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Jul 10, 2016 · The journal, incensed by a repression of free speech that was all the more flagrant for targeting an adaptation of one of the canonical works of French literature, immediately mobilised in defence of Rivette’s film. While Rivette himself remained relatively quiet during the campaign, the younger Cahiers writers were joined by Jean-Luc Godard ...
- Daniel Fairfax
Q: Jacques Rivette is considered a pioneer of the French New Wave. What is the general timeline of that movement and who are some of Rivette’s contemporaries? A: Film historians generally point to the crucial years of 1958-9 as the beginning of the film movement, which became known as the New Wave (nouvelle vague).
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.
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 ...
Sep 18, 2001 · Now, in the case of Preminger, where the direction is everything, the politique works. As for Walsh, whenever he was intensely interested in the story or the actors, he became an auteur – and in many other cases, he didn’t. In Minnelli’s case, he was meticulous with the sets, the spaces, the light…but how much did he work with the actors?
- Frédéric Bonnaud
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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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 cinéma, April 1957); if one places Rivette’s ‘Letter on Rossell...
