‘Taking Venice’: The Strange Story of the U.S. Government and a Painter
The documentary offers a glimpse of how the arts were treated very differently in midcentury America.
By Alissa Wilkinson
In my work, I’m not trying to tell readers whether they should like a movie. Instead, I aim to expand my readers’ understanding of the movies, exploring what a movie is trying to do, what makes it interesting or revealing, and how it connects to the broader culture. Movies, and screen-based entertainment overall, shape our world in immeasurable ways. My goal is to help readers think better about the culture around them, whether or not it’s to their taste (or mine).
I’ve been writing about movies since 2005, first as a freelancer for publications like Vulture, Rolling Stone and Paste, and then as a staff critic at Vox. I have an M.F.A. in creative nonfiction writing and an M.A. in humanities and social thought, and for 14 years I was a criticism and cultural studies professor. My third book, “We Tell Ourselves Stories,” which explores American myth-making in Hollywood, is forthcoming from Liveright.
Like all Times journalists, I share the values and adhere to the standards of integrity outlined in our Ethical Journalism Handbook. I never want my opinions about a movie to be shaped by the companies that make and distribute the movie, and never receive payments or favors from them for reviews or features. I don’t vote on awards, receive compensation from a film festival in return for coverage, or write about a movie made by a friend.
Email: alissa.wilkinson@nytimes.com
X: @alissamarie
Threads: @alissawilkinson
LinkedIn: Alissa Wilkinson
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