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  1. 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 ...

  2. en.wikipedia.org › wiki › Pauline_KaelPauline Kael - Wikipedia

    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. 3 de oct. de 2016 · October 3, 2016 at 3:31pm by Jessica Rafalko. 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 ...

  4. 14 de oct. de 2011 · Oct. 14, 2011. THE longtime New Yorker film critic Pauline Kael didn’t just write about movies — she made it seem as if they were worth fighting about. Nearly 20 years after her retirement and ...

  5. The Auteur Theory And The Perils Of Pauline 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 Film Bulletin." Mr. Sarris has sent us the following article as his reply.

  6. As Pauline Kael aptly noted, screenwriters get recognition when they already have a name. Sorkin’s name was established in another medium. Yet coming into this film, both could be seen as auteurs in their own right with specific qualities setting them apart from others.

  7. 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 before ...