You have not been recognized as a subscriber to JAH online. About 178 words from this article are provided below; about 515 words remain.
 
If you are a individual member of the Organization of American Historians, you may:
• login here if you have already registered for online access.
• Or if you're already logged in register your subscription.
• Set up your online account for the first time.

If you are not a member of the Organization of American Historians, you can:
• Join the OAH and receive many member benefits including print and electronic issues of the Journal of American History.
• Purchase a research pass to gain two-hour access to the entire History Cooperative web site. You will have full access to current issues of the Journal of American History (86.1-present). Note: the Research Pass does not provide access to JSTOR's holdings of the Journal of American History.

Instititutions can:
•  Subscribe to this journal and receive print and electronic issues.
• Activate your existing subscription so that we recognize your IP number ranges.
| Book Review | The Journal of American History, 89.2 | The History Cooperative
89.2  
Journals link Search link Partners link Information link
September, 2002
Previous
Table of Contents
Next
The Journal of American History

Table of contents
List journal issues
Home
Get a printer-friendly version of this page
 


Book Review


It's Only a Movie!: Films and Critics in American Culture. By Raymond J. Haberski Jr. (Lexington: University Press of Kentucky, 2001. x, 249 pp. $27.50, ISBN 0-8131-2193-0.)

Film critics emerged around 1900, discussing the form's merit and its influence on the public. A smaller group debated whether motion pictures constituted a viable art form. The critic's role in the success or failure of films is the subject of Raymond J. Haberski Jr.'s survey of American film criticism. Sparked by lamentations of recent film critics concerning the dearth of "good films" in theaters, Haberski argues that what rankles them is the decline of their "cultural authority." Because contemporary critics sit appalled by the general public's lurid tastes, Haberski examined the film critic's role over time. Through a series of case studies he discovered that current critics often echo the protests and praise of earlier cultural critics. (One of the most interesting concerns Theodore Dreiser's antipathy for movies and the film industry. Dreiser, who considered himself a good socialist, hated a medium that appealed to the masses.) . . .


There are about 515 more words in this article. Please log in (or, if you are not yet an authorized user, please go to the User Setup page) to gain full access rights. Or if you're already logged in register your subscription.