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 |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=129283281&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 129283281 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01635069 53B jtl: Film Criticism issn: 01635069 maglogo: N pubinfo: dt: Mar2017 vid: 41 iid: 1 pid: 8220 pub: Film Criticism artinfo: ui: 129283281 10.3998/fc.13761232.0041.106 ppf: 1 ppct: 12 formats: fmt: @attributes: type: P size: 185KB tig: atl: New Cinema, New Critique: French Film Criticism at the Crossroads, 1960. aug: au: Morari, Codruţa affil: Assistant Professor, French and Media Studies, Wellesley College sug: ab: 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. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Film Criticism is the property of Film Criticism and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Film Criticism holder: Film Criticism dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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