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Chicago Reader

Jonathan Rosenbaum is the film critic of the Chicago Reader and has contributed to such publications as Written By, Trafic, Premiere, and Film Comment. He is the author of Movie Wars: How Hollywood and the Media Limit What Movies We Can See (A Cappella Books, 2002); Dead Man (British Film Institute, 2000); Movies as Politics (University of California Press, 1997); Moving Places: A Life at the Movies and Placing Movies: The Practice of Film Criticism (University of California Press, 1995); Greed (British Film Institute, 1993); Film: The Front Line 1983 (Arden Press, 1983); Midnight Movies (with J. Hoberman, Da Capo, 1991); and (as editor) This Is Orson Welles by Orson Welles and Peter Bogdanovich (Da Capo, 1998). The following titles are available through Amazon.com:

	Discovering Orson Welles (2007): A collection of Rosenbaum's major writing about Welles, spanning 35 years.
	Essential Cinema: On The Necessity Of Film Canons (2004):A collection of more than 60 reviews and articles by Rosenbaum, with an appendix listing his 1,000 favorite films in chronological order.
	Movie Mutations: The Changing Face of World Cinephilia (2003): Edited by Jonathan Rosenbaum and Adrian Martin. A collection of international essays and exchanges about cinephilia and the links between disparate film cultures, with contributions by, among others, Quintin (Argentina), Martin (Australia), Alexander Horwath (Austria), Mark Peranson (Canada), Raymond Bellour and Nicole Brenez (France), Abbas Kiarostami (Iran), Fergus Daly (Ireland), Shigehiko Hasumi (Japan), Lucia Saks (South Africa), and Kent Jones, James Naremore, and Rosenbaum (U.S.)
	Abbas Kiarostami (Contemporary Film Directors) (2003): A critical study of the Iranian filmmaker, coauthored by Chicago teacher and filmmaker Mehrnaz Saeed-Vafa and including a lengthy interview, filmography, and bibliography.
	Dead Man (2000): A critical study of Jim Jarmusch's 1996 western, incorporating an extended interview with Jarmusch.
	Movie Wars: How Hollywood and the Media Limit What Movies We Can See (2002): A polemical account of the American film industry and how movies are made, marketed, released, exhibited, and reviewed.
	Moving Places: A Life at the Movies (1980): An experimental memoir about growing up in a family of film exhibitors in small-town Alabama during the 1950s, interrogating the role played by movies in shaping a life and consciousness. The second edition, with a new preface, published in 1995.
	Midnight Movies (with J. Hoberman 1983): An in-depth survey and history of midnight movies, with particular attention given to the Rocky Horror Picture Show cult, Eraserhead, El Topo, The Night of the Living Dead, and John Waters. The second edition, with a new afterword, published in 1991.
	Film: The Front Line 1983 (1983): The first volume in a projected annual series devoted to surveying independent and experimental filmmakers. Among the twenty filmmakers discussed in depth are Chantal Akerman, James Benning, Robert Breer, Sara Driver, Peter Gidal, Jon Jost, Jonas Mekas, Yvonne Rainer, Mark Rappaport, Jacques Rivette, Michael Snow, Jean-Marie Straub and Daniele Huillet, and Leslie Thornton.
	Greed (1993): A monograph on Erich von Stroheim's silent masterpiece, including a discussion on what was cut from it by M-G-M.
	Placing Movies: The Practice of Film Criticism (1995): Designed as a companion volume to Moving Places: A Life at the Movies, this is both Rosenbaum's first collection of reviews and articles and a practical guide to pursuing film criticism as a profession, backed by autobiographical details.
	Movies as Politics (1997): Rosenbaum's second collection of reviews and articles, with more emphasis on recent and commercial films.
	This Is Orson Welles (as editor 1992): Written by Orson Welles and Peter Bogdanovich in the late 60s and early 70s, this is an extensive interview with many supplementary materials, including a 130-page chronology and summary of Welles's career, a reconstruction of his original version of The Magnificent Ambersons, and a large portion of his memo to Universal about Touch of Evil that was used as the basis for the re-edited version released in 1998. This is the revised and expanded second edition of the book, published in 1998.

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