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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
Sep 22, 2014 · While much of this criticism consists of reviews of minor films by more-or-less forgotten filmmakers, the texts for Arts also include significant statements in support of new auteur directors in the US (Nicholas Ray) and France (Francois Truffaut, Alexandre Astruc) that are effectively companion pieces to articles published in Cahiers du cinema.
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).
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.
Dec 21, 2016 · Jacques Rivette’s “Out 1” — a 12-hour film, completed in 1971 and all but impossible to see in its entirety until very recently — begins with an extended sequence that combines artlessness and...
Jan 4, 2019 · Jacques Rivette became a filmmaker even before he became a critic. When he came to Paris from Rouen in 1950, he had already completed a short film, unlike Truffaut, Godard, Rohmer or Chabrol, his colleagues-to-be at Cahiers du cinéma and later fellow New Wave directors.
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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.
