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  1. Laura Mulvey comments on Pauline Kael and the issue of the auteur theory – and its emphasis on the director - in her book Citizen Kane by stating, “In 1971 Pauline Kael revived and refueled old embers of the credit controversy with an ulterior and polemical motive: to counter the auteurist tendency in film criticism.”

  2. 20 de feb. de 1993 · Despite the violent protests of Pauline Kael, the theory caught on, sending an entire generation of film critics out to fish for genius in the murky waters of Hollywood B pictures. Like many a ...

  3. However, as we all know, “the director’s one enduring masterpiece is, of course, Casablanca, the happiest of happy accidents, and the most decisive exception to the auteur theory” (176). Or, as Sarris’s great rival, Pauline Kael, put it, somewhat less charitably, “a good hack job.” 2. In his classic guidebook to auteurism, The ...

  4. 14 de nov. de 2012 · Pauline Kael approached her subjects predatorily: she called Clint Eastwood a “tall, cold cod” and a “fascist”; accused auteur theory proponent Andrew Sarris of being a closeted homosexual ...

  5. 12 de ago. de 2022 · What Auteur Theory Means to Me When it comes to auteur theory, I tend to side more with Pauline Kael’s views than with those of Andrew Sarris. That is, most films are massive collaborations between director, producer(s), screenwriter(s), cinematographer, editor(s), and various other departments, i.e. set-design, art direction, costuming, music, etc.

  6. Pauline Kael offers a resounding negative view; and we anticipate in our next issue a rejoinder by Andrew Sarris, in whose writings the politique has had its most extended and thoughtful American presentation. JOYS AND SARRIS "... th firste premise of the auteur theor iys the technical competenc of ae directo as ar criterion of value . . .

  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 conveying the mantle, which made a historical judgement.