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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 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.
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 ...
Jan 24, 2003 · Jacques Rivette emerged out of the postwar milieu of movie love in Paris. As a young film enthusiast, he joined forces with the group of critics who would come to form the legendary film journal Cahiers du cinéma .
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 ...
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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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 ...
