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In page Arlene Croce:

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Prior to Croce's long career as a dance writer, she also wrote film criticism for Film Culture and other magazines. In 1965, she was one of the founders of Ballet Review.[1] She joined The New Yorker in 1973.[2] The keynote of her criticism can be grasped from her ability to evoke kinesthetic movement and expressive images in her writing.[citation needed] Although she considered ballet to epitomize the highest form of dance, she also wrote extensively on the topic of popular and filmed dance, and was a recognized authority on the Astaire and Rogers musical films.