Word: auteuristic
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...Pink Panther is a very controversial animal. Sample a random number of reasonably intelligent people on what they think of these stupid Blake Edwards movies and you'll get replies ranging from, "I sleep through them" to "What wonderful pictures! Real fun and unpretentious, you know?" Although more boneheaded "auteurist" cinema scholars--Blake Edwards fans all--could probably give you a shot-by-shot analysis of this unsubtle director's technique, most critics will find it hard to be objective about Revenge of the Pink Panther. So much depends on one's mood, the setting, the company, and, of course...
...suppose anyone would dispute the claim that The Towering Inferno is popular art, so I'll defend my assertion that it's good art as well. One red herring--the director. Irwin Allen--needs to be disposed of right away. Auteurist orthodoxy is so much a part of the serious movie-goer's mental baggage that the idea of a good film being produced by an awful director seems a contradiction in terms. And Allen has compounded the problem by acting like some Cahiers du Cinema reader's idea of a Big Bad Hollywood Producer. Allen told the august Arts...
...spatial and dramatic ambiguity. Orson Welles first developed the new realism in Citizen Kane -its elements of symbolism, multi-level causality, mystery, and am biguity (tragedy, too)-and Andre Bazin glorified it in criticism, developing a metaphysical formalism that invests the most innocent pan or track with human Significance. Auteurist critics go even further in this direction in order to justify selected Hollywood directors with extrapolated Meaning and with metaphysical implications of each "unique, personal style." Godard seeks to strip the cinema of all these vague dimensions that obscure the realities of a class society, and to discover a linear...
...single masterpiece, the Cahiers critics traced continual directorial themes and motifs, evaluating the creator's relationship to his subject by the manner in which it was visually portrayed. Serious film criticism in the U. S. has gradually assimilated the most basic French ideas. In terms of the auteurist's gradual relinquishing of rationality, however, America's only auteur critic prior to Sarris was Manny Farber, who specialized in glorifying Raoul Walsh's James Cagney and Errol Flynn epics for readers of the Nation or Commentary...