Intermedial Dialogues

2019 ◽  
Author(s):  
Marion Schmid
Keyword(s):  
Film History ◽  
The Other ◽  
Discursive Construction ◽  
Left Bank ◽  
New Wave ◽  
Alain Resnais ◽  
French New Wave ◽  
Eric Rohmer ◽  
Andre Bazin ◽  
Bank Group

Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnèsVarda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.

Introduction

2019 ◽  
pp. 1-11
Author(s):  
Marion Schmid
Keyword(s):  
Twentieth Century ◽  
Film History ◽  
Discursive Construction ◽  
New Wave ◽  
Avant Garde ◽  
Medium Specificity ◽  
French New Wave ◽  
Ambivalent Relationship ◽  
Struggle For Recognition ◽  
Purity And Impurity

The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. Surveying the debates around medium specificity, cinematic 'purity' and 'impurity' from the classical avant-garde to the Nouvelle Vague, it addresses the French New Wave's complex discursive construction in relation to the more established arts. Reframing traditional studies of the French New Wave, it argues for an intermedial approach to illuminate this seminal movement of film history. The corpus, rationale and approach of the book are also introduced and clarified.

scholarly journals Left Bank Cinema: Memories of History and the Experience of Time

2019 ◽  
Vol 11 (1) ◽  
pp. 1-18
Author(s):  
VG Bijoy Philip
Keyword(s):  
Film History ◽  
Left Bank ◽  
French Cinema ◽  
Film Genre ◽  
Alain Resnais ◽  
Avant Garde ◽  
Experience Of Time ◽  
French New Wave ◽  
History Of ◽  
Spatio Temporal

In this paper, I use two films—Les Statues MeurrentAussi (Statues also Die, 1953) directed by Resnais and Marker and Sans Soleil (Sunless, 1983) as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave.

Bazin, André (1918–1958)

2018 ◽  
Author(s):  
Joel Neville Anderson
Keyword(s):  
Film Theory ◽  
Early Death ◽  
New Wave ◽  
Orson Welles ◽  
French Film ◽  
Nazi Occupation ◽  
French New Wave ◽  
Eric Rohmer ◽  
Andre Bazin ◽  
Robert Flaherty

André Bazin (born April 18, 1918, Angers, France–died November 11, 1958, Nogent-sur-Marne, France) was an influential French film critic who was active during the development of postwar film theory. Directing cine-clubs during the Nazi Occupation, he co-founded the monthly film magazine Cahiers du cinéma in 1951 with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca, which he edited until his early death of leukaemia. Publishing 2,600 articles during his lifetime, he was preparing the four-volume collection of his writing, Qu-est-ce que le cinéma? [What Is Cinema?], at the time of his death. A champion of Italian Neorealism, Robert Flaherty, Jean Renoir, and Orson Welles, he helped to launch filmmakers of the French New Wave [Nouvelle vague] who developed their formal convictions as writers at Cahiers, including Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, and his foster-son François Truffaut.

French New Wave

2018 ◽  
Author(s):  
Maria Ionita
Keyword(s):  
Theoretical Work ◽  
New Wave ◽  
Auteur Theory ◽  
French New Wave ◽  
Eric Rohmer ◽  
Andre Bazin

The French New Wave is a term associated with a group of French filmmakers and the films they directed from the late 1950s until the mid-1960s. Its most representative directors were championed by the influential magazine Cahiers du Cinéma, and include François Truffaut, Claude Chabrol, Jacques Rivette, Jean-Luc Godard, and Eric Rohmer. Since most of these directors were also prolific film critics, the New Wave is also notable for the important body of theoretical work it produced, particularly the auteur theory introduced by André Bazin, one of the Cahiers’ founders.

Rohmer, Éric (1920–2010)

2018 ◽  
Author(s):  
Maria Ionita
Keyword(s):  
New Wave ◽  
Moral Choice ◽  
French Film ◽  
French New Wave ◽  
Eric Rohmer ◽  
Theology And Philosophy ◽  
Film Critic

Éric Rohmer (born Jean-Marie-Maurice Schéer) was a French film director, screenwriter, and film critic, best known for his association with the French New Wave, and his sophisticated films exploring the intersections of romantic desire and moral choice. A student of literature, theology, and philosophy with a degree in history, Rohmer started as a teacher, but soon gravitated, like many future New Wave directors, toward Henri Langlois’ Cinémathèque Française and he also began writing for Cahiers du cinéma in 1951. He was its editor from 1957 to 1963.

scholarly journals The films of Eric Rohmer French new wave to old master

2017 ◽  
Vol 25 (2) ◽  
pp. 225-226
Author(s):  
Isabelle Vanderschelden
Keyword(s):  
New Wave ◽  
French New Wave ◽  
Eric Rohmer

French Cinema

2011 ◽  
Author(s):  
Ginette Vincendeau
Keyword(s):  
World War Ii ◽  
Film Studies ◽  
Film History ◽  
The United States ◽  
Third Wave ◽  
New Wave ◽  
French Cinema ◽  
Ethnic And Cultural Identity ◽  
Andre Bazin ◽  
The 1960S

As befits the country of the cinema’s official “birth,” France boasts a long tradition of writing on film. In the 1920s, avant-garde filmmakers such as Louis Delluc and Jean Epstein started theorizing cinema’s specificity as a medium, while in the 1930s debates turned political. During that decade critics and historians, such as Georges Sadoul, began also to reflect on film history. Major works on French cinema, however, started to appear only after World War II. A first wave emerged from the postwar cultural effervescence and the rise of cinephilia, with new journals such as Cahiers du Cinéma and Positif. Film critic André Bazin and his disciples (among them future New Wave filmmakers François Truffaut and Jean-Luc Godard) developed the politique des auteurs and wrote the first “serious” monographs about filmmakers—mostly American and French. In their wake auteurist works took off in the 1960s, as well as reflections on movements such as the New Wave and French cinema as a whole. A second wave followed the rise of academic film studies in the 1970s, initially with the accent on theory, and saw the internationalization of French cinema studies. In the 1980s and 1990s a “historical turn” generated influential studies—survey histories, anthologies, and accounts of specific periods and movements—in the United Kingdom, the United States, and France. Echoing the continuing spread of film studies courses and the buoyancy of French cinema, a third wave followed, with a discernible shift toward cultural and ideological approaches. In particular, issues of gender, ethnic, and cultural identity came to the fore, as well as film and philosophy, together with a marked interest in contemporary cinema. The enduring strength of auteurism means that some areas, notably popular genres, are still underexplored. Nevertheless, French cinema is now remarkably well mapped out.

Nagisa Oshima

2018 ◽  
Author(s):  
Ryan Cook
Keyword(s):  
Film History ◽  
Public Intellectual ◽  
Political Movements ◽  
New Wave ◽  
Japanese Film ◽  
French New Wave ◽  
Art Film ◽  
Studio System ◽  
The 1960S ◽  
Production Company

Nagisa Oshima (大島渚/Ōshima Nagisa, b. 1932–d. 2013) is a paradox: one of the most iconic filmmakers in Japanese film history, but one whose body of work is among the most iconoclastic. Oshima was a wayward product of Japan’s postwar studio system. He entered the Shochiku Studio in 1954 after studying law at Kyoto University and cut his professional teeth during the studio golden age, but from his feature directorial debut in 1959 he demonstrated the restlessness and unorthodoxy characteristic of the new youth cinema. His 1960 film Cruel Story of Youth (Seishun zankoku monogatari), along with published editorials denouncing the stagnation of the studio system, assured his position as a representative of the Shochiku New Wave, a group of newly promoted young directors marketed as Japan’s answer to the French New Wave (Oshima later said that he disliked the label). He left Shochiku in 1961 in protest over the shelving of his politically charged 1960 film Night and Fog in Japan (Nihon no yoru to kiri), a striking reflection on student movement factionalism, which was pulled from theaters days after its release. He founded his own production company (Sozosha) the same year, and later worked closely with the Art Theatre Guild, helping forge the path for independent art film production in Japan. He was prolific and provocative during the 1960s: both an influential filmmaker and a public intellectual. But despite his visibility, he resisted auteurist assessment. His body of work includes many bold, perplexing experiments, but generally lacks a consistent signature style. The 1960s theatrical films range from the photo roman–style montages of still photographs and drawn images in Diary of Yunbogi (Yunbogi no nikki) and Band of Ninja (Ninja bugeicho) to the Brechtian theatricality of Death by Hanging (Koshikei), his 1968 international breakthrough film. He made television documentaries, and spent much of his late career as a television commentator and personality. His 1976 French-Japanese coproduction In the Realm of the Senses (Ai no korida) tested the boundaries between the art film and pornography, and was the subject of an obscenity trial in Japan. It also placed him at the international forefront of cinematic modernism. Oshima is known for the reliability of his confrontational posture more than for a recognizable style. He interrogated Japan’s postwar democracy, victim consciousness, and political movements as well as Japan’s relationship to its “others” (notably Koreans), and constantly questioned authority. His post-1970s films, notably Merry Christmas, Mr. Lawrence (Senjo no meri Kurisumasu) and Taboo (Gohatto), provocatively explore historical subjects through the lens of homosociality.

Cinema's Doppelgängers

2021 ◽  
Author(s):  
Doug Dibbern
Keyword(s):  
The Other ◽  
Political Organization ◽  
Historical Time ◽  
New Wave ◽  
Fritz Lang ◽  
Sergei Eisenstein ◽  
French New Wave ◽  
History Of ◽  
The One ◽  
The Relationship

Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood. The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism.

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