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(Response Paper) The Evolution of Cinema and the Film Language with Alexandre Astruc

In response to: The Alexandre Astruc essay “The Birth of a New Avant-garde: La Caméra-Stylo” from the article originally printed in “L'Écran française” as "Du Stylo à la caméra et de la caméra au stylo"  A response paper for my Advanced Film Theory and Criticism class This 1948 essay by French film critic and film director Alexandre Astruc entitled “The Birth of a New Avant-garde: La Caméra-Stylo” reminded me of the wonders in the evolution of art and technology. It is natural to see

(Response Paper) Understanding Andrew Sarris’ Premises of the Auteur Theory

In response to: The Andrew Sarris essay “Notes on the Auteur Theory in 1962” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen A response paper for my Advanced Film Theory and Criticism class American film critic Andrew Sarris’ “Notes on the Auteur Theory in 1962” expressed the concerns about the auteur theory, particularly outside the insights coming from the French thinkers and the film magazine Cahiers du Cinema. Unlike Francois Truffaut in his essay “A Certain Tendency

(Response Paper) The Thrill of the Senses: Pauline Kael’s Wedge Against Andrew Sarris’ Auteur Circles

In response to: The Pauline Kael essay “Circles and Squares” originally published in the journal “Film Quarterly” A response paper for my Advanced Film Theory and Criticism class The doctrine of the auteur as established by American film critic Andrew Sarris was literally lambasted by another American film critic who I think is an “auteur” in her own field – Pauline Kael. Although I didn’t always agree with her insights, being generally fond of the vim and vigor of her writing style and

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