Cahiers du cinema

Depuis qu’il a trahi, c’est-à-dire depuis qu’il n’est plus ce « pape du formalisme » qui connut la gloire et l’édition chez Gallimard et les Cahiers du Cinéma, Noël Burch n’a plus même un strapontin dans les lieux de pouvoir. Depuis qu’il a découvert par un bel après-midi de juin, comme il le dit dans un mélancolique avant-propos à la Georges Perec, que « les films de Straub/Huillet le faisaient chier et l’avaient toujours fait chier » (p. 10), il est persona non grata dans le landerneau de la cinéphilie institutionnelle. Mais l’explication de sa marginalité française est moins à chercher dans sa « trahison » de la cause formaliste que dans le programme qu’il s’est désormais fixé. Quand on écrit de David Lynch et des frères Coen qu’ils produisent un cinéma de l’esbroufe survalorisé et « surfent sur le snobisme d’un nouveau public petit-bourgeois », quand on dénonce « le copinage de l’Avance sur recettes et le népotisme qui règne dans les métiers dits de création » (p. 71), inutile d’attendre à Paris de la publicité au sens d’Habermas !

Auteur yönetmen kavramı, 1950’li yıllar da Cahiers du Cinema Dergisi yazarları tarafından gündeme getirilmiştir. Derginin bünyesinde Bazin, Truffaut, Godard gibi ünlü sinema yazarları bulunmaktaydı.
Kişiselliğini filme aktarabilmiş, kendi öyküsünü yaratabilen, filmleri arasında temasal bütünlükler oluşturabilmiş, özgünlük ve yaratıcılığı ile üst seviyeye çıkmış ve filme kendi damgasını vurabilmiş yönetmenler, auteur olarak değerlendirilir.
Auteur eleştirmen, filmin sanatsal niteliklerinden ziyade, yönetmenin kişiselliği bağlamında filmlerini inceler. Yönetmenin kişisel üslubuna ulaşmayı ve deşifre etmeyi amaçlar.
Çağan Irmak, filmleri arasında temasal bütünlük oluşturabilmiş, kendi öyküsünü yaratabilen bir yönetmendir. Özgünlük ve yaratıcılığı üst seviyededir. Sinemanın teknik olanaklarıyla, kendi öykü anlatım tarzını oluşturabilmiş birisidir. Bu nedenle Çağan Irmak, Türk Sineması’nın auteur yönetmenlerindendir.

Auteur theory was introduced by the writers of Cahiers du Cinema magazine in the 1950s. Famous film critics such as Bazin, Truffaut and Godard were among the writers of the magazine.
The directors who can reflect their personal creative visions, write their own stories, establish thematic integrity between their films, leave their mark on the film and have high level of authenticity and creativity are appreciated as auteurs.
The auteur critic analyzes the film within the context of the director’s personal view rather than the artistic quality of the film. He/she aims to reach and decipher the personal style of the director.
Çağan Irmak was able to establish thematic integrity between his films and create his stories as a director. He has a high level of authenticity and creativity. He has paved his own way of storytelling with the technical facilities of filmmaking. For this reason, Çağan Irmak is one of the auters of Turkish cinema.

Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Luc Godard, François Truffaut, Alain Resnais, Claude Chabrol, Agnes Varda and others, critics and scholars alike have devoted unprecedented attention to the path breaking phenomenon of the French Nouvelle Vague. While
critics have been hard pressed to find commonality on the stratum of aesthetics, politics, theory, and approaches to production among the disparate directors that comprise the French New Wave, they all necessarily recognize its lasting importance and dramatic influence not only on subsequent French film but on cinemas across the world. This genealogy can certainly be debated, but it does have the strength of tradition behind it now. In this brief article, we will emphasize on several key elements in order to define a body of critical concepts that open an initial approach to the New Wave Cinema.

The controversial, influential themes of often high-art, yet low-budget films such as Cat People (1942) and The Naked Kiss (1964) got their freedom from the long line of less quality, but just as controversial exploitation films like Maniac (1934), which got away with their work by being made with little funds and no studio control. Works like the exploitation movies of the thirties and forties were the pathway to controversial films that took themselves more seriously. These films, in turn, changed the Hollywood system for the better.

Holy Motors has been ascribed with multiple interpretations. Speculation about the meaning behind the film has emerged since its debut at the Cannes film festival, 2012. These revolve around the baffling storyline and the context technology holds in, not just cinema but, contemporary society. By shifting from genre to genre, Carax purposefully tries to confuse his audience: the French director protects his film from distinct definition with what appears to be a lack of narrative and, instead, creates a highly allegorical and illusory film. This seemingly irrelevant sequence is what makes the film so captivating and has scholars trying to dissect its illusive meaning.
The film won twenty-eight awards and gained sixty-seven nominations. Protagonist, and long-time collaborator of the director, Denis Lavant won four awards for ‘Best Actor’. At the Chicago International Film Festival, he won the award ‘for breathing life into a character who is alternately tragic, hilarious, shocking, profound, hideous, beautiful, wise - but always human - and, quite simply, unlike anything we've ever seen before’. The film can be interpreted in many different ways, but these facts cannot be repudiated. So, how did the tarnished director thwart early criticism with this ‘Island of Cinema’?
The inquisitive viewer might find Holy Motors leaves them questioning existence and the future of technology as machines are replaced just as much as people. In addition, the art of cinema is enveloped in this illustration of cinematography. Whether it provokes philosophical contemplation or not, the film is an extension of the cinematic universe, according to Carax. In essence, this dissertation seeks to broaden, as well as provide sufficient evidence to support, interpretation.

The financialisation of strategies, as mentioned in the introduction, may be correlated with the dominant link between investment and funding. The principle of selection no longer seems to focus essentially on investment funding methods, but on investments themselves ...

While much has been written about Jean-Luc Godard in relation to his formal experimentation or his political activism during his Nouvelle Vague period in French Cinema of the 1960s. However, little has focused exclusively on the politicized creation of discursive space between sound and image. In this research paper, I point to this discursive relationship between visual and sonic sources of information within Godard’s work, and showcase how it subverts Classical Hollywood conventions and enables Godard to use film style to express his political views.

This paper received First Class Honors at Trinity College, Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

This Ph.D. dissertation has as its object of study the Theory of Literature and the Film Theory. The main objective is to investigate common sense built on these theories and demystify certain precepts that are reaffirmed in contemporary times, especially around the discourse about the theories’ crisis. Three major theoretical blocks are analyzed: Russian Formalism and Soviet Montage Theories; Roland Barthes and the French magazine Cahiers du Cinema; feminist theories, both of film and of literature. The first block is about the struggle between the theoretical discourses that wants itself as scientific and those other discourses that are intended more culturalist. Then, I discuss the figure of the author and its complementary opposite, the reader, and the clash between these two places becomes more strained in France during the postwar period. In the third block, the problem regarding the canon of literary history and film history is questioned under the bias of a feminist theory that puts at stake the representation and the ideologies. Finally, I also analyzed ideological problems of theories and their invented tradition, to thereafter questioning the contemporary discourses on the alleged crisis. In a sense, the theory did not end - even with all the discourse about the "end" of the theory or about the post-theoretical moment - but turned into something different and, as a ghost, back to revise.

Communication dans le cadre du colloque international
La Révolution culturelle et ses suites
Regards croisés
7-8-9 décembre 2016
Centre de recherches sur les médiations (CREM)
Université de Lorraine/Institut européen du cinéma et de l’audiovisuel

Defining the biographical character as the protagonist in biographical films, a subgenre of the historical fiction film, this paper seeks to elaborate generically specific problems of characterization and narration in the biopic. While being presented fictionally, the genre nonetheless has some, sometimes considerable, pretensions to historical truth (the life of a historical person, using authentic names) and is thus hybrid, forced to accommodate the fictional with the nonfictional, and thereby often producing stylistic tensions. One can observe, for instance, an aesthetic tendency somewhat reminiscent of, or related to, documentaries whose mode of reference differs fundamentally from that of fiction. Biographical characterization and figural presentation may also be flatter, emotionally removed and hence more ,objective' than in the standard feature film. While referring to and drawing on the complex debate surrounding Young Mr Lincoln (1939), notably the collective 1970 text ...

https://www.cinema-ideology-criticism.de/

Dudley Andrew has called film studies in the late 1960s “a garden in the Prague spring of academia.” If any text can be said to have germinated this flowering of film theory, then it is the editorial penned by Jean-Louis Comolli and Jean Narboni and published in the October 1969 issue of Cahiers du cinéma, “Cinéma/idéologie/critique” (“Cinema/Ideology/Criticism”). Part manifesto, part polemic against their critical rivals, and part theoretical elucidation, the editorial set the basis for Cahiers’ activity for the next five years, as the journal sought to develop a Marxist approach to the critical analysis of cinema. A short, incisive text, whose political stridency transported the ebullient spirit of the May ’68 protests into the realm of film theory, the brevity of “Cinéma/idéologie/critique” belies the profound impact it has had on the study of cinema, particularly during the nascent period of the academic discipline’s development in the late 1960s and 1970s, such that it now holds a prominent, even canonical place within the history of film theory.

This short piece on Roland Barthes only visit to Leeds, making his only film acting appearance, was commissioned by Frieze magazine as a 'picture piece' and published as ‘Roland Barthes, Actor: the revered thinker's only acting performance’ in Frieze, No.175, November-December 2015, p.148, and also online at https://frieze.com/article/roland-barthes-actor

RESUMEN:
Para nadie en el ambiente cinematográfico fue sorpresa cuando Raúl Ruiz, radicado en París, a fines de la década del ochenta acababa de ser galardonado con un «premio» especial, recibido por pocos cineastas en la historia del cine mundial: Cahiers du Cinéma, la mítica revista de cine francesa, representativa del nivel más avanzado entre la crítica europea, venía a dedicar un número entero a Ruiz. Homenaje sin duda, al cineasta «francés» más importante del momento, el único que está planteando líneas renovadoras en un arte reducido a un grupo de grandes clásicos (Rohmer, Bresson, Godard), pero que ha sido escaso en nuevos autores.
Como homenaje a Raúl Ruiz se incluye aquí la traducción del prefacio del número especial de la revista Cahiers, escrito por el redactor en jefe, Serge Toubiana, y titulado “El caso Ruiz”; el texto es el siguiente:
«Un número entero consagrado a un cineasta, eso no se veía desde hacía tiempo en los 'Cahiers'. Recordamos sí el especial Eisenstein en 1971, el número 300 de Godard y los 'fuera de serie': Welles, Pasolini, o Hitchcock. Ahora es el turno de Raúl Ruiz, el cineasta más prolífico de nuestro tiempo, aquel cuya filmografía es casi imposible establecer, por lo diversa y multiforme que resulta ser su producción desde hace más de veinte años. Raúl Ruiz, un cineasta que navega entre Lisboa, Rótterdam y París, lejos de su lugar de partida, Santiago de Chile, donde no se siente a gusto para vivir.
- Es un cineasta cuya manera de producir es de una elasticidad sin igual desde un pedido para televisión a pequeñas producciones regionales o locales (en el extranjero o en Francia), siempre manteniendo una actividad casi regular en el INA (Instituto Nacional Audiovisual), donde él hace funcionar un mini-laboratorio de ‘nuevas imágenes’, como lo hacía Mélies, por ejemplo; a esto debe agregarse su actividad académica, como Profesor visitante de Cine en la Universidad de Harvard y como conferencista en las más importantes universidades de Europa y los Estados Unidos.
- Todo el cine de Ruiz es un cine ‘torcido’, porque es visto a través de curiosos prismas, siempre desnaturalizando la perspectiva clásica: un cine de ’tuerto’ (que es el título de una de sus películas). Así como cada plano ruiziano lleva una marca, una cifra, o un secreto (un poco como Welles, y los más grandes), una torsión, él propone ejes de toma de vista imposibles, utiliza todos los trucos; la banda sonora a su vez es polifónica, multilingüe, resuena con tantos acentos diferentes como co-producciones o personajes hay en la ficción».
Dr. Adolfo Vásquez Rocca
Referencia:
- VÁSQUEZ ROCCA, Adolfo, “RAÚL RUIZ; L'ENFANT TERRIBLE DE LA VANGUARDIA PARISINA: POÉTICA DEL CINE; DEFENSA RETÓRICA DEL CINE COMO ARTE”, En MARGEN CERO, Nº Nº 31, 2005 (Madrid)–;  Fundadora de la Asociación de Revistas Culturales de España, ISSN 1695-4807. Bibliografía oficial del Curso de Actuación III "Estructura Dramática", Departamento de Teatro - Facultad de Artes de la Universidad de Antioquia.
http://www.margencero.com/articulos/articulos2/raul_ruiz.htm

Cette introduction a pour finalité d'identifier et de caractériser la démarche tout à fait atypique adoptée par Jean-Luc Godard pour construire une  histoire du cinéma appréhendée comme une véritable œuvre d'art.
(Extrait de l'ouvrage "Le cinématographe selon Godard", 2019)

This paper examines Gilles Deleuze’s employment of the concept of the ‘pedagogy of the image’ which was first developed by the film critic Serge Daney in two seminal essays in the mid-1970s in Cahiers du cinema. It will seek to foreground the ‘Daney effect’ (Bellour, Trafic 50: 75–86, 2004) in
the second half of Cinema 2: The Time-Image where the influence of Daney, along with Bonitzer, Bergala and other film theorists is most pronounced. It will examine the ‘traffic’ of the image and of ideas of the image between Deleuze and Daney as each, in the course of the 1980s, sought to address mutations in the scopic regime. Thus the paper proposes the trope ‘pedagogies of the image between Daney and Deleuze’.

Keywords: pedagogy of the image; Gilles Deleuze; Serge Daney; Cahiers du cinema; Straub/Huillet; Godard

Pioneer avant la lettre of intermidiality, André Bazin didn’t despise the artistic possibilities of dialogue between cinema and other media. Far from a purist posture, Bazin proved how these intertwine brought an inevitable historicity to cinema and the possibility of creating an improvement to film form. In a pendulum movement between the notion of authorship and the praise of anonymous creation of arts, Bazin added the archaeology of media to the debate of specific. Through the articulation between filmic analysis and study of context, these articles on theatrical and literary adaptation open up fields of research for intermedia approaches to cinema. Our proposal seeks to decompose Bazinian methodology and to show the internal disputes of cinematographic field, around the concept of authorship and specific.

Pioneiro avant la lettre da intermidialidade, André Bazin não desprezou as possibilidades artísticas do diálogo do cinema com as demais mídias. Longe de uma postura purista, Bazin demonstrou como estes entrelaçamentos trouxeram uma inevitável historicidade ao cinema e a possibilidade de gerar o aprimoramento da forma fílmica. Num movimento pendular entre a noção de autoria e o elogio à criação anônima das artes, Bazin agregou a arqueologia das mídias ao debate do específico. Através da articulação entre a análise fílmica e o estudo do contexto, os artigos sobre a adaptação teatral e literária abrem-nos caminhos de pesquisa para abordagens intermidiáticas do cinema. A nossa proposta pretende decompor a metodologia baziniana e apresentar as disputas internas do campo cinematográfico, em torno da autoria e do específico.

"What is surreal when reality becomes as such? What is fantasy when scripted shows that dominate popular culture are labeled 'reality' and social media allows everyone to be their own celebrity and put on their own performance of their best self? What actually happens that could not happen in reality outside the inevitability of death, which cannot occur in a simulated performance? Perhaps nothing and everything. The line between fantasy and reality, between identity and performance, between spectacle and spectator, between simulation and imitation, the roles of director and audience, of actor and character, of art and entertainment, of bemusement and amusement are all interwoven in a tantalising web of subjective interpretation that makes Holy Motors the most meta of metafilms to date and a revolution in cinematic art."

http://brightlightsfilm.com/church-of-holy-motors-transformation-in-metafilm/