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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
A more comprehensive sampling of Rivette’s criticism might include his texts (or remarks, in roundtable discussions) on film criticism, Sommarlek, Les 400 Coups, Hiroshima, Mon Amour, Le Testament d’Orph é e, Splendor in the Grass, Proces de Jeanne d’Arc, Monsieur Verdoux, Muriel, Franju’s Judex, and at least part of his writing on ...
Along with Godard, Truffaut and Alain Resnais, Rivette began writing for Cahiers du Cinéma in 1952, where the critics collectively championed the auteurist aesthetic of directors such as Alfred Hitchcock, Otto Preminger and Anthony Mann.
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 ...
Critics like Truffaut, Godard, Rivette, and Rohmer highlighted the central role of the director as the author of a film, and “auteur theory” had a profound influence on the subsequent history of cinema and film studies.
It is well known that, in the 1950s, before the French New Wave was born, some of its key filmmakers (Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, François Truffaut) worked as film critics for Cahiers du Cinéma.
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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.
