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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.
3 de oct. de 2016 · About midway through her rebuttal to Andrew Sarris’s “Notes on the Auteur Theory in 1962,” Pauline Kael articulates the gripe I’d already scribbled in the margins of my textbook: “auteur critics tend to downgrade writer-directors—who are in the best position to use the film
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 ...
6 de oct. de 2020 · Thus, the problem starts here, as Pauline Kael brilliantly identifies while discussing how certain directors are regarded as auteurs while others are not: “There is no rule or theory involved in any of this, just simple discrimination; we judge the man from his films and learn to predict a little about his next films, we don’t ...
Pauline Kael was the first serious critic of the auteur theory. Without question, her famously acerbic 1963 response to Sarris continues to raise important questions about the theory’s persuasiveness, questions taken up and elaborated by many other critics and scholars since the early 1960s.
7 de jun. de 2019 · Critics openly took one another on — although Kael, who first got noticed with an attack on Sarris’s auteur-theory primer, was forbidden by The New Yorker’s editor, William Shawn, to go ...
3 de nov. de 2011 · November 3, 20119:57 AM ET. Heard on Fresh Air. Maureen Corrigan. 6-Minute Listen. Playlist. Enlarge this image. Pauline Kael was a film critic for The New Yorker from 1967 to 1991, as well as...