New Cinema, New Critique: French Film Criticism at the Crossroads, 1960.
This essay charts a dramatic shift in European film criticism; it reflects on challenges encountered in the early 1960s by contributors to Cahiers du cinéma as they sought to speak about the new modes of cinematic expression emerging in France. Focusing on the round table devoted to Alain Resnais’s...
| Publicado en: | Film Criticism Vol. 41; no. 1; pp. 1 - 13 |
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| Formato: | Artículo |
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Film Criticism
Mar2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | This essay charts a dramatic shift in European film criticism; it reflects on challenges encountered in the early 1960s by contributors to Cahiers du cinéma as they sought to speak about the new modes of cinematic expression emerging in France. Focusing on the round table devoted to Alain Resnais’s Hiroshima mon amour which was published in the Cahiers du cinéma, my essay analyzes the difficulty that members of the journal’s editorial board had in assessing this innovative work. It also probes the differences of opinion among the group regarding the often-called-for and now vividly present new cinemas. This round table offered an initial glimpse at the unraveling of the Cahiers, which would lead to the transition from the editorial direction of Eric Rohmer to that of Jacques Rivette, from a classical tradition of film criticism to an approach more attuned to the intellectual upheaval of the 1960s. |
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