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Kael was an opponent of the auteur theory, criticizing it both in her reviews and in interviews. She preferred to analyze films without thinking about the director's other works. Andrew Sarris, a key proponent of the theory, debated it with Kael in the pages of The New Yorker and various film magazines.
Pauline Kael challenges the auteur theory, a film criticism approach that focuses on directors' personal style and meaning, in this article from 1962. She argues that the theory is based on flawed premises, arbitrary judgments, and limited evidence.
3 de oct. de 2016 · The auteur theory renders impossible contemporaneous film reviewing, and in that way is antithetical to Kael’s (and my) conception of art criticism: for “the critic to transmit his knowledge of and enthusiasm for art to others” (21).
6 de oct. de 2020 · A blog post that analyzes Hitchcock's Shadow of a Doubt through Pauline Kael's perspective on auteur theory. It argues that auteur theory is a cult of personality that ignores the film's meaning and focuses on the director's style and biography.
Pauline Kael's article "Circles and Squares," in our last issue, was a blistering attack on the "auteur" school of criticism as it has been seen in the work of Andrew Sarris and such journals as "Movie" and the "New York
14 de oct. de 2011 · Though he is famous as the leading American proponent of the “auteur theory,” Mr. Sarris has often pointed out that it is not a theory in the strong, scientific sense (like the theory of ...
22 de abr. de 2022 · One notable critic was Pauline Kael, who argued (amongst other things) that auteur theory suggested that even poor films were meritorious simply because of the involvement of a director that was an auteur, and that it was impossible to understand auteurship in the moment; a director’s whole of body of work would need to be assessed ...
