By Jim Hillier

Within the turbulent sixties, the provocative French movie magazine Cahiers du Cinema used to be at its such a lot influential and debatable. the 1st successes of the hot Wave via significant Cahiers individuals similar to Jean-Luc Godard, Fran?ois Truffaut, Jacques Rivette, Eric Rohmer, and Claude Chabrol targeted foreign realization at the revitalization of French cinema and its relation to movie feedback; and within the early Sixties the journal's laudatory reviews of renowned American video clips have been achieving the best notoriety. because the full of life articles, interviews, and polemical discussions during this quantity show, the Sixties observed the beginnings of important new instructions in filmmaking and movie feedback adjustments within which the recent Wave itself was once a significant factor. The auteur conception that the magazine had championed within the Fifties started to be rethought and revalued. even as, besides a reassessment of yankee movie, Cahiers started to embody new, frequently oppositional different types of cinema and feedback, culminating within the political and aesthetic radicalism of the resultant decade. the choices, translated below the supervision of the British movie Institute, are annotated by means of Hillier, and context is supplied in his common advent and half introductions. For an knowing of the $64000 adjustments that came about in cinema and picture feedback within the Sixties and past, this e-book is key interpreting.

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Extra info for Cahiers du Cinema: 1960-1968: New Wave, New Cinema, Reevaluating Hollywood

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Dutton, 1968, pp. 294-5. The 'Comite de Redaction' consisted of: Jean Domarchi, Jean Douchet, JeanLuc Godard, Fereydoun Hoveyda, Pierre Kast, Leonard Keigel, Andre S. Labarthe, Dossia Mage, Claude Makovski, Louis Marcorelles, Luc Moullet, Jacques Rivette, Eric Rohmer, Fran<;ois Truffaut. The committee gives the impression of more continuity with the 1950s than was really the case. One effect of the success of the nouvelle vague, of course, was to deprive Cahiers of several of its major contributors in the 1950s.

29, no. 4, Autumn 1960, p. 167. 2 Much of the debate in Britain was generated by critics Ian Cameron, Mark Shivas, V. F. Perkins, Paul Mayersberg, Robin Wood and Charles Barr at Oxford and Cambridge in the pages of Oxford Opinion and Granta in 1959-60. Before these critics carne together to form, or write for, Movie, in 1962, their ideas had already been taken up and challenged in other journals. See, for example: Dai Vaughan, 'Towards a Theory', Definition, no. 1, February 1960; Penelope Houston, 'The Critical Issue', and Richard Roud, 'The French Line', Sight and Sound, vol.

The committee gives the impression of more continuity with the 1950s than was really the case. One effect of the success of the nouvelle vague, of course, was to deprive Cahiers of several of its major contributors in the 1950s. Chabrol almost completely ceases to be a contributor; Truffaut and Doniol-Valcroze remain faithful - a fidelity crucial to the survival of Cahiers after financial crises in 1963-4 and 1969 - though Truffaut contributes almost exclusively as a film-maker; this was equally true of Godard, though Godard's contributions retained a more fierce critical edge.

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