scholarly journals La suspensión del sentido: Cahiers du cinéma y la Nouvelle Vague en el comienzo de los años sesenta / The Suspended Meaning: Cahiers du cinéma and the French New Wave in the Early Sixties

10.7764/69.19 ◽  
2021 ◽  
Author(s):  
David Oubiña ◽  
Keyword(s):  
New Wave ◽  
French New Wave ◽  
Eric Rohmer

¿Cómo reacciona Cahiers du cinéma frente al surgimiento de la Nouvelle vague? ¿Qué estrategias implementa la revista ante el riesgo de que la politique des auteurs se convierta en una politique de l’amitié? Mientras otras publicaciones, como Positif o Présence du cinéma, se dedican a atacar a los nuevos cineastas, Éric Rohmer (que ha quedado a cargo de la jefatura de redacción luego de que sus antiguos colegas han decidido lanzarse como directores de cine) profundiza su predilección por el clasicismo y evita referirse a los films modernos. Su resistencia a comprometerse con la contemporaneidad genera fricciones en el interior de Cahiers y, finalmente, Rohmer será desplazado por Jacques Rivette. Comienza un nuevo ciclo en la revista: el nuevo jefe de redacción entiende que el cine moderno reclama una crítica moderna y que ya no hay que producir sentido a partir de los films sino que, en cambio, se trata de suspenderlo. Desde la perspectiva de una crítica histórica, el presente artículo intenta reconstruir las etapas de ese conflictivo momento de transición. Se trata de mostrar cómo emerge de allí una cierta noción de cine moderno y una nueva manera de concebir el estatuto de la imagen.

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

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.

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.

The Films of Éric Rohmer: French New Wave to Old Master ed. by Leah Anderst

2016 ◽  
Vol 89 (3) ◽  
pp. 194-195
Author(s):  
Ann Marie Moore
Keyword(s):  
New Wave ◽  
French New Wave ◽  
Eric Rohmer

Coming-of-Age Cinema in New Zealand

2017 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Coming Of Age ◽  
Belief Systems ◽  
Time Frame ◽  
New Wave ◽  
Art Cinema ◽  
Literary Sources ◽  
French New Wave ◽  
Significant Phenomenon ◽  
The Impact ◽  
New Zealanders

This book investigates the coming-of-age genre as a significant phenomenon in New Zealand’s national cinema, tracing its development from the 1970s to the present day. A preliminary chapter identifies the characteristics of the coming-of-age film as a genre, tracing its evolution and the influence of the French New Wave and European Art Cinema, and speculating on the role of the genre in the output of national cinemas. Through case studies of fifteen significant films, including The God Boy, Sleeping Dogs, The Scarecrow, Vigil, Mauri, An Angel at My Table, Heavenly Creatures, Once Were Warriors, Rain, Whale Rider, In My Father’s Den, 50 Ways of Saying Fabulous, Boy, Mahana, and Hunt for the Wilderpeople, subsequent chapters examine thematic preoccupations of filmmakers such as the impact of repressive belief systems and social codes, the experience of cultural dislocation, the expression of a Māori perspective through an indigenous “Fourth Cinema,” bicultural relationships, and issues of sexual identity, arguing that these films provide a unique insight into the cultural formation of New Zealanders. Given that the majority of films are adaptations of literary sources, the book also explores the dialogue each film conducts with the nation’s literature, showing how the time frame of each film is updated in a way that allows these films to be considered as a register of important cultural shifts that have occurred as New Zealanders have sought to discover their emerging national identity.

Life Is Like a Bowl of Fish: The Aquarium, the French New Wave and the Urban Reflection of the Cairene Self

2012 ◽  
Vol 16 (2-3) ◽  
pp. 283-296
Author(s):  
Karim Tartoussieh
Keyword(s):  
New Wave ◽  
French New Wave

Intermedial dialogues: the French new wave and the other arts

2021 ◽  
pp. 1-2
Author(s):  
Douglas Morrey
Keyword(s):  
The Other ◽  
New Wave ◽  
French New Wave

THE RIGHT TIME AND PLACE

2014 ◽  
Vol 68 (1) ◽  
pp. 42-47
Author(s):  
B. Ruby Rich
Keyword(s):  
New Wave ◽  
French New Wave ◽  
The Moment ◽  
The Right

Paradigmatic American filmmaker Richard Linklater’s Boyhood has been much praised from the moment of its release (2014). The scope of this twelve-year project is more than a stunt, and the making of the film has become a birthright. This article weighs in on the film and its reception, considers Linklater’s French New Wave influences, and addresses how gender has been so muted, rendered illegible, if not irrelevant in the film’s reception.

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