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Cahiers du Cinéma was the single most influential project in the history of film. Founded in 1951, it was responsible for establishing film as the ‘seventh art,’ equal to literature, painting or music, and it revolutionized film-making and writing. Its contributors would put their words into action: the likes of Godard, Truffaut, Rivette, Rohmer were to become some of the greatest directors of the age, their films part of the internationally celebrated nouvelle vague. In this authoritative new history, Emilie Bickerton explores the evolution and impact of Cahiers du Cinéma, from its early years, to its late-sixties radicalization, its internationalization, and its response to the television age of the seventies and eighties. Showing how the story of Cahiers continues to resonate with critics, practitioners and the film-going public, A Short History of Cahiers du Cinéma is a testimony to the extraordinary legacy and archive these ‘collected pages of a notebook’ have provided for the world of cinema.
The Cahiers du Cinéma has played a major role in establishing film theory and criticism as an essential part of the late 20th century culture. This volume contains articles from the 1950s.
'With admirable clarity, Mrs Peters sums up what determines competence in spelling and the traditional and new approaches to its teaching.' -Times Literary Supplement
"Cahiers du Cinema is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue. The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts racked the world of film criticism with their provocative views an international cinema - American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scéne as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists Godard, Truffaut, Rohmer, Rivette, Chabrol were to become same of France's most important film directors and leaders of the New Wave. Translated under the supervision of the British Film Institute, the selections have far the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film". --Publisher.
"When Jean-Luc Godard, exemplary director of the French New Wave, wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Among the greatest cinematic innovations, Godard's films shift fluidly from fiction to documentary, from criticism to art. Similarly, his persona projects shifting images - cultural hero, impassioned loner, shrewd businessman. Hailed by filmmakers as a - if not the - key influence, Godard has entered the modern canon, a figure as mysterious as he is indispensable." "In Everything is Cinema, critic Richard Brody has amassed hundreds of interviews with friends, family, and collaborators to demystify the elusive director and paint the fullest picture yet of his life and work. Paying as much attention to Godard's revolutionary technical inventions as to the political and emotional forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless and Contempt, to the grand vision of his later years. He vividly depicts Godard's wealthy, conservative family, his fluid and often disturbing politics, his tumultuous dealings with fellow filmmakers, and his troubled relations with women."--Jacket.
Before turning to filmmaking, Francois Truffaut was a film critic writing for Cahiers du Cinema during the 1950s. The Early film Criticism of Francois Truffaut makes available, for the first time in English, articles that originally appeared in French journals such as Cahiers du Cinema and Arts. Truffaut discusses films by such acknowledged masters as Hitchcock, Huston, Dymytryk, and Lang, but also examines the work of such lesser-known directors as Robert Wise, Don Weis, and Roger Vadim.
Is the cinema, as writers from David Denby to Susan Sontag have claimed, really dead? Contrary to what we have been led to believe, films are better than ever—we just can't see the good ones. Movie Wars cogently explains how movies are packaged, distributed, and promoted, and how, at every stage of the process, the potential moviegoer is treated with contempt. Using examples ranging from the New York Times's coverage of the Cannes film festival to the anticommercial practices of Orson Welles, Movie Wars details the workings of the powerful forces that are in the process of ruining our precious cinematic culture and heritage, and the counterforces that have begun to fight back.
What do contemporary American movies and directors have to say about the relationship between nature and art? How do science fiction films like Steven Spielberg's A.I. and Darren Aronofsky's π represent the apparent oppositions between nature and culture, wild and tame? Steven Dillon's intriguing new volume surveys American cinema from 1990 to 2002 with substantial descriptions of sixty films, emphasizing small-budget independent American film. Directors studied include Steven Soderbergh, Darren Aronofsky, Todd Haynes, Harmony Korine, and Gus Van Sant, as well as more canonical figures like Martin Scorcese, Robert Altman, David Lynch, and Steven Spielberg. The book takes its title and inspiration from Andrei Tarkovsky's 1972 film Solaris, a science fiction ghost story that relentlessly explores the relationship between the powers of nature and art. The author argues that American film has the best chance of aesthetic success when it acknowledges that a film is actually a film. The best American movies tell an endless ghost story, as they perform the agonizing nearness and distance of the cinematic image. This groundbreaking commentary examines the rarely seen bridge between select American film directors and their typically more adventurous European counterparts. Filmmakers such as Lynch and Soderbergh are cross-cut together with Tarkovsky and the great French director, Jean-Luc Godard, in order to test the limits and possibilities of American film. Both enthusiastically cinephilic and fiercely critical, this book puts a decade of U.S. film in its global place, as part of an ongoing conversation on nature and art.
Honor Among Thieves profiles Melville's eventful life & discusses his cinema as an essential body of work in our reckoning of postwar European cinema.