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Jonathan Rosenbaum

From 1987 until early 2008, Jonathan Rosenbaum worked as film critic for the Chicago Reader; he now works as a freelancer and has a web site at Born in Florence, Alabama in 1943, where he lived until he was 16, he grew up in a Frank Lloyd Wright house and was the grandson and son of cinema exhibitors who ran a chain in northwestern Alabama.

His books include Moving Places: A Life at the Movies (1980), Film: the Front Line (1983), Midnight Movies (with J. Hoberman, 1983), Grede (1991), Placing Movies: the Practice of Film Criticism (1995), Movies as Politics (1997), Dead Man (2000), Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000), Abbas Kiarostami (with Mehrnaz Saeed-Vafa, 2003), Essential Cinema: On the Necessity of Film Canons (2004), Discovering Orson Welles (2007), The Unquiet American: Transgressive Comedies from the US (2009), Goodbye Cinema, Hello Cinephilia: Film Culture in Transition (2010), and, as editor or coeditor, Rivette: Texts and Interviews (1977), This is Orson Welles (1992), and Movie Mutations: the Changing Face of World Cinephilia (with Adrian Martin, 2003).

He has taught at Bela Tarr’s film.factory (Sarajevo), Virginia Commonwealth University (Richmond), the University of St. Andrews (Scotland), New York University, the University of California at San Diego, Berkeley and Santa Barbara.

Articles by Jonathan Rosenbaum

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  • From the Magazine

    The solitary pleasure of Star Wars (from our archive)

    In the Autumn 1977 edition of Sight & Sound, Jonathan Rosenbaum decried the “knowing mindlessness” of George Lucas’s space mega-hit – and the sinister implications of its all-conquering escapism.

    Tuesday, November 1, 1977


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