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By Will Brantley

Conversations with Pauline Kael brings jointly approximately half Kael's released interviews in addition to a full of life debate among Kael and Jean-Luc Godard. jointly, the interviews supply worthwhile views on Kael's aesthetics, her politics, and her perceptions approximately what it's she does as a critic. in addition they include discussions of movies that Kael didn't have the opportunity to study or that have been published after her retirement in 1991.

This number of her interviews will supply new and renewed pleasures for readers who've valued Kael's severe voice and her demanding situations to consensus in the course of the moment 1/2 the 20th century.

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Extra resources for Conversations with Pauline Kael

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Take his discussion of the film Night and Day (Michael Curtiz, 1946), about the life of composer Cole Porter. Custen argues that the film is exemplary of the ‘machinery of studio production’ (1992: 121). As he explains, the producers Arthur Schwartz and Jack Warner decided to present Porter’s life according to the conventional biopic formula as a ‘wholesome’ story of a hard-working, talented man from modest beginnings who triumphs against adversity with the support of his devoted wife (1992: 123).

She explores how ‘novel understandings of feminism are being generated, occupied, and resisted by young women as they negotiate the competing discourses available through which they can understand their world and their future’ (2004: 92). For scholars focused on textual analysis, these empirical studies provide an informative body Feminist Film Theory and Postfeminist Culture 29 of work which captures the variety of responses a text might invite in its consumers, ranging from endorsement to outright rejection.

A significant limitation of the work by Brooks, Phoca and Yeatman is that they do not analyse cultural texts, preferring to emphasise a shift in scholarly perspectives. In doing so they neglect the media’s significant role in defining feminism in the contemporary era, and their work remains far less influential than the arguments of those who actively engage with popular culture. One scholar who has taken up the formulation of postfeminism as an epistemological break and used it to examine popular texts is Amanda D.

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