By Pamela L Brady
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3. Hence Christie’s reference to the now near-defunct phenomena of repertory cinemas and video. 4. To proclaim auteurism a theory is to lend it a consistency, a rigour and an abstract generality that it has always lacked. Auteurism remains now, as in 1962, a critical practice. 5. For an English translation of the article, see Truffaut (1954). 6. Fereydoun Hoveyda discussing Party Girl (Ray, 1958) in Cahiers du cinéma, no. 107 (1960), trans. by Norman King; cited in Caughie (1981a: 13). 7. In 1992 and 2002 Sight and Sound split its list into two, one selected by critics and one selected by directors.
Welles was associated with the Left throughout his life, and Citizen Kane – which was originally titled American – can be regarded as having distinct political intent. Apart from the narrative’s overt political references, the model for the character of Kane is considered to have been Right-wing newspaper magnate William Randolph Hearst (Higham, 1970: 21–4; Kael, 1971: 50–6). Yet even when the political aspect of Citizen Kane has been recognised, it has often been disparaged. Thus Pauline Kael’s description of the film as ‘a shallow masterpiece’ (1971: 2), or Wollen’s assertion that ‘Nobody’ has ‘ever made high claims’ for ‘its depiction of American society and politics in the first half of the twentieth century’ (1975: 60).
Institutionally, the film bears testimony to a growing, and established, black presence within Hollywood. Based on a successful novel by Terry McMillan, the film, in addition to having a black director, was shot with a 70 per cent black crew, and is populated with a mainly black cast containing numerous familiar faces and several performers who were at the time stars: Whitney Houston, Angela Bassett, Gregory Hines and Wesley Snipes. It is further indicative of a certain consolidation of black filmmaking within Hollywood that, in contrast to the ‘ghettocentric’ narratives of young, largely male, 26 Use and Exchange lower-order big-city experience that dominated the immediately preceding black filmmaking, Waiting to Exhale is not only, as a woman’s film, female-centred, but takes place in the unfamiliar black locale of Phoenix, Arizona, and represents characters living materially comfortable, middle-class lives.