st century. In the process, it correspondingly makes an impassioned case for the value of professionals like Hoberman.
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