Who was Pauline Kael and what was her primary occupation?

Pauline Kael was an American film critic, best known for her tenure at The New Yorker magazine from 1968 to 1991. Her reviews were characterized by their wit, strong opinions, and sharp focus, often diverging from the consensus of her peers.

What was the duration of Pauline Kael's association with The New Yorker?

Pauline Kael wrote for The New Yorker from 1968 to 1991. Initially, she alternated as the film critic every six months with Penelope Gilliatt, becoming the sole critic in 1980.

According to Roger Ebert, what significant influence did Pauline Kael have on American film culture?

Roger Ebert stated that Pauline Kael had a more positive influence on the climate for film in America than any other single person over the three decades preceding her death. He noted her approach was entirely personal, lacking rigid theories or objective standards, and that her reviews would be read for their style, humor, and energy.

What role did Pauline Kael play in bringing attention to international and New Hollywood cinema?

Pauline Kael was instrumental in bringing international cinema to the attention of American readers. She also actively championed directors associated with the New Hollywood movement, giving a "breathing, textured life" to their aims and sensibilities.

Where was Pauline Kael born and what was her parents' background?

Pauline Kael was born on June 19, 1919, in Petaluma, California. Her parents were Isaac Paul Kael and Judith Kael, who were Jewish immigrants from Poland and operated a chicken farm.

What significant life event occurred for Kael's family when she was eight years old?

When Pauline Kael was eight years old, her parents lost their chicken farm. This led the family to move to San Francisco, where Kael attended Girls High School.

What were Kael's early academic pursuits and why did she leave UC Berkeley?

Pauline Kael matriculated at the University of California, Berkeley, in 1936, where she studied philosophy, literature, and art. She dropped out in 1940, initially intending to go to law school, but instead moved to New York City with poet Robert Horan.

How did Kael support herself and her daughter in her early career?

After returning to Berkeley and leading a bohemian life, Kael worked a series of menial jobs, including cook and seamstress, and also worked as an advertising copywriter to support herself and her daughter, Gina, who had a congenital heart defect.

How did Pauline Kael begin her career as a film critic?

In 1952, Peter D. Martin, editor of "City Lights," overheard Kael discussing films and invited her to review Charlie Chaplin's "Limelight." This led to her publishing film criticism regularly in magazines.

What was Kael's philosophy regarding her writing style and the concept of objectivity in criticism?

Kael aimed to "loosen" her style, moving away from academic pomposity to a more human, conversational voice. She actively disparaged "saphead objectivity" in criticism, incorporating autobiographical elements into her reviews.

Describe Kael's personal connection to her review of Vittorio De Sica's "Shoeshine."

Kael described seeing "Shoeshine" after a difficult personal argument, leading her to cry in the theater. She reflected on the disconnect between her emotional response to the film and a companion's indifference, highlighting the complexity of life and art.

How did Kael's role as manager of the Cinema-Guild and Studio influence her career?

As manager of the Cinema-Guild and Studio from 1955 to 1960, Kael programmed films, often repeating favorites to build audience appreciation. She also wrote "pungent" capsule reviews for the patrons, which gained a following.

What was Kael's controversial review of "The Sound of Music" and what was its alleged consequence?

In "McCall's," Kael wrote a highly critical review of "The Sound of Music," calling its message a "sugarcoated lie." While legend suggests this review led to her firing, Kael and the editor denied this, stating she was dismissed months later for panning numerous commercial films.

How did Kael's essay on "Bonnie and Clyde" lead to her joining The New Yorker?

After "The New Republic" declined to publish Kael's extensive essay on "Bonnie and Clyde," William Shawn of "The New Yorker" obtained the piece and published it in his magazine. This essay, which praised the film against prevailing critical opinion, led to her joining The New Yorker staff.

What was the initial reaction to Kael's writing style at The New Yorker?

Initially, Kael's colloquial and "brash" writing style was considered an unusual fit for the sophisticated "New Yorker." One writer reportedly suggested she was "trampling through the pages of the magazine with cowboy boots covered with dung."

Which of Kael's books won the National Book Award, and why was this significant?

Kael's fourth collection, "Deeper into Movies" (1973), won the U.S. National Book Award in the Arts and Letters category. This marked the first time a nonfiction book about film received this prestigious award.

What was the subject of Kael's influential book-length essay "Raising Kane"?

"Raising Kane" (1971) was a lengthy essay focused on the authorship of the film "Citizen Kane." In it, Kael argued that Herman J. Mankiewicz was the primary author of the screenplay and the film's guiding force, challenging the prevailing auteur theory.

What controversy arose from Kael's "Raising Kane" essay regarding Orson Welles?

Kael alleged in "Raising Kane" that Orson Welles had schemed to deny Mankiewicz screen credit for "Citizen Kane." This led Welles to consider suing Kael for libel, and critics like Peter Bogdanovich defended Welles, rebutting Kael's claims.

How did Woody Allen characterize Pauline Kael's critical abilities?

Woody Allen described Kael as possessing great passion, terrific wit, a wonderful writing style, and extensive knowledge of film history. However, he noted that she lacked judgment, making her choices of praise or criticism sometimes surprising.

What was the nature of Kael's relationship with The New Yorker's editor, William Shawn?

Kael had a complex relationship with William Shawn, often battling with him over editorial decisions. Despite these confrontations, Shawn generally allowed her significant freedom, as seen when she insisted on publishing her review of Terrence Malick's "Badlands" unchanged, despite Shawn's personal connection to the director.

What was Renata Adler's critique of Kael's book "When the Lights Go Down"?

Renata Adler published an extensive review in "The New York Review of Books" that dismissed Kael's book as "jarringly, piece by piece, line by line, and without interruption, worthless." Adler criticized Kael's work for lacking intelligence and sensibility, and for her use of "quirks" and "mannerisms."

What diagnosis did Kael receive in the early 1980s, and how did it affect her?

In the early 1980s, Kael was diagnosed with Parkinson's disease, which sometimes includes cognitive effects. As her condition worsened, she became increasingly depressed about the state of American films and felt she had "nothing new to say," eventually leading to her retirement from regular reviewing.

When did Pauline Kael announce her retirement from regular film reviewing, and what did she plan to do afterward?

Pauline Kael announced her retirement from regular film reviewing on March 11, 1991. She stated she would still write essays and "reflections and other pieces of writing about movies" for The New Yorker, though she published little new work in the following decade.

How did Kael's style blend high and low culture in her reviews?

Kael's style was known for mingling references to serious literary figures like Saul Bellow and Norman Mailer with informal, sometimes coarse, condemnations such as "loony," "sleazo," and "bummer," making her criticism accessible and engaging.

What was Richard Corliss's comparison of Kael's writing style to Andrew Sarris's?

Richard Corliss contrasted Kael's "loping, derisive, intimate, gag-packed" style, which he likened to Lenny Bruce, with Andrew Sarris's "dense, balanced, aphoristic, alliterative" prose influenced by French film theory. Kael's style was seen as a "battle cry of a vital and dangerous new era."

Can you provide examples of films that Pauline Kael championed despite critical consensus?

Pauline Kael championed films that were considered critical failures by many, including "The Warriors" and "Last Tango in Paris." Her support for these films often went against the grain of mainstream critical opinion.

Conversely, what are some examples of critically acclaimed films that Kael panned?

Kael panned films that received widespread critical admiration, such as "Network," "A Woman Under the Influence" (which she called "murky, ragmop"), "The Loneliness of the Long Distance Runner," and "2001: A Space Odyssey" (which she described as "monumentally unimaginative").

What was Kael's stance on the auteur theory?

Pauline Kael was an opponent of the auteur theory, which emphasizes the director as the primary author of a film. She preferred to analyze films as collaborative efforts, highlighting the contributions of screenwriters and cinematographers, as she did in her "Raising Kane" essay.

How did Kael view films that depicted violence, and who was a notable director she criticized for this?

Kael had a taste for films that explored sex and violence but reacted negatively to those she felt pushed "right-wing" or "fascist" agendas. She was particularly critical of Clint Eastwood, becoming known as his "nemesis" due to her consistently unfavorable reviews of his films.

What was Kael's critique of directors using brutal imagery in films like "A Clockwork Orange"?

Kael expressed concern that directors using brutal imagery were desensitizing audiences to violence, rather than sensitizing them to its horrors. She argued that this approach implied that "everyone is brutal" and that heroes must match the villains' brutality, which she saw as a dangerous trend.

What accusations of homophobia were leveled against Pauline Kael, and how did she respond?

In the early 1980s, Kael faced accusations of homophobia, particularly after her review of "Rich and Famous," where she made comments about a character's "masochistic overtones" that some found problematic. She rejected these accusations, stating that her actual writings on films with homosexual elements did not support such claims.

What was the "Nixon quote" attributed to Kael, and why did it become controversial?

Kael was quoted as saying in a 1972 lecture that she knew only one person who voted for Nixon, implying a disconnect from his supporters. This statement was later misquoted and cited by conservatives as an example of the "liberal elite's" insularity, becoming an urban legend.

How did Kael's influence extend to younger critics, and what term was used for them?

Kael cultivated friendships with younger critics, many of whom emulated her distinctive writing style. These critics were sometimes referred to derisively as the "Paulettes," and they came to dominate national film criticism in the 1990s.

Which director's career was significantly impacted by Kael's recommendation, and in what way?

Paul Schrader, the screenwriter for "Taxi Driver," was accepted into UCLA Film School's graduate program based on Kael's recommendation. Under her mentorship, Schrader developed as a film critic before pursuing screenwriting and directing.

What was George Lucas's tribute to Pauline Kael in his film "Willow"?

George Lucas named one of the villains in his 1988 film "Willow" "General Kael." This was an "hommage à moi" (a tribute to me), as Kael herself noted, given her often unenthusiastic reviews of Lucas's work.

How did Quentin Tarantino describe Pauline Kael's influence on his aesthetic?

Quentin Tarantino stated that Pauline Kael was as influential as any director in helping him develop his aesthetic. He read her criticism voraciously while growing up, finding significant inspiration in her writing.

What award did Pauline Kael receive from Women in Film in 1978?

In 1978, Pauline Kael received the Women in Film Crystal Award. This award recognized outstanding women who expanded the role of women in the entertainment industry through their endurance and excellence.

What was the significance of Kael's book "Deeper into Movies" winning the National Book Award?

"Deeper into Movies" was the first nonfiction book about film to win the National Book Award in the Arts and Letters category in 1974, highlighting the critical recognition Kael's work received.

What is the Pauline Kael Breakout Award, and who awards it?

The Pauline Kael Breakout Award is given annually by the Florida Film Critics Circle to recognize an outstanding contribution to cinema. It honors the spirit of Kael's impactful criticism.

What was the subject of the 2018 documentary "What She Said: The Art of Pauline Kael"?

The documentary "What She Said: The Art of Pauline Kael," narrated by Sarah Jessica Parker, explored Kael's work and her influence within the male-dominated fields of cinema and film criticism.

How did David Thomson describe Kael's impact on the perception of movies in society?

David Thomson suggested that Kael established, for a time, the idea that movies belonged to the audience and spoke to society. He felt she made films seem like the "most telling, deeply felt impression of who we were and might be," similar to television's impact.

What was Kael's view on the term "film" versus "movies"?

Kael rarely used the word "film" because she considered it too elitist. She preferred the term "movies," aligning with her aim to make criticism accessible to a broader audience.

What specific films did Kael pan that were considered experimental cinema?

Kael was critical of most experimental cinema, referring to it as "a creature of publicity and mutual congratulations on artistry." She also dismissed most student films as "freshmen compositions."

What was Kael's opinion of Sam Peckinpah's "Straw Dogs"?

While generally favorable towards Peckinpah's work, Kael described "Straw Dogs" (1971) as "the first American film that is a fascist work of art," despite praising its energy and invention.

What specific criticism did Kael have regarding Don Siegel's "Dirty Harry"?

Kael characterized "Dirty Harry" (1971) as a "right-wing fantasy," a "remarkably single-minded attack on liberal values," and "fascist medievalism," reflecting her strong reaction to its perceived political agenda.

What was Kael's perspective on the role of film critics in relation to censorship?

Kael believed that critics who were offended by movie brutality should not be silenced by censorship. Instead, she argued for the freedom of the press to analyze the implications of such content, stating that not using this critical freedom implicitly condones excessive brutality.

What specific remark did Kael make about "The Children's Hour" that drew criticism?

Kael made a remark about the gay-themed film "The Children's Hour," stating, "I always thought this was why lesbians needed sympathy—that there isn't much they *can* do." This comment was later cited as evidence of her homophobia.

What was Michael Moore's criticism of Kael's review of his documentary "Roger & Me"?

Michael Moore accused Kael of printing "outright lies" and engaging in "disinformation" in her review of "Roger & Me." He felt her review was a "deadly serious historical revisionist" attempt to fabricate facts about his film.

What award did Pauline Kael receive in 1970 for her critical work?

In 1970, Pauline Kael received a George Polk Award for her work as a critic at "The New Yorker."

What was Kael's view on the film "It's a Wonderful Life"?

Pauline Kael panned the film "It's a Wonderful Life," placing it among films she disliked that had widespread critical admiration.

Pauline Kael Wiki: The Kael Criterion: Unpacking the Provocative Prose of Pauline Kael

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Pauline Kael: A Critical Force

The Voice of Passion

Pauline Kael (1919–2001) was an American film critic renowned for her "witty, biting, highly opinionated and sharply focused" reviews. Writing primarily for The New Yorker from 1968 to 1991, she often defied critical consensus, championing films and directors that resonated with her intensely personal and visceral approach to cinema. Her work profoundly influenced the landscape of film criticism and popular culture.

Defining an Era

Considered one of the most influential American film critics of her time, Kael's impact was so significant that Roger Ebert posited she had a more positive influence on the climate for film in America than any other single person over three decades. Her unique style, characterized by its energy, humor, and directness, made her writing compelling, often read for its own sake, irrespective of the film being discussed.

Global Reach, Personal Vision

Kael introduced American audiences to a vast array of international cinema and became a pivotal champion of the New Hollywood movement. Her criticism was not merely analytical; it was an immersive experience, reflecting her belief that film should be engaged with passionately and personally. As Sanford Schwartz noted, her deepest subject was "how to live more intensely," using movies as the medium.

Formative Years: From Petaluma to Berkeley

Rural Beginnings

Born in Petaluma, California, on June 19, 1919, Kael hailed from a family of Jewish immigrants from Poland. Her early life was shaped by her family's experience with a chicken farm, a venture that ultimately failed, leading them to San Francisco when Kael was eight. This background, marked by resilience and a connection to working-class realities, would subtly inform her later critical perspective.

Intellectual Awakening

Kael matriculated at the University of California, Berkeley, in 1936, pursuing studies in philosophy, literature, and art. Though she dropped out in 1940, her academic exposure provided a foundation for her later critical engagement. She initially harbored ambitions for law school but was drawn into the vibrant artistic milieu of New York City, embracing a more bohemian lifestyle.

Early Artistic Pursuits

Returning to Berkeley, Kael led a bohemian life, writing plays and engaging with experimental film. The birth of her daughter, Gina James, in 1948, necessitated a period of financial struggle, during which she worked various jobs, including cook and seamstress, while honing her writing skills. This period of hardship and diverse experience contributed to her unique voice and perspective.

The Genesis of a Critic

Voice on the Airwaves

Kael's critical journey began in earnest in 1952 when she was invited to review Charlie Chaplin's Limelight for the publication City Lights. She famously dubbed the film "Slimelight," immediately signaling her distinctive, often contrarian, critical stance. Her early reviews, broadcast on KPFA radio, were characterized by a desire to "loosen my style—to get away from the term-paper pomposity," aiming for the authenticity of a human voice.

Cinema Guild and Early Publications

From 1955 to 1960, Kael managed the Cinema Guild theater in Berkeley, where she curated film programming and wrote "pungent" capsule reviews. Her patrons began collecting these reviews, recognizing their unique flair. This period solidified her belief in the subjective nature of criticism, famously stating that "saphead objectivity" was not the goal, but rather a passionate, personal engagement with cinema.

First Taste of Success

The publication of her first book of criticism, I Lost It at the Movies (1965), marked a significant turning point. The collection became a surprise bestseller, selling 150,000 paperback copies. This success, coupled with her work at McCall's magazine, propelled her into the mainstream, though her candid critique of The Sound of Music reportedly led to her departure from the publication.

Reaching the Masses

The "Sound of Money" Review

Kael's review of The Sound of Music in McCall's in 1966 was famously scathing, calling the film a "sugarcoated lie that people seem to want to eat." While legends suggest this review cost her the job, Kael and the editor denied this, attributing her dismissal to a broader pattern of panning commercial successes. This incident highlighted her willingness to challenge popular opinion.

The New Republic and The New Yorker

Following her tenure at McCall's, Kael wrote for The New Republic, but found the editorial interference intolerable. Her pivotal essay on Bonnie and Clyde, initially rejected by the magazine, was published in The New Yorker in 1967, garnering widespread attention and marking her entry into a more prestigious platform. This essay, which championed a film that had bewildered many critics, demonstrated her prescient critical eye.

Critical Acclaim and Recognition

Her association with The New Yorker, beginning in 1968, provided her with the platform to develop her distinctive, lengthy, and largely unedited style. By 1970, she received a George Polk Award for her criticism. Her collections, such as Deeper into Movies (1973), earned her the U.S. National Book Award for Arts and Letters, solidifying her status as a major literary and critical voice.

At The New Yorker: A Critical Reign

Challenging the Establishment

Kael's arrival at The New Yorker was met with some skepticism, with one writer suggesting she was "trampling through the pages of the magazine with cowboy boots covered with dung." However, her passionate, colloquial, and often provocative style soon captivated readers and colleagues alike, establishing her as a formidable presence in the literary world.

Landmark Essays

During her tenure, Kael produced seminal essays that went beyond simple reviews. Her book-length examination of the authorship of Citizen Kane, titled "Raising Kane" (1971), challenged auteur theory and sparked considerable debate. Her incisive profiles of figures like Cary Grant and her critiques of films ranging from 2001: A Space Odyssey to Deep Throat showcased the breadth and depth of her critical engagement.

Debates and Disagreements

Kael was known for her spirited debates, notably with Andrew Sarris over auteur theory. She also famously clashed with editors, such as William Shawn, over her desire to review controversial films or express unpopular opinions. Her sharp critiques, like the infamous review of Rich and Famous that led to accusations of homophobia, and her misquoted remarks about Richard Nixon, cemented her reputation as a fearless and often controversial figure.

The Kaelian Style: Unfiltered and Uncompromising

High Culture, Low Culture

Kael masterfully blended references to highbrow literature and art with demotic language and sharp, often cutting, colloquialisms. She could seamlessly transition from discussing Saul Bellow or Jean Genet to employing terms like "loony," "sleazo," and "bummer," creating a unique critical voice that was both intellectually rigorous and accessible.

A Rock 'n' Roll Critic

Richard Corliss contrasted Kael's style with more academic critics, describing her prose as "loping, derisive, intimate, gag-packed, as American as Lenny Bruce." He likened her arrival in film criticism to the birth of rock 'n' roll, a "vital and dangerous new era" that broke from the staid conventions of the past.

Against Auteurism

A staunch opponent of auteur theory, Kael advocated for viewing films as collaborative efforts rather than the singular vision of a director. She emphasized the importance of analyzing films in isolation, focusing on their immediate impact and artistic merits, rather than fitting them into a director's established oeuvre. This perspective often placed her at odds with prevailing critical trends.

Contrarian Views and Fierce Judgments

Championing the Unconventional

Kael frequently championed films that were critically divisive or commercially unsuccessful, such as The Warriors and Last Tango in Paris. Conversely, she was known to pan films that received widespread critical admiration, including Network, A Woman Under the Influence, and even classics like It's a Wonderful Life and 2001: A Space Odyssey, which she deemed "monumentally unimaginative."

Violence and Politics

Her engagement with cinematic violence was complex. While appreciating films that pushed boundaries, she was critical of those she perceived as promoting "right-wing" or "fascist" agendas, notably criticizing Don Siegel's Dirty Harry as a "right-wing fantasy" and Stanley Kubrick's A Clockwork Orange for potentially desensitizing audiences to violence. She believed critics had a responsibility to analyze the implications of such content.

Controversies and Accusations

Kael faced accusations of homophobia for remarks made in her review of Rich and Famous and earlier comments on gay-themed films. She vehemently rejected these claims, arguing that her extensive writings on films with homosexual elements demonstrated an ease with the subject matter. Her public persona and outspokenness inevitably generated both ardent admirers and vocal detractors.

A Legacy of Influence

Shaping a Generation of Critics

Kael's distinctive style and passionate approach profoundly influenced a generation of critics, often referred to derisively as the "Paulettes." Many prominent critics, including A.O. Scott, David Denby, and Anthony Lane, have acknowledged her impact on their own work and the broader field of film criticism. Her ability to make film writing engaging and personal set a new standard.

Impact on Filmmakers

Her influence extended to filmmakers as well. Directors like Paul Schrader credited her mentorship for their entry into the film industry. Conversely, her sharp critiques could also be daunting; David Lean reportedly cited her reviews as a factor in his extended hiatus from filmmaking. George Lucas even named a villain "General Kael" in his film Willow, a nod to her often unenthusiastic reviews of his work.

Redefining the Form

Owen Gleiberman stated that Kael "reinvented the form, and pioneered an entire aesthetic of writing." Her ability to connect with audiences, her willingness to engage with films on a deeply personal level, and her sheer stylistic brilliance ensured that her work transcended mere film review, becoming a significant cultural commentary.

Recognition and Accolades

Key Honors

Throughout her illustrious career, Pauline Kael received numerous accolades for her contributions to film criticism and writing:

1964: Guggenheim Fellowship
1970: George Polk Award for Criticism
1974: National Book Award for Arts and Letters (for Deeper into Movies)
1978: Crystal Award, Women in Film
1980: Muse Award, New York Women in Film & Television
1991: Mel Novikoff Award, San Francisco International Film Festival
1994: Special Award, Los Angeles Film Critics Association
1995: Writer Award, Gotham Independent Film Awards
2012: Posthumous induction into the Online Film & Television Association Film Hall of Fame

Literary Contributions

Seminal Books

Kael compiled her influential essays and reviews into several acclaimed books, each reflecting her unique critical voice and perspective on cinema.

I Lost It at the Movies (1965)
Kiss Kiss Bang Bang (1968)
Going Steady (1969)
The Citizen Kane Book (1971)
Deeper into Movies (1973)
Reeling (1976)
When the Lights Go Down (1980)
5001 Nights at the Movies (1982, revised 1984, 1991)
Taking It All In (1984)
State of the Art (1985)
Hooked (1989)
Movie Love (1991)
For Keeps (1994)
Raising Kane, and other essays (1996)

Notable Essays

Beyond her books, Kael contributed significant standalone essays that shaped critical discourse.

"Trash, Art, and the Movies" (Harper's, 1969)
"Raising Kane" (The New Yorker, 1971)
"The Man From Dream City" (Profile of Cary Grant, The New Yorker, 1975)
"Why Are Movies So Bad? Or, The Numbers" (The New Yorker, 1980)

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References

This is Orson Welles, Introduction : My Orson, page xxiiiâxv, Da Capo Press, 1998 Edition

Madder Than Hell: How Network Anticipated Contemporary Media - The Atlantic

Shoah|AV Club

Five Classic Pauline Kael Reviews|The New Yorker

Kael, Pauline, "Raising Kane," The New Yorker, February 20, 1971.

"Q&A: Elvis Mitchell: Part 1", Undercover Black Man, March 5, 2007.

A full list of references for this article are available at the Pauline Kael Wikipedia page

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The Kael Criterion

💡 Dive in with Flashcard Learning! 💡

Pauline Kael: A Critical Force 🎬

🗣️ The Voice of Passion

🌟 Defining an Era

🌍 Global Reach, Personal Vision

Formative Years: From Petaluma to Berkeley 🐣

🌾 Rural Beginnings

📚 Intellectual Awakening

🎬 Early Artistic Pursuits

The Genesis of a Critic ✍️

🎙️ Voice on the Airwaves

🏛️ Cinema Guild and Early Publications

📖 First Taste of Success

Reaching the Masses 📰

💥 The "Sound of Money" Review

✍️ The New Republic and The New Yorker

🏆 Critical Acclaim and Recognition

At The New Yorker: A Critical Reign 🗽

👢 Challenging the Establishment

📚 Landmark Essays

⚔️ Debates and Disagreements

The Kaelian Style: Unfiltered and Uncompromising 💡

🎭 High Culture, Low Culture

🎸 A Rock 'n' Roll Critic

🚫 Against Auteurism

Contrarian Views and Fierce Judgments 🤔

🔥 Championing the Unconventional

🔫 Violence and Politics

❓ Controversies and Accusations

A Legacy of Influence 🚀

🧑‍🏫 Shaping a Generation of Critics

🎬 Impact on Filmmakers

🗣️ Redefining the Form

Recognition and Accolades 🏆

📜 Key Honors

Literary Contributions 📚

📖 Seminal Books

📰 Notable Essays

Teacher's Corner 🧑‍🏫

Edit and Print this course in the Wiki2Web Teacher Studio

True or False? 🤔

❓ Test Your Knowledge! ❓

Gamer's Corner 🎮

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Explore More Topics

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References

📜 References

Feedback & Support 👍

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Academic Disclaimer ⚠️

📜 Important Notice

Dive in with Flashcard Learning!

Pauline Kael: A Critical Force

The Voice of Passion

Defining an Era

Global Reach, Personal Vision

Formative Years: From Petaluma to Berkeley

Rural Beginnings

Intellectual Awakening

Early Artistic Pursuits

The Genesis of a Critic

Voice on the Airwaves

Cinema Guild and Early Publications

First Taste of Success

Reaching the Masses

The "Sound of Money" Review

The New Republic and The New Yorker

Critical Acclaim and Recognition

At The New Yorker: A Critical Reign

Challenging the Establishment

Landmark Essays

Debates and Disagreements

The Kaelian Style: Unfiltered and Uncompromising

High Culture, Low Culture

A Rock 'n' Roll Critic

Against Auteurism

Contrarian Views and Fierce Judgments

Championing the Unconventional

Violence and Politics

Controversies and Accusations

A Legacy of Influence

Shaping a Generation of Critics

Impact on Filmmakers

Redefining the Form

Recognition and Accolades

Key Honors

Literary Contributions

Seminal Books

Notable Essays

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Academic Disclaimer

Important Notice