In David Carr’s excellent article for the New York Times this week, he spoke about the swathes of American film critics being laid off.

A colleague of mine recently commented on film journalism as a bit of a joke. How hard can it possibly be to write about movies? And can you really categorise film reviews as journalism?

Of course you can!

In my opinion quality writing on film is vital. Film is the most popular form of entertainment in the Western world. I cannot understand why film criticism is scoffed at so much.

As Carr quite rightly points out: “For a certain kind of movie, critical accolades can mean the difference between relevance and obscurity, not to mention box office success or failure.

Those who have studied film and journalism and have a proper understanding of both are, in my opinion, the only people properly qualified to speak on the subject.

What is killing film journalism, probably more than any other section of the media, is citizen journalism.

When Tom, Dick, Harry or in this case, Sally, submits a film review on the internet, it is available to anyone. The same can be said for any form of citizen journalism, but there is a difference.

When a citizen writes a news story for the web it is likely to be quickly discredited. It is unlikely that an untrained individual has the legal knowledge or journalistic skills to produce a fair report. And so, inaccuracies in news tend to be filtered through fairly quickly.Everyone's a critic

But when a citizen writes a film review there is no quality control. Despite the fact that the citizen doesn’t have the breadth of experience and critical qualifications of real film journalism, their work may be considered on equal terms.

Considering the fact that film critics have years of training in film, this hardly seems fair. Why should one form of journalism be considered more lightweight than another?

Citizen journalists just don’t have the necessary tools for in-depth film criticism.

Film journalism has always been pretty low on a newspapers list of priorities, probably only bettered in triviality by art criticism. But why should this be the case?

Scott Rudin, who produced ‘No Country For Old Men’ and ‘There Will Be Blood’, believes film critics are vital in getting his films seen. “For those of us who are making work that requires a kind of intellectual conversation, we rely on that talk to do the work of getting people interested.”No Country For Old Men

“All of the talk about ‘No Country,’ all of the argument about the ending, kept that film in the forefront of the conversation” and helped it win the best picture Oscar.

Film is the most popular form of entertainment in the western world. Cinemas are packed at weekends. Mobile phone companies entice customers with the prospect of free cinema tickets. DVD sales have remained solid.

If you are a journalist wanting to get into film journalism it can be near impossible unless you have the suitable skills, experience and qualifications. It is one of the most competitive job markets out there and yet people continue to pour scorn on the very idea of film journalism.

In an interview with Melvyn Bragg on the South Bank Show, Kevin Spacey said art is not a luxury, it is a necessity. If this is the case, which I believe it is, why do we devalue it so?

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