All the world, or at least all the world’s editors, love a catchy tagline. So it was in the days when media-savvy critics-turned-filmmakers launched the French Nouvelle Vague, whose architects “Vulgar Auteurists” frequently cite as predecessors. And now Vulgar Auteurism, a vaguely-defined idea whose moment of critical mass has arrived nevertheless, enters the conversation, despite the fact that no persuasive argument has yet been made for why the phrase should be vitally necessary to modify old, fuddy-duddy Auteurism.
Tag Archives: pauline kael
B-ness is its own justification, its own grade of diamond carat. Watching an authentic B can be liberating and mysterious, transporting you to a shadowy apartment or patch of dark wilderness no one knows is there. Yet we live in a movie culture where every release has to be the One Movie to See Right Now, and every act of moviewatching has to be huge, exhaustive, and otherwise justifying of the outrageous expense of a theatrical movie ticket.
As we’ve been repeatedly reassured that film culture, in its self-serious, chastity-belt incarnation, is going the way of the dinosaur, a stagnant pond which has ceased entirely to feed into the great coursing river of pop monoculture, it is curious to note how anxious some are to deal it the coup de grace, as though the very continued existence of such a thing is unforgivable.
I have, just today, been getting myself up to speed with the last year’s discussion of the state of cinephilia, beginning with Nico Baumbach’s “All That Heaven Allows: What Is, Or Was, Cinephilia?” in Film Comment, and hotlink hopscotching my way backwards through the collected essays of the 2011 Edinburgh Film Festival’s “Project: New Cinephilia.”