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Pauline Kael (; June 19, 1919 – September 3, 2001) was an American film critic who wrote for ''The New Yorker'' magazine from 1968 to 1991. Earlier in her career, her work appeared in ''City Lights'', ''McCall's'' and ''The New Republic''. Kael was known for her "witty, biting, highly opinionated, and sharply focused" reviews, her opinions often contrary to those of her contemporaries. She is often regarded as the most influential American film critic of her day. She left a lasting impression on many major critics, including Armond White, whose reviews are similarly non-conformist, and Roger Ebert, who once said that Kael "had a more positive influence on the climate for film in America than any other single person over the last three decades." Owen Gleiberman said she "was more than a great critic. She re-invented the form, and pioneered an entire aesthetic of writing. She was like the Elvis or the Beatles of film criticism."〔(【引用サイトリンク】title=Owen Gleiberman )〕 ==Early life and career== Kael was born on a chicken farm in Petaluma, California, to Isaac Paul Kael and Judith (Friedman) Kael, Jewish immigrants from Poland. Her parents lost their farm when Kael was eight, and the family moved to San Francisco.〔 In 1936 she matriculated at the University of California, Berkeley, where she studied philosophy, literature, and the arts but dropped out in 1940 before completing her degree. Nevertheless, Kael intended to go on to law school but fell in with a group of artists and moved to New York City with the poet Robert Horan. Three years later, Kael returned to San Francisco and "led a bohemian life," writing plays, and working in experimental film.〔 In 1948, Kael and filmmaker James Broughton had a daughter, Gina, whom Kael would raise alone.〔Seligman (2004). p. 11.〕 Gina had a serious illness through much of her childhood;〔Brantley (1996). p. 10.〕 and, to support Gina and herself, Kael worked a series of such menial jobs as cook and seamstress, along with stints as an advertising copywriter. In 1953, the editor of ''City Lights'' magazine overheard Kael arguing about films in a coffeeshop with a friend and asked her to review Charlie Chaplin's ''Limelight.''〔 Kael dubbed the film "Slimelight" and began publishing film criticism regularly in magazines. Kael later explained her writing style: "I worked to loosen my style—to get away from the term-paper pomposity that we learn at college. I wanted the sentences to breathe, to have the sound of a human voice."〔Brantley (1996). p. 95.〕 Kael disparaged the supposed critic's ideal of objectivity, referring to it as "saphead objectivity," and incorporated aspects of autobiography into her criticism.〔 In a review of Vittorio De Sica's 1946 neorealist ''Shoeshine'' (Sciuscià) that has been ranked among her most memorable,〔Seligman (2004). p. 37.〕 Kael described seeing the film Kael broadcast many of her early reviews on the alternative public radio station KPFA, in Berkeley, and gained further local-celebrity status as Berkeley Cinema Guild manager from 1955 to 1960. As manager of a two-screen theater, Kael programmed the films that were shown, "unapologetically repeat() her favorites until they also became audience favorites." She also wrote "pungent" capsule reviews of the films, which her patrons began collecting.〔Thomson, David (2002). "Pauline Kael." ''The New Biographical Dictionary of Film''. New York: Alfred A. Knopf. ISBN 0-375-70940-1. p. 449-50.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pauline Kael」の詳細全文を読む スポンサード リンク
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