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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.
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.
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 ...
At her peak, she lauded popular movies like Steven Spielberg's ''Jaws'' (1975) and Philip Kaufman's ''Invasion of the Body Snatchers'' (1978) and became more of a supporter of the auteur theory.
“public critics” such as Pauline Kael. Examining chiefly US film criticism (although one that was surely engaged in a debate and over the importation of French auteur theory and the international new waves), this chapter critically evaluates the prevailing history of the “authoritative”
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 ...
19 de jun. de 2012 · That’s true of Pauline Kael, who made her name as Sarris’s principal detractor and whose acolytes—who seem to put their hands on the Ouija board to consult with her before writing—continue ...
