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Rivette published less than his contemporaries, but his articles have arguably played a greater role in defining some of the key concepts associated with this era of film theory and criticism.
Nov 15, 2019 · Like a young provincial newcomer who discovers cinema’s silent masterpieces for the first time in Paris, Rivette tried his hand at film criticism in the early months of 1950 in Bulletin du ciné-club du Quartier Latin, a small journal which became a supplement to the Cinema-Club animated by Rohmer and his former student Frédéric Froeschel ...
- Zahra Tavassoli Zea
- Z.Tavassoli-Zea@kent.ac.uk
- 2019
Rivette’s films offer themselves to the auteurist quest in a special way. Several key films in Rivette’s career are – on the model of a process-based art – laboratories, open-ended experiments that feed the varia-tions to come, in various explicit or disguised ways, in subsequent work.
However, film treating literature in a “film-like” way allows literature to become “detextualized”: the literature that Rivette uses indeed reveals its materiality – it ceases to be only a code or a series of signs, becoming an agent of a kind, a material (even if “absent”) drive for the plot which continues to take place without ...
- Re-Watching Verdoux
- A Time of Scandals
- The Return to Film Criticism
- The Roundtable on Montage
- After Cahiers
Cahiers’ turn to Marxism in the wake of May 1968 marks one of the major turning points in the tumultuous history of the journal, but this transformation was preceded by an equally important shift in orientation earlier in the decade, one which in many ways ushered in its subsequent radicalisation. 1963 saw the notorious “putsch” against Rohmer, who...
Having firmly established the new critical orientation of Cahiers, Rivette did not stay long as editor, a role which he had always seen as transitional: by 1965 he passed the baton onto Comolli, as work on filming Diderot’s La Religieuse consumed his attentions. In April the following year, the film would become a rallying point for Cahiers when, w...
It was at this time that Rivette, having completed the filming and editing of L’amour fou, made his return to contributing to Cahiers. Pascal Bonitzer has affirmed that Rivette’s renewed participation in the journal occurred after a “grave depression” suffered by the filmmaker.28 Since filming on Out 1 would not begin until 1970, we can surmise tha...
Interviews by or with Rivette were not his only forum for expression. Indeed, he also made a return to reviewing films at this juncture, writing critical notes on seven releases over the course of 1969. Curiously, despite Rivette’s undisputed status as éminence grise at the journal, none of these articles were lengthy, conceptually deep essays on t...
As far as published theoretical texts are concerned, this roundtable would be a one-off for Rivette. He did, however, participate in another discussion at the end of 1969 on the issue of space in the cinema, subsequent to a related “weekend of theoretical reflection” at Le Havre in mid-December. The event was specifically conceived as a pendant to ...
Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style. Unlike nearly all the other authors of major film theories - and
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Jacques Rivette (1928–2016), who emerged in the 1950s, along with Jean-Luc Godard, François Truffaut, Éric Rohmer, and Claude Chabrol, as one of the primary filmmakers of the French New Wave, is the most underappreciated (and under-screened) of this legendary group.
