Editing Andrew Sarris (section)

==Career==
After initially writing for ''[[Film Culture]]'', he moved to ''[[The Village Voice]]'' where his first piece—a laudatory review of ''[[Psycho (1960 film)|Psycho]]''—was published in 1960. Later he remembered, "''The Voice'' had all these readers—little old ladies who lived on the West Side, guys who had fought in the Spanish Civil War—and this seemed so regressive to them, to say that [[Hitchcock]] was a great artist". Around this time, he returned to Paris where he was present at the premiere of such [[French New Wave]] films such as [[Truffaut]]'s ''[[Shoot the Piano Player]]'' (1960) and [[Godard]]'s ''[[A Woman Is a Woman]]'' (1961). The experience expanded his view of film criticism: "To show you the dividing line in my thinking, when I did a Top Ten list for ''the Voice'' in 1958, I had a [[Stanley Kramer]] film on the list and I left off both ''[[Vertigo (film)|Vertigo]]'' and ''[[Touch of Evil]]''".<ref>Brody, Richard, Everything is Cinema: The Working Life of Jean-Luc Godard, Henry Holt & Co., 2008, pgs. 212-213</ref> He continued to write film criticism regularly until 2009 for ''[[The New York Observer]]'', and was a professor of film at Columbia University (where he earned an [[Master of Arts|M.A.]] in English in 1998), teaching courses in international film history, American cinema, and Alfred Hitchcock until his retirement in 2011. Sarris was a co-founder of the [[National Society of Film Critics]].