Going Steady (book): Difference between revisions
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{{For|the album by Steady B|Going Steady (album)}} |
{{For|the album by Steady B|Going Steady (album)}} |
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'''''Going Steady: Film Writings 1968-1969''''' is the third collection of movie reviews by the critic [[Pauline Kael]], comprising the years 1968-1969, when she first began her film-reviewing duties at [[The New Yorker]]. |
'''''Going Steady: Film Writings 1968-1969''''' is the third collection of movie reviews by the critic [[Pauline Kael]], comprising the years 1968-1969, when she first began her film-reviewing duties at [[The New Yorker]] and which covers, " a crucial period of social and aesthetic change at the end of the sixties." <ref> Pauline Kael, Foreward, ''Going Steady'' </ref> |
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The collection for the most part consists of reviews of individual films, but includes one long essay entitled "[[Trash, Art, and the Movies]]", perhaps the closest Kael comes to a manifesto defining her personal [[aesthetics]] in regards to movies. In the essay, Kael dissects, compares, and contrasts the merits of "trash" films that are nevertheless entertaining, as well as "art" films that are uninteresting. In doing so, Kael lambastes "art" movies such as [[Kubrick]]'s ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'', concluding her treatment of that particular film by declaring: "If big film directors are to get credit for doing badly what others have been doing brilliantly for years with no money, just because they've put it on a big screen, then businessmen are greater than poets and theft is art." The essay is divided into ten parts, ranging from discussions of ''[[The Thomas Crown Affair (1968 film)|The Thomas Crown Affair]]'' to ''[[Petulia]]''. Kael's overriding theme is to dismantle the intellectual pretences of those who deride movies deemed to be "trash" on the basis of dubious aesthetic concerns, notwithstanding the entertainment appeal a particular "trash" film might possess. |
The collection for the most part consists of reviews of individual films, but includes one long essay (which appeared originally ''[[Harper's Magazine]]''), entitled "[[Trash, Art, and the Movies]]", perhaps the closest Kael comes to a manifesto defining her personal [[aesthetics]] in regards to movies. In the essay, Kael dissects, compares, and contrasts the merits of "trash" films that are nevertheless entertaining, as well as "art" films that are uninteresting. In doing so, Kael lambastes "art" movies such as [[Kubrick]]'s ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'', concluding her treatment of that particular film by declaring: "If big film directors are to get credit for doing badly what others have been doing brilliantly for years with no money, just because they've put it on a big screen, then businessmen are greater than poets and theft is art." The essay is divided into ten parts, ranging from discussions of ''[[The Thomas Crown Affair (1968 film)|The Thomas Crown Affair]]'' to ''[[Petulia]]''. Kael's overriding theme is to dismantle the intellectual pretences of those who deride movies deemed to be "trash" on the basis of dubious aesthetic concerns, notwithstanding the entertainment appeal a particular "trash" film might possess. |
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Other notable reviews include Kael's treatment of the [[Norman Mailer]] film [[Wild 90]], its relation to [[cinéma vérité]], and the implications of that particular film-making technique. |
Other notable reviews include Kael's treatment of the [[Norman Mailer]] film [[Wild 90]], its relation to [[cinéma vérité]], and the implications of that particular film-making technique. |
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==Movies reviewed== |
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* ''[[China Is Near]]'' |
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* ''[[Wild 90]]'' |
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* ''[[How to Save a Marriage - and Ruin Your Life]]'' |
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* ''[[Sebastian (1968 film)|Sebastian]]'' |
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* ''[[Poor Cow]]'' |
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* ''[[The Fox (1967 film)|The Fox]]'' |
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* ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' |
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* ''[[Sweet November (1968 film)|Sweet November]]'' |
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* ''[[Doctor Faustus (1967 film)|Doctor Faustus]]'' |
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* ''[[Charlie Bubbles]]'' |
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* ''[[The Two of Us (film)|The Two of Us]]'' |
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* ''[[Bye Bye Braverman]]'' |
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* ''[[The Good, the Bad and the Ugly]]'' |
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* ''[[Pretty Polly (film)|A Matter of Innocence]]'' |
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* ''[[We Still Kill the Old Way]]'' |
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* ''[[The Secret War of Harry Frigg]]'' |
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This book is out-of-print in the United States, but is still published by [[Marion Boyars Publishers]] of the United Kingdom. |
This book is out-of-print in the United States, but is still published by [[Marion Boyars Publishers]] of the United Kingdom. |
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*Warner Books, 1979, paperback (ISBN 0446910759) |
*Warner Books, 1979, paperback (ISBN 0446910759) |
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*Marion Boyars, 1994, paperback reprint (ISBN 0714529761) |
*Marion Boyars, 1994, paperback reprint (ISBN 0714529761) |
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==References== |
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{{reflist}} |
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==External links== |
==External links== |
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Revision as of 15:40, 10 February 2010
Going Steady: Film Writings 1968-1969 is the third collection of movie reviews by the critic Pauline Kael, comprising the years 1968-1969, when she first began her film-reviewing duties at The New Yorker and which covers, " a crucial period of social and aesthetic change at the end of the sixties." [1]
The collection for the most part consists of reviews of individual films, but includes one long essay (which appeared originally Harper's Magazine), entitled "Trash, Art, and the Movies", perhaps the closest Kael comes to a manifesto defining her personal aesthetics in regards to movies. In the essay, Kael dissects, compares, and contrasts the merits of "trash" films that are nevertheless entertaining, as well as "art" films that are uninteresting. In doing so, Kael lambastes "art" movies such as Kubrick's 2001: A Space Odyssey, concluding her treatment of that particular film by declaring: "If big film directors are to get credit for doing badly what others have been doing brilliantly for years with no money, just because they've put it on a big screen, then businessmen are greater than poets and theft is art." The essay is divided into ten parts, ranging from discussions of The Thomas Crown Affair to Petulia. Kael's overriding theme is to dismantle the intellectual pretences of those who deride movies deemed to be "trash" on the basis of dubious aesthetic concerns, notwithstanding the entertainment appeal a particular "trash" film might possess.
Other notable reviews include Kael's treatment of the Norman Mailer film Wild 90, its relation to cinéma vérité, and the implications of that particular film-making technique.
Movies reviewed
- China Is Near
- Wild 90
- How to Save a Marriage - and Ruin Your Life
- Sebastian
- Poor Cow
- The Fox
- Planet of the Apes
- Sweet November
- Doctor Faustus
- Charlie Bubbles
- The Two of Us
- Bye Bye Braverman
- The Good, the Bad and the Ugly
- A Matter of Innocence
- We Still Kill the Old Way
- The Secret War of Harry Frigg
This book is out-of-print in the United States, but is still published by Marion Boyars Publishers of the United Kingdom.
Editions
- Little, Brown, 1969, hardbound
- Bantam, 1971, paperback (ISBN 0553058800)
- Warner Books, 1979, paperback (ISBN 0446910759)
- Marion Boyars, 1994, paperback reprint (ISBN 0714529761)
References
- ^ Pauline Kael, Foreward, Going Steady
External links
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