Jonathan Rosenbaum, born in Alabama in 1943, was the principal film critic at the Chicago Reader from 1987 until 2008. He maintains a web site archiving most of his writing at jonathanrosenbaum.net. He has taught at the University of California, San Diego (1977), New York University (1981-1982), The School of Visual Arts (New York City, 1982), the University of California, Berkeley (1983), the University of California, Santa Barbara (1983-1987), the School of the Art Institute of Chicago (1996-1998, 2007-2009, and 2014), the University of St. Andrews in Scotland (2009). Virginia Commonwealth University in (2010-2011), and Film.Factory in Sarajevo (2013-2015). In 1997-1998, he served as consultant for producer Rick Schmidlin and editor Walter Murch on a new version of Touch of Evil based on Orson Welles' postproduction memos. His books include Moving Places (1980), Film: The Front Line 1983, Midnight Movies (with J. Hoberman, 1983), Greed (1993), Placing Movies (1995), Movies as Politics (1997), Dead Man (2000), Movie Wars (2000), Abbas Kiarostami (wuth Mehrnaz Saeed-Vafa, 2003), Essential Cinema (2004), Discovering Orson Welles (2007), The Unquiet American (2009), Goodbye Cinema, Hello Cinephilia (2010), and several books as editor or coeditor, including This is Orson Welles (1992) and Movie Mutations (with Adrian Martin, 2003).
City I call home: Chicago
Twitter handle: @JonathanRosenba
Facebook page: facebook.com/jonathan.rosenbaum.18
Type of cinema I am most passionate about:
A film that changed me/my mind is:
Playtime because it taught me how to live in cities.
Cinema excites me because:
It combines life and fantasy.
My career highlight was:
When Jean-Luc Godard praised me.
The future of film criticism is:
On the Internet.
Film criticism is important because:
It addresses life and fantasy.
The film I'm most looking forward to at MIFF is: