Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave (Hardcover First Edition)
Published by Holt, Rinehart and Winston, 1980
Hardcover
First edition, second printing
312 pages
9.5x6.5 inches
Book and dust jacket in Very Good condition. Near Fine aside from sun fading on spine and some slight water damage throughout along bottom edge. Comes in removable protective Brodart mylar cover.
Edited by Jim Hillier
Cahiers du Cinéma is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue.
The selections in this volume of writings from Cahiers du Cinéma are drawn from the colorful first decade of its existence: 1951–1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema―American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scène as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal’s major contributors and theorists―Godard, Truffaut, Rohmer, Rivette, Chabrol―were to become some of France’s most important film directors and leaders of the New Wave.
Published by Holt, Rinehart and Winston, 1980
Hardcover
First edition, second printing
312 pages
9.5x6.5 inches
Book and dust jacket in Very Good condition. Near Fine aside from sun fading on spine and some slight water damage throughout along bottom edge. Comes in removable protective Brodart mylar cover.
Edited by Jim Hillier
Cahiers du Cinéma is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue.
The selections in this volume of writings from Cahiers du Cinéma are drawn from the colorful first decade of its existence: 1951–1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema―American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scène as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal’s major contributors and theorists―Godard, Truffaut, Rohmer, Rivette, Chabrol―were to become some of France’s most important film directors and leaders of the New Wave.
Published by Holt, Rinehart and Winston, 1980
Hardcover
First edition, second printing
312 pages
9.5x6.5 inches
Book and dust jacket in Very Good condition. Near Fine aside from sun fading on spine and some slight water damage throughout along bottom edge. Comes in removable protective Brodart mylar cover.
Edited by Jim Hillier
Cahiers du Cinéma is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue.
The selections in this volume of writings from Cahiers du Cinéma are drawn from the colorful first decade of its existence: 1951–1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema―American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scène as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal’s major contributors and theorists―Godard, Truffaut, Rohmer, Rivette, Chabrol―were to become some of France’s most important film directors and leaders of the New Wave.