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Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as John Ford, Alfred Hitchcock and Nicholas Ray – and was deeply critical of mainstream French cinema.
- 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 ...
- Daniel Fairfax
The members of the Cahiers family, which were overseen by celebrated film critic André Bazin, were impatient to begin making films, and it was Rivette who pushed and prodded his friends to commence production on their first features.
Jacques Rivette was a French film director associated with the New Wave film movement and known for his experimental evocative style. Before becoming a director, Rivette had a career as a writer and film critic. In 1950 Rivette, Jean-Luc Godard, François Truffaut, and Eric Rohmer founded the film.
- The Editors of Encyclopaedia Britannica
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 30, 2016 · the French New Wave who started as critics, Rivette marked the purest distillation of the movement’s intellectual passions and artistic impulses. He directed 23 features, a couple of documentaries and several shorts.
Jan 29, 2016 · Yet, strangely, Rivette’s most conspicuous influence isn’t a film but a piece of criticism—an article that he wrote for Cahiers du Cinéma in 1961, “On Abjection” (here, translated and ...
