Abstract
he film critic Manny Farber, who died in August 2008 at age 91, was a unique voice in American film reviewing, a pugnacious, fiery polemicist whose two most famous essays Underground Films (1957) and White Elephant vs. Termite Art (1962) helped overturn mid-century middlebrow movie culture and pave the way for a broader, more varied film milieu, embracing both popular genres and the avant-garde. Although he gave up film writing just as the trends he helped foster were taking hold, Farber became a cult figure for many later film journalists, such asJ. Hoberman andJonathan Rosenbaum, who admired and emulated his eclectic taste across many different film practices, his familiarity with arts and culture high and low, his flights of metaphor and quirky rhetoric, his dis dain for received opinion and established canons, his championing of filmmakers unrecognized by cultural gatekeepers.
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