Abstract

The sprouting of the cinema is a recent historical episode (little more than a century) and it became an entertainment mass phenomenon that impacted our culture and society. In the beginning, since movies became product, quickly texts on this subject were included on magazines, although in a not profound way, with accented informative function. Writers (critics) used to report/tell the events/stories and made indications to the spectators, but without focusing on artistic appreciation. When movies became more consistent cultural industry art, entertainment and product, the critical became an important link point between production and spectators. Since then other styles of text had been developed: analytical, opinative, ideological, advertising, etc. The “Cahiers du Cinema” magazine (France, 1951- now) was one of main landmarks for cinematographic critical, as a new glance, according to the expressions of the society and the technologies of the time. Currently, even so the language of the cinema (matrix of the audiovisual) is expanded (diverse screens and products) until nowadays, movies continue to be one of the forceful forms to tell histories (mass and cultural niche spectators) and the critic continues to be one of the links (films and spectator). In digital culture time we are accomplices of the sprouting of other vectors for movie critical. Lovers movies started in their own Youtube Channels to criticizes films according to their expressions, to the contemporary technologies and to the society surround him/her. In that way, the canonical format by the traditional press is put in check.