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Pauline Kael

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Pauline Kael (/keɪl/; June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Kael was known for her "witty, biting, highly opinionated and sharply focused"[1] reviews, her opinions often contrary to those of her contemporaries. She was one of the most influential American film critics of her day.

She left a lasting impression on many other prominent film critics. Roger Ebert argued in an obituary that Kael "had a more positive influence on the climate for film in America than any other single person over the last three decades". The critic, he said, "had no theory, no rules, no guidelines, no objective standards. You couldn't apply her 'approach' to a film. With her it was all personal". Owen Gleiberman said she "was more than a great critic. She reinvented the form, and pioneered an entire aesthetic of writing".

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6,4 MB
19 cze 18 21:13

Reeling (1976).pdf

Reeling (1976) is Pauline Kael's fifth collection of movie reviews, covering the years 1972 through 1975. The book is largely composed of movie reviews, ranging from her famous review of Last Tango in Paris to her review of A Woman Under the Influence, but it also contains a longer essay entitled "On the Future of Movies" as well as a book review of The Fred Astaire & Ginger Rogers Book, by fellow The New Yorker dance critic Arlene Croce. In 2010, four film critics polled by the British Film Institute listed Reeling among their favorite books related to cinema.

8,8 MB
19 cze 18 21:13

The Pauline Kael Reader - Kael, Pauline.pdf

5,9 MB
19 cze 18 21:13

Taking It All In (1984).pdf

6,2 MB
19 cze 18 21:13

When the Lights Go Down (1980).pdf

14,6 MB
19 cze 18 21:11

I Lost it at the Movies (1966).pdf

Published in 1965, this is Pauline Kael's first book. It is at once her most uncharacteristic volume of essays and one of her most interesting. Rather than trace recent movie openings on a week-by-week basis, Kael here recalls classics by Ophuls, Renoir, and Bergman and comments on some of the international masterpieces of the early '60s. She also meditates on the state of the art in provocatively titled pieces like "Are Movies Going to Pieces?," "Fantasies of the Art House Audience," and "Is There a Cure for Film Criticism?" Few movie reviewers of any generation can match her wit or intelligence. And almost no one can equal her passion for an art that had such an indelible impact upon her life; Kael's treatment of Vittorio De Sica's masterpiece Shoeshine is perhaps the most intimate and beautiful movie review ever written.

13,3 MB
19 cze 18 21:11