The future of film criticism is in the past

Being a classic film fan can be a lonely experience, one of those people who regularly scans the TV listings for 1am repeats of Clarence Brown films or documentaries about RKO.

This past year has found me immersed in cinema history, through my visit to the TCM Classic Film Festival (TCMFF), my work running the Park Circus blog and my weekly Edinburgh Evening News column.

A few weeks ago I wrote in the paper about the arrival of Scorsese’s Hugo and new silent film, The Artist, both of which celebrate the early days of film, while on Thursday I noted the arrival of Edinburgh’s IMAX screen and the need to keep an eye on some of the smaller films in the city.

As I’ve discovered through working with Park Circus, the world is increasingly looking to the past for its entertainment, something I’m more than happy to be a part of.

I’ll be visiting the IMAX for Mission Impossible:Ghost Protocol in a few weeks, and appreciate the need to promote quality new cinema via sites like my own www.reelscotland.com, but I also think it’s my responsibility to tell readers about our rich cinematic heritage, as I did back in September for the Evening News.

It’s also the reason I recently started another blog in the shape of Holyrood or Bust. With the huge volume of DVDs and Blu-rays currently being released, not to mention cinema re-releases and films such as The Artist, it’s a golden period for those wanting to write about classic film.

My most recent post was requested by a friend in New York, Will McKinley, who is a viewer and fan of the US TCM channel. Though I’m unable to watch the channel, I did become a convert to TCM during the TCMFF and used their recent Buster Keaton season to launch the site in October. This time, Will asked if I could write a post to celebrate the return of TCM host, Robert Osborne, to the screen after a short absence.

I obliged by using an excerpt from an interview I carried out with Osborne in LA earlier in the year:

I’m now gearing up for a 2012 filled with even more classic films, including another trip to Bristol’s Slapstick Festival, the second Hippodrome Festival of Silent Cinema here in Scotland (see my video interview below), a return to Los Angeles and a few other projects that are in the early stages.

Through my work I’ve discovered a vibrant community of classic film fans it’s been a privilege to engage with them on various websites, via Twitter and, most importantly, in cinemas around the world.

Here’s to another classic year of film coverage in 2012.

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