The New York Times film critic shows why we need criticism now more than ever
Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual criticshimself includedcan make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence.
Using his own film criticism as a starting pointeverything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated RatatouilleScott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."
|Publisher:||Penguin Publishing Group|
|Product dimensions:||5.10(w) x 7.70(h) x 1.00(d)|
About the Author
A. O. Scott joined The New York Times as a film critic in January 2000. Previously, Mr. Scott was a Sunday book reviewer for Newsday and a frequent contributor to Slate, The New York Review of Books, and many other publications. He has served on the editorial staffs of Lingua Franca and The New York Review of Books. In addition to his film-reviewing duties, Mr. Scott often writes for the Times Magazine and the Book Review. He lives with his family in Brooklyn, N.Y.
Table of Contents
Introduction: What Is Criticism? (A Preliminary Dialogue) 1
Chapter 1 The Critic as Artist and Vice Versa 13
Chapter 2 The Eye of the Beholder 43
Self-criticism (A Further Dialogue) 81
Chapter 3 Lost in the Museum 91
Chapter 4 The Trouble with Critics 121
Practical Criticism (Another Dialogue) 153
Chapter 5 How to Be Wrong 167
Chapter 6 The Critical Condition 213
The End of Criticism (A Final Dialogue) 253
Afterword: A Reply to My Critics (One More Dialogue) 269