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Jul 10, 2016 · For the younger critics, Rivette’s text not only convinced them of the merits of Monsieur Verdoux, it also signalled to them the direction which the critical project of Cahiers should take in the 1960s: one that would focus on modernist cinema, contemporary theory and radical politics.
- Daniel Fairfax
Rivette’s writings in particular were profoundly influenced by G. W. F. Hegel’s philosophy – as demonstrated, for example, by Douglas Morrey’s illuminating scholarship in “To Describe a Labyrinth: Dialectics in Jacques Rivette’s Film Theory and Film Practice” (2012).
Sep 22, 2014 · Marc Cerisuelo (11) once memorably claimed that Jacques Rivette was largely responsible for shaping "the ideas that each of us carries in our head as we leave the cinema," and I have demonstrated elsewhere (Morrey and Smith 9-21) how his critical writing gave exemplary shape to the seductive but elusive concepts of mise en scene and authorship ...
Rivette’s critical discovery of Howard Hawks in 1953 (preceded only by Manny Farber’s in the pages of The Nation) was couched in terms that elicited Bazin’s sharp disapproval (‘You can see the danger, which is an aesthetic cult of personality’: ‘La Politique des Auteurs’, Cahiers du cin é ma, April 1957); if one places Rivette ...
The French New Wave is perhaps the greatest advocation for the important of film criticism, giving the film industry a fine example of how critical analysis directly leads to the progression of the industry as a whole; after all, the entire movement was founded by critics.
But, where a critic like Rohmer, with his references to classical art, seeks to canonise the artistic achievements of the cinema, Rivette’s vocabulary of dialectics seems to covet, for film criticism and film making alike, the status of a science.
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Dec 21, 2016 · Rivette, who started out as a critic for Cahiers du Cinéma, set many of his films — including his first feature, “Paris Nous Appartient” (“Paris Belongs to Us”), and his late ...
