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Published by Harvard University Press, 1985
Sewn-bound hardcover
First printing
312 pages
9x6 inches
Near Fine book. Dust jacket is Near Fine aside from some light fading on the spine. Comes in removable protective Brodart mylar cover
Features essays by Jean-Luc Godard, Francois Truffaut, Eric Rohmer, Jacques Rivette, Claude Chabrol, Andre Bazin, Fereydoun Hoveyda, Luc Moullet and Alexandre Astruc, amongst others. Edited and with an introduction by Jim Hillier.
The selections in this volume are drawn from the first decade of Cahiers, 1951–1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema―American, Italian, and French in particular. They challenged long-established attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scène as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author—auteur—a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal’s major contributors and theorists―Godard, Truffaut, Rohmer, Rivette, Chabrol―were to become some of France’s most important film directors and leaders of the New Wave.
Published by Harvard University Press, 1985
Sewn-bound hardcover
First printing
312 pages
9x6 inches
Near Fine book. Dust jacket is Near Fine aside from some light fading on the spine. Comes in removable protective Brodart mylar cover
Features essays by Jean-Luc Godard, Francois Truffaut, Eric Rohmer, Jacques Rivette, Claude Chabrol, Andre Bazin, Fereydoun Hoveyda, Luc Moullet and Alexandre Astruc, amongst others. Edited and with an introduction by Jim Hillier.
The selections in this volume are drawn from the first decade of Cahiers, 1951–1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema―American, Italian, and French in particular. They challenged long-established attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scène as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author—auteur—a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal’s major contributors and theorists―Godard, Truffaut, Rohmer, Rivette, Chabrol―were to become some of France’s most important film directors and leaders of the New Wave.
