Resultado de búsqueda
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.
The Sarris format of ranking and cataloging directors is also evaluated. The objections to the auteur theory are listed and analyzed. Pauline Kael’s famous article “Circles and Squares” is extensively considered. Arguments used by Dwight Macdonald, Stanley J. Solomon, George W. Linden, and others are noted.
12 de feb. de 1971 · Raising Kane—I. Orson Welles’s “Citizen Kane.”. By Pauline Kael. February 12, 1971. Photograph from Photofest. “Citizen Kane” is perhaps the one American talking picture that seems as ...
Pauline Kael, an early critic of auteur theory, debated Andrew Sarris in magazines. [26] [7] Defending a film as a collaboration, her 1971 essay " Raising Kane ", examining Orson Welles 's 1941 film Citizen Kane , finds extensive reliance on co-writer Herman J. Mankiewicz and on cinematographer Gregg Toland .
31 quotes from Pauline Kael: 'Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.', 'A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city.
14 de feb. de 2021 · Kael’s essay thus enacts a crucial intervention in auteur theory, elevating close individual attention over critics’ impulse to categorize. While Sarris’ essay threatens to perpetuate stagnant favouritisms, Kael prioritizes experience and openness, which, as we will see, is crucial to appreciating Agnès Varda’s work.
26 de ago. de 2020 · Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster. Sarah Jessica Parker reads from Kael’s reviews; filmmakers Quentin Tarantino, Paul Schrader, and Francis Ford Coppola and critics Camille Paglia, Molly Haskell, Greil Marcus, and David Edelstein speak to her enormous gifts and influence.
