Whether viewed as high art, subversive activity or popular entertainment, film attracts a broad range of articulate critics. Today film criticism is more varied in its approaches than ever during the century-long history of the medium: psychoanalysis, Marxism, semiotics, feminism, and postmodernism have provided some of the many theories for film analysis. Yet American film criticism has had a long history of outspoken rejection of critical theory and assertion of an individual critical voice. This course will study the writing of some of the best exponents of American film criticism in its popular and scholarly forms and then focus on student criticism of recently-released films. Narrative fiction, documentary, and experimental films will be included. No one theory or critical approach will be endorsed: students are encouraged, through readings and written assignments, to find their own allegiances and develop their own critical voice and style. Guest critics will discuss their own writing and ideas about film and consider the practical aspects of writing film criticism today.