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Film theorist Robin Wood’s seminal essay “Ideology, Kind, Auteur” advocates an all-encompassing approach to criticism. I uppsatsen, Wood refuses to plant his methodological flag in any of the prevailing theoretical camps of the 1970s—the auteur theory that gained prominence thanks to the French New Wave critics at Cahiers du Cinema and Andrew Sarris; noggrann analys av filmgenrer (särskilt den västra); and the Marxist turn towards decoding the ideology of Hollywood films—and encourages critics to “being alive to the opposing pulls, spänningarna, of one’s world” by attempting to understand a work of art through the interpenetration of all three theories simultaneously.

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