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Cahiers du Cinema is the main prestigious and influential movie magazine ever released. An anthology committed solely to its writings, in English translation, is lengthy past due.
the choices during this quantity are drawn from the colourful first decade of Cahiers, 1951-1959, while a bunch of younger iconoclasts racked the area of movie feedback with their provocative perspectives an foreign cinema--American, Italian, and French particularly. They challenged customary Anglo-Saxon attitudes by means of championing American well known videos, addressing genres reminiscent of the Western and the mystery and the aesthetics of technological advancements like CinemaScope, emphasizing mise en scéne up to thematic content material, and assessing the paintings of person filmmakers similar to Hawks, Hitchcock, and Nicholas Ray by way of a brand new concept of the director as writer, auteur, a innovative thought on the time. Italian movie, in particular the paintings of Rossellini, triggered sharp debates approximately realism that helped shift the point of interest of severe dialogue from content material towards sort. The opinions of French cinema have unique curiosity simply because a number of the journal's significant individuals and theorists Godard, Truffaut, Rohmer, Rivette, Chabrol have been to develop into similar of France's most crucial movie administrators and leaders of the hot Wave.
Translated below the supervision of the British movie Institute, the decisions have some distance the main half by no means seemed in English before. Hillier has equipped them into topical groupings and has supplied introductions to the elements in addition to the whale. jointly those essays, studies, discussions, and polemics exhibit the valuable rules of the Cahiers of the Nineteen Fifties now not as fastened doctrines yet as provocative, effective, usually contradictory contributions to the most important debates that have been to overturn severe considering movie.
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Extra resources for Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave (Harvard Film Studies)
224-37. 5 Truffaut, op. , p. 235. 6 Aurenche and Bost are now better known for Truffaut's attack on them than for their significant contributions to French cinema. e BM en herbe (Autant-Lara, 1954), Gervaise (Clement, 1956), La Traversee de Paris (Autant-Lara, 1956), En cas de malheur (Autant-Lara, 1958). 7 Truffaut, op. , p. 233. , p. 230. Cf. Rohmer's deScription of French cinema's 'naive immoralism, and [the] perpetual drivel about love crossed by some religious or social conformism', in 'Rediscovering America'.
193-4. 18 Cf. Hoveyda, 'The First Person Plural'. 19 Franc;ois Truffaut, on Et Dieu ... crea fa femme, in Films in My Life, pp. 311-12. 20 'Soixante metteurs en scene franc;ais', Cahiers 71, May 1957. 21 See, for example, Jacques Doniol-Valcroze, 'Problemes et perspectives du cinema franc;ais', CaITiers 41, December 1954; Andre Bazin, Jacques DoniolValcroze, 'Entretien avec Jacques Flaud' (Directeur General du Centre National de la Cinematographe); and Jacques Doniol-Valcroze, 'Problemes du court metrage', both Calliers 71, May 1957.
Anyway, most of them are only imitations of American imitations. And on the other hand it isn't an auteur cinema either, since none of them have anything to say. It's a cinema that limps along, caught between two stools, a cinema based on supply and demand, and on false notions of supply and demand at that. They believe that that's the kind of thing the public wants and so that's what they get, but in trying to play by all the rules of that game they do it badly, without either honesty or talent.
Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave (Harvard Film Studies)