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I Lost It at the Movies Film Writings 1954-1965 (Paperback)
| Author: Pauline Kael |
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Product Details:
Format: Paperback
Publisher: Consortium Book Sales & Dist
ISBN-10: 0714529753
ISBN-13: 9780714529752
Sku: 33716921
Publish Date: 1/24/2008
Dimensions:
(in Inches) 8.5H x 5.5L x 1T
Pages:
250
See more in Film & Video / General
| *Author: Kael, Pauline *Subtitle: Film Writings 1954-1965 *Publication Date: 1994/01/01 *Binding Type: Paperbound *Language: English *Depth: 1.00 *Width: 5.50 *Height: 8.50 |
Annotation:
Considered one of the most strident, provocative, and committed film critics of the 20th century, a writer who elevated criticism to an art form, and a woman who wielded great cultural power during her reign as film critic atThe New Yorker from 1968 to 1991, Pauline Kael's incisive and divisive film reviews and essays were first collected in the bestselling I LOST IT AT THE MOVIES in 1965, and it is this book that cemented her reputation in the film world.
Considered one of the most strident, provocative, and committed film critics of the 20th century, a writer who elevated criticism to an art form, and a woman who wielded great cultural power during her reign as film critic atThe New Yorker from 1968 to 1991, Pauline Kael's incisive and divisive film reviews and essays were first collected in the bestselling I LOST IT AT THE MOVIES in 1965, and it is this book that cemented her reputation in the film world.
Author Bio
Pauline Kael
The ever-controversial and outspoken film critic Pauline Kael, an avid reader and film enthusiast from an early age, was brought up on a ranch near San Francisco. Kael went on to study philosophy at the University of California at Berkeley and, though she did not graduate, she received an honorary doctorate later in life. Her first published essay appeared in San Francisco's City Lights magazine, and she ended a stint as a reviewer for McCall's magazine after her review of THE SOUND OF MUSIC was perceived as being too harsh. Perhaps her best-known book is I LOST IT AT THE MOVIES (1965) which, like all of her other books, anthologizes her reviews and essays. Her career as the film critic for The New Yorker spanned from 1967 to 1991, with a break during the late 1970s when she resigned to become a film consultant for Paramount Pictures, a move which many saw as a sellout. However, tired of movie-making politics, she returned to The New Yorker in 1980. Kael was well-known for her feuds with other film critics (Andrew Sarris, in particular), and with movie directors (Warren Beatty, Paul Schrader, and Woody Allen among them). She was married and divorced three times, and had one daughter. Pauline Kael died of Parkinson's disease in Massachusetts in 2001.
Praise
New York Times Book Review
"I am not certain just what Miss Kael thinks she lost at the movies, but it was assuredly neither her wit or her wits. Her collected essays confirm what those of us who have encountered them separately over the last few years, mostly in rather small journals, have suspected--that she is the sanest, saltiest, most resourceful and least attitudinizing movie critic currently in practice in the United States. Whether she is closely examining a new movie or engaging in a pungent polemic against some narrow school of critical writing, as she does in her long introduction (a brilliant situation report on the current cinematic scene), she almost always manages to live up to her own high standards of critical craftsmanship." - Richard Schickel 3/14/1965
"I am not certain just what Miss Kael thinks she lost at the movies, but it was assuredly neither her wit or her wits. Her collected essays confirm what those of us who have encountered them separately over the last few years, mostly in rather small journals, have suspected--that she is the sanest, saltiest, most resourceful and least attitudinizing movie critic currently in practice in the United States. Whether she is closely examining a new movie or engaging in a pungent polemic against some narrow school of critical writing, as she does in her long introduction (a brilliant situation report on the current cinematic scene), she almost always manages to live up to her own high standards of critical craftsmanship." - Richard Schickel 3/14/1965
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