Questo sito utilizza i cookies per fornire i nostri servizi, per migliorare le prestazioni, per analisi, e (per gli utenti che accedono senza fare login) per la pubblicità. Usando LibraryThing confermi di aver letto e capito le nostre condizioni di servizio e la politica sulla privacy. Il tuo uso del sito e dei servizi è soggetto a tali politiche e condizioni.
Risultati da Google Ricerca Libri
Fai clic su di un'immagine per andare a Google Ricerca Libri.
For fans of high culture, pop culture and American genius, a personal and idiosyncratic exploration of two of the 20th century's most distinguished cultural icons. With wit and style worthy of his subjects, Craig Seligman explores the enduring influence of two critics who defined the cultural sensibilities of a generation: Susan Sontag and Pauline Kael. Though outwardly they had several things in common--they were both Westerners who came east, both schooled in philosophy, both secular Jews, and both single mothers--they were polar opposites in temperament and approach. From the very beginning Seligman makes his sympathies clear: Sontag is a writer he reveres; but Kael is a writer he loves.He approaches both critics through their work, whose fundamental parallels serve to sharpen their differences. Tone is the most obvious area where they're at odds. Kael practiced a kind of verbal jazz, exuberant, excessive, intimate, emotional, and funny. Sontag is formal and a little icy--a model of detachment. Kael never changed her approach from her first review to her last, while mutability has been one of the defining motifs of Sontag's career. Moral questions obsess Sontag; they interested… (altro)
Sontag has lived in her own head, but in the larger political panorama, too. Yes, she has written about a few current things, notably Hans-Jürgen Syberberg and his 1978 film Our Hitler, but her real subjects are matters of eternal intellectual debate. She said rock-and-roll changed her, but who could feel that? Kael, on the other hand, spurned by fate for so long, hit a lucky streak beyond equal in that she came to The New Yorker just as adult, tough, new films were being made in America. She was there for Coppola, Altman, Scorsese, and so on—but they were there for her too. It was also the moment when film education took off in America, when suddenly millions of kids were ready to read film criticism that had the smack of good sportswriting.
Seligman dotes on that Kael, and rightly so. His book ends with a touching flash of memoir as he recalls where he was (and how he was) as he read different Kael reviews. That experience is shared by many, and it captures why Kael is still being read decades after the immediate impact has gone from "her" movies: that immediacy wowed her. It was why she started writing the reviews as she watched the films, and it was the reason behind her dotty habit of seeing a film only once.
Dati dalle informazioni generali inglesi.Modifica per tradurlo nella tua lingua.
I didn't want to write a book with a hero and a villain, but Sontag kept making it hard for me.
Citazioni
Dati dalle informazioni generali inglesi.Modifica per tradurlo nella tua lingua.
Her books are as dense with characters as novels are-- denser--and she handles them with a novelist's curiosity, palpating, evaluating. She became the omniscient narrator movies don't have, posing and elaborating motives with such an impassioned empathy that sometimes she drew more out of the characters than the filmmakers did.
Virtually all great writing flows from an initial narrowing. The most important thing a writer has to learn is what he can't do. Eventually he finds his subject and he finds his style and then off he goes, and we seldom miss what's not there. Sontag is an exception.
Kael flourished with a consistency unmatched by any American writer since Henry James. Sontag's work is the opposite: a jumbled landscape of peaks and valleys. There's no more unity to it than there is to the world.
Ultime parole
Dati dalle informazioni generali inglesi.Modifica per tradurlo nella tua lingua.
She made only one request regarding the book, and it was really less a request than a piece of advice. She said, "Keep it short."
For fans of high culture, pop culture and American genius, a personal and idiosyncratic exploration of two of the 20th century's most distinguished cultural icons. With wit and style worthy of his subjects, Craig Seligman explores the enduring influence of two critics who defined the cultural sensibilities of a generation: Susan Sontag and Pauline Kael. Though outwardly they had several things in common--they were both Westerners who came east, both schooled in philosophy, both secular Jews, and both single mothers--they were polar opposites in temperament and approach. From the very beginning Seligman makes his sympathies clear: Sontag is a writer he reveres; but Kael is a writer he loves.He approaches both critics through their work, whose fundamental parallels serve to sharpen their differences. Tone is the most obvious area where they're at odds. Kael practiced a kind of verbal jazz, exuberant, excessive, intimate, emotional, and funny. Sontag is formal and a little icy--a model of detachment. Kael never changed her approach from her first review to her last, while mutability has been one of the defining motifs of Sontag's career. Moral questions obsess Sontag; they interested
Google Books — Sto caricando le informazioni...
(3.57)
1
Seligman dotes on that Kael, and rightly so. His book ends with a touching flash of memoir as he recalls where he was (and how he was) as he read different Kael reviews. That experience is shared by many, and it captures why Kael is still being read decades after the immediate impact has gone from "her" movies: that immediacy wowed her. It was why she started writing the reviews as she watched the films, and it was the reason behind her dotty habit of seeing a film only once.