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	Columbia News ::: Book Celebrates Andrew Sarris, CC'51, Who Shaped How We See Films
		Sarris became the leading voice for the auteur theory—the idea that some film directors are the authors of their works.
		Sarris was recently recognized for his outstanding contributions as a teacher and critic by the graduate film students of Columbia, who awarded him the first inaugural Andrew Sarris Award.
		Sarris, who currently writes a column for the New York Observer, said, "My job is to communicate to people what I see in film." He was one of the first to analyze films by identifying their visual language and style.
	www.columbia.edu /cu/news/01/08/andrewSarris.html (837 words)

	Emanuel Levy : My Books - Andrew Sarris:American Film Critic
		Sarris and Kael belong to a small group of intellectuals who have shaped American culture, entering the lives of cinephiles as representatives of a new way of life, one dominated by movies.
		Sarris had little to do with Busby Berkeley's outrageous metaphor for Hollywood directors enslaved by the studio system but he was still praised for his sense of humor.
		Sarris and Kael were eager to show their rapport with the New Hollywood, a trend that became clear when Bob Rafelson's “Five Easy Pieces” won the 1970 Best Picture from the New York Film Critics Circle.
	www.emanuellevy.com /article.php?articleID=50 (1897 words)

	Andrew Sarris - Wikipedia, the free encyclopedia
		Andrew Sarris is a film critic and a leading proponent of the Auteur theory of criticism.
		He continues to write film criticism today for The New York Observer, and is a professor at Columbia University.
		Sarris was a co-founder of the National Society of Film Critics.
	en.wikipedia.org /wiki/Andrew_Sarris (172 words)

	Andrew Sarris and American filmmaking (Site not responding. Last check: 2007-10-08)
		Sarris was identified for many years, by admirers and detractors alike, as the leading American proponent of the so-called "auteur theory," first formulated by then-critic and later filmmaker François Truffaut in the French film journal Cahiers du Cinéma in 1954.
		Sarris returns to 11 of those directors--Flaherty is presumably excused from this book as a maker of documentaries, a category of filmmaking that holds little interest for its author; the German Murnau and the Frenchman Renoir did not make their primary contributions to American filmmaking.
		As Sarris noted in our conversation, his writing tends toward a "rhetorical flow." On occasion it appears, in fact, as though his conclusions flow from the needs of the rhetoric and not from the logic of the material or the evidence on the screen.
	www.wsws.org /arts/1998/july1998/sarr-j01.shtml (3474 words)

	The Independent Weekly: Losing it at the Movies
		Sarris introduced Truffaut's concept, which he called the auteur theory--an unfortunately pretentious term compared to the more provisional "policy"--to the United States in an essay printed in the magazine Film Culture in late 1962.
		Sarris later said he thought his essay was modest, tentative and exploratory, and indeed it was an early piece by a virtually unknown critic writing in an obscure journal.
		Very simply, it was a way of saying to Andrew Sarris, "Thank you." I know Pauline Kael's many devotees must be saying the same to her this week.
	www.indyweek.com /durham/2001-09-12/movie.html (1839 words)

	Film Comment (Site not responding. Last check: 2007-10-08)
		Ultimately, the term as Sarris put it to use is a kissing cousin to Farber's negative space, with Sarris's "personality" jibing with Farber's "experience." The difference is that where Farber's language and orientation as a critic were resolutely private, Sarris's were public and explicitly polemical.
		For me, Sarris was at his very best when confronted with an especially knotty problem, and the aesthetic and political convulsions of the Sixties and Seventies provided him with a bonanza of paradoxes, delusions, and hypocrisies to deflate and dissect.
		Sarris seems to have become a more becalmed and solitary presence in recent years, dropping the mantle of head "cultist" and regarding the games of moviemaking and movie critiquing from a benign distance.
	www.filmlinc.com /fcm/5-6-2005/sarris.htm (3256 words)

	Why Americans are Ignorant About Film History (Site not responding. Last check: 2007-10-08)
		Sarris picks out 55 directors which he thinks are the best directors in American film history.
		Sarris' book is part of a long cultural tradition of film studies.
		Sarris goes on in other sections to discuss directors that he views as less accomplished than all of these.
	members.aol.com /MG4273/auteur.htm (2238 words)

	kamera.co.uk - feature item - The Singer Or The Song? by Ellen Cheshire
		Claiming that the director has the overall creative and artistic responsibility for the film, he believes the director is the true author of the film, whose distinctive artistic vision is the primary creative force of a motion picture.
		The answer in all these cases is that the director's personality was present in all their work, regardless of where they worked and thereby conform to Andrew Sarris's notion of what an 'Auteur' is: 'the strong director imposes his own personality on a film....
		Both Andrew Sarris (in 'Towards a Theory of Film History') and Peter Woollen (in 'The Auteur Theory') claim that Auteur criticism is based on an awareness of the past, hence the re-emergence of the work of older Hollywood directors to be brought out and studied critically for the first time.
	www.kamera.co.uk /features/authorship.html (2066 words)

	You Ain't Heard Nothin' Yet - BOOKS
		This is in part, I admit, because I more often agree with Kael (Sarris has failed to recognize more important American films in his thirty-year career than any other critic), but also because Kael doesn't apologise for her opinions.
		She passionately rips into films of all sorts while Sarris writes awkward yet grammatically correct reviews that usually fail to capture what it is he likes or hates about the title in question.
		The real difference between Kael and Sarris is that Kael's off-the-cuff writing is fun to read even if you're not intrigued by the picture in question, or have found that you don't like it, whereas Sarris has always failed to turn me on to something new.
	www.filmfreakcentral.net /moviebooks/youaintheard.htm (1115 words)

	Alibris: Andrew Sarris
		Andrew Sarris is one of the most influential film critics in American history, the man behind the concept of "auteur theory," in which cinema was organized as a history of individuals and their signature styles.
		Sarris devotes approximately half of the book to directors, due his contention that the director is the true author of a film.
		Distinguished film critic Andrew Sarris focuses primarily on contemporary directors but also includes past filmmakers whose influence is still present....
	www.alibris.com /search/books/author/Andrew_Sarris (386 words)

	Commentary Magazine - The American Cinema: Directors and Directions, 1929-1968, by Andrew Sarris (Site not responding. Last check: 2007-10-08)
		...But it's easy to imagine Sarris as the judge of a beauty contest, giving the prize to the hideous Katisha of The Mikado on the basis of her "left shoulderblade that is a miracle of loveliness...
		...Similarly, when Sarris writes: "The aesthetic of camera movement over montage implies the continuousness of a visual field outside the frame of the film," he is grappling with a central yet largely unexplored question of film aesthetics...
		...Sarris is too busy trying to fit Clayton into his theoretical Procrustean bed, and damning him to hell because he won't fit, to be concerned about Clayton's films, which-on the evidence of this paragraph-he has hardly looked at...
	www.commentarymagazine.com /Summaries/V48I4P91-1.htm (3300 words)

	City Pages - Auteur Author (Site not responding. Last check: 2007-10-08)
		Sarris was fond of saying that his identity was caught in a trip- wire--too academic for journalists and too journalistic for academics.
		But Sarris navigated these fields deftly, echoing his vital skill as a critic in dissolving the lines of demarcation between high and low, between abstract act and popular culture.
		For the best thing about Andrew Sarris is that there's something of him in all of us--not just in those who write about movies, but in anyone who sees them.
	www.citypages.com /databank/22/1071/article9630.asp (1025 words)

	The American Cinema: Directors and Directions 1929-1968 (Site not responding. Last check: 2007-10-08)
		Thirty-five years ago, Sarris renounced Kubrick, noting, in typical form, that the very fact that he made one film every 5 years seemed to be all the proof his advocates needed of his integrity.
		This last is highly prophetic of the present general situation, when Hollywood has made a sort of science of over-selling weak films with absurdly hyperbolic trailers that often have little to do with the tone or experience of the films they advertise.
		This comment indicates also how much of Sarris is audaciously arguable, and out of synch with conservative academia re Kubrick and just about everything else.
	e-acting.com /isbn0306807289.html (685 words)

	DGA \| NEWS \| MAGAZINE \| MARCH 2001
		Citizen Sarris is a collection of 38 essays ruminating on the critic's work from such contributors as: Leonard Maltin, Martin Scorsese, Robert Benton and John Sayles.
		The avowed favorite of Sarris' in all the Francois Truffaut canon, Shoot the Piano Player, is a wild mix of melodrama, comedy and art-house action starring Charles Aznavour, and based on David Goodis' American novel Down There.
		Among the guests in attendance at the Pavilion reception: Randa Haines, Chuck Workman, Curtis Hanson and, of course, Haskell, Sarris and Schickel.
	www.dga.org /news/v25_6/news_sarris.php3 (1305 words)

	Journal of Popular Film and Television: "You Ain''t Heard Nothin' Yet": The American Talking Film, History and Memory, ... (Site not responding. Last check: 2007-10-08)
		In his 1968 work The American Cinema: Directors and Directions, 1929-1968, Andrew Sarris, who introduced the auteur theory of film to America, wrote, "Still, if my distinguished predecessors tended to focus on the forest at the expense of the trees, they did endow film scholarship with a commendable seriousness of purpose" (15).
		But Sarris himself never seems to have had a true conception of what this book was supposed to be.
		Near the end of the book, Sarris seems to have realized that what he has been doing is not what he set out to do: "It's much more fun, and perhaps more useful too, to throw out some recollections of a lifetime of moviegoing" (469).
	www.findarticles.com /p/articles/mi_m0412/is_4_29/ai_82779447 (893 words)

	'You Ain't Heard Nothin Yet' by Andrew Sarris
		Sarris would only say that his editor suggested he cut the book off there.
		Sarris devotes chapters to the various studios, to film genres and to actors as well as his beloved directors.
		The impact of politics, economics, social currents and history is almost meaningless to Sarris, who takes little account of those influences when discussing a film.
	www.post-gazette.com /books/reviews/19980726review25.asp (589 words)

	Hiroshima Mon Amour Review
		Andrew Sarris found himself relating to the theme because of the loss of his brother.
		Andrew saw the film when it first came out and then viewed it again many years later.
		Sarris explained that; “The one-night liaison of French actress and a Japanese architect was hot stuff in 1960 at a time when the Production Code still frowned on miscegenation.” (Sarris, Andrew pg 203- 204) This was something that was not accepted by society.
	www.albertson.edu /languages/Hiroshima/Figueredo/hiroshima_mon_amour_review.htm (366 words)

	village voice > specials > Voice 50th Anniversary by J. Hoberman (Site not responding. Last check: 2007-10-08)
		How fortunate to grow up in central Queens in the mid '60s with high schools so overcrowded the board of ed instituted triple sessions and a senior like the TM finished classes by noon and had the rest of the day to take the No. 7 to the city and go to the movies.
		While Mekas was totally committed to the new, Andrew Sarris was the first regular movie reviewer who consistently and programmatically put current movies in their film-historical context.
		Although Sarris frequently (and hilariously) quarreled with Mekas over the significance of avant-garde film, his interests were not restricted to Hollywood.
	villagevoice.com /specials/0543,50thehobe,69324,31.html (1304 words)

	Andrew Sarris
		Andrew Sarris is the king of American movie criticism.
		That's a bold statement, especially to the exclusion of James Agee, Manny Farber, Pauline Kael, Gene Siskel and Roger Ebert.
		Sarris was a co-founder of the National Society of Film Critics.ions of a Cultist" is Sarris' first collection of weekly film criticism, covering the years 1956 to 1969.
	www.jahsonic.com /AndrewSarris.html (497 words)

	DavidLean.com Writings: Books (Site not responding. Last check: 2007-10-08)
		Andrew Sarris introduces the interview with a brief commentary on Lean's directorial career, and a filmography is provided at the end.
		In the context of a "film history," Andrew Sarris classifies some 200 directors into 11 different categories based on an aesthetic criteria.
		Classifying Lean in the category of directors who offer "Less Than Meets The Eye," Sarris briefly criticizes Lean's more recent film projects, suggesting that these big-budget pictures lack the artistry of some of his earlier works.
	www.davidlean.com /books.html (1337 words)

	New York Film Critics Circle: MEMBERSHIP (Site not responding. Last check: 2007-10-08)
		Andrew Sarris has been a film critic for The New York Observer since 1989.
		Sarris is perhaps best known for explaining and popularizing the so-called "auteur" theory in the English speaking world.
		Sarris recieved an M.A. from from Columbia University's Graduate School of Arts and Sciences in 1998.
	www.nyfcc.com /bioASar.html (348 words)

	Andrew Sarris -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-08)
		Andrew Sarris -- Facts, Info, and Encyclopedia article
		Andrew Sarris is a (Click link for more info and facts about film critic) film critic and a leading proponent of the (Click link for more info and facts about Auteur theory) Auteur theory of criticism.
		He continues to write film criticism today for (Click link for more info and facts about The New York Observer) The New York Observer, and is a professor at (A university in New York City) Columbia University.
	www.absoluteastronomy.com /encyclopedia/A/An/Andrew_Sarris.htm (154 words)

	NEWS \| MAGAZINE \| VOLUME 25-5 JANUARY 2001
		At 72, Andrew Sarris is one of the few great film critics.
		He is not the author of the auteur theory, but he was its great American champion, which made him the critic with whom every other critic, everyone seriously interested in the movies, had to come to terms.
		He is the subject of a new book, Citizen Sarris, edited by Emanuel Levy, which consists of tributes and analysis of his work by fellow critics and filmmakers.
	www.dga.org /news/v25_6/feat_sarris_schickel.php3 (2498 words)

	Amazon.co.uk: Books: You Ain't Heard Nothin' Yet: American Talking Film, History and Memory, 1927-49 (Site not responding. Last check: 2007-10-08)
		Andrew Sarris leads the way in the field of American cinema.
		Sarris, a writer for the Village Voice among other publications, brings wisdom, wit, and love for the medium to this highly entertaining history of "talkies" from their inception to the decline of the studio system.
		Sarris' writing, sparkling with original insights on every page, is warm and affectionate and wonderfully free of the academic jargoneering which disfigures so much film criticism.
	www.amazon.co.uk /exec/obidos/ASIN/0195038835 (485 words)

	Third Time's The Charm: A Memory Essay to Andrew Sarris
		I'm meeting Godfrey again for a special event: Andrew Sarris is being honored in conjunction with the release of Emanuel Levy's Citizen Sarris (2) festschrift.
		Andrew, your words that day were flattering in the truest sense of the word.
		Andrew Sarris, The American Cinema: Directors and Directions 1929-1968, Da Capo Press, 1968, 1985, 1996.
	www.sensesofcinema.com /contents/01/14/sarris_essay.html (1898 words)

	Brute Force (Site not responding. Last check: 2007-10-08)
		Furthermore, the connection is not lost on the prisoners, whose quiet desperation increases with every turn of the Munsey screw, and they clearly want their lot improved in ways that tend to bring small-l liberals to their feet.
		Dassin and screenwriter Richard Brooks (who would go on to further Sarris annoyance with the likes of Blackboard Jungle) wisely skip the speechifying and show through example; we are made to understand the brutal and claustrophobic world of the prison, where one has to adopt a detached stance in order to function at all.
		Interestingly, the filmmakers look the other way when the prisoners attack each other, the death of a stoolie is at once an act of horror but also a way of making the wheels of prison life move easier.
	www.daysofthunder.net /bruteforce.htm (1085 words)

	Reel.com: Hollywood Confidential - March 16, 2001
		Sarris had agreed to talk about film at a repertory cinema I was working at in Westport, Connecticut, and it was my job to pick him up at his New York apartment on East 88th Street and drive him up there.
		Sarris, it seemed, couldn't seem to get two or three sentences out without humorously or wittily admitting to some personal failing or disappointment.
		He said that for kids who'd grown up in the '60s and early '70s, the principal art form of their youth wasn't movies but music, and that movies only gradually gathered steam among this group after music started to lose its potency in the mid '70s.
	www.reel.com /reel.asp?node=movienews/confidential&pageid=17050 (4044 words)

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