By Will Brantley
Conversations with Pauline Kael brings jointly approximately 1/2 Kael's released interviews besides 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 comprise discussions of flicks that Kael didn't have the opportunity to check or that have been published after her retirement in 1991.
This choice of her interviews will supply new and renewed pleasures for readers who've valued Kael's severe voice and her demanding situations to consensus throughout the moment half the 20th century.
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Extra info for Conversations with Pauline Kael (Literary Conversations)
In the end, it is the imprisoned René Gallimard, his name the quintessence of Western philosophy and French high culture – René for Descartes, Gallimard for the French publisher of Foucault, among others – who literally becomes Butterfly before our eyes. In an elaborate performance on an improvised stage in the prison, while putting on the Butterfly costume and makeup, Gallimard tells the diegetic audience how he has been loved by the perfect woman and then kills himself with a shard of the mirror he used to put on the makeup.
Cinema, with its lush scenarios, the privileged vision afforded by its close-ups, the mobility of its cameras, its editing and sound-mixing techniques, and the ever-renewed wonder of its special effects, endlessly proposes cultural narratives as public and private fantasies, engaging the spectator’s identification and desire in what Coleridge, before Freud, named ‘the willing suspension of disbelief’. But as Metz observed, it is the technical, material apparatus of cinema that works as a fetish for the spectator.
8 Here the emphasis on sexuality as a historical and cultural phenomenon leaves out its effects on individuals, what we might call effects of subjectivication. These, however, become the focus of the subsequent volumes of Foucault’s history. 9 In other words, the moment Foucault brings into focus the figure of the subject, he redefines sexuality as ‘a historically singular experience’ in modern Western society that caused individuals ‘to recognize themselves as subjects of this sexuality’ (UP, 4).