In the turbulent sixties, the provocative French film journal
"Cahiers du Cinema" was at its most influential and controversial.
The first successes of the New Wave by major "Cahiers" contributors
such as Jean-Luc Godard, Francois Truffaut, Jacques Rivette, Eric
Rohmer, and Claude Chabrol focused international attention on the
revitalization of French cinema and its relation to film criticism;
and in the early 1960s the journal's laudatory critiques of popular
American movies were attaining the greatest notoriety.
As the lively articles, interviews, and polemical discussions in
this volume reveal, the 1960s saw the beginnings of significant new
directions in filmmaking and film criticism changes in which the
New Wave itself was a major factor. The "auteur" theory that the
journal had championed in the 1950s began to be rethought and
revalued. At the same time, along with a reassessment of American
film, "Cahiers" began to embrace new, often oppositional forms of
cinema and criticism, culminating in the political and aesthetic
radicalism of the ensuing decade.
The selections, translated under the supervision of the British
Film Institute, are annotated by Hillier, and context is provided
in his general introduction and part introductions. For an
understanding of the important changes that took place in cinema
and film criticism in the 1960s and beyond, this book is essential
reading.
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