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Cahiers

du

Cinema

Harvard Film studies

Cahiers

du

Cinema

1960-1968: New Wave, New Cinema, Reevaluating

Hollywood

Edited by

Jim Hillier

Harvard University Press

Cambridge, Massachusetts

1986

English translation and editorial matter

Copyright © 1986 by the British Film Institute

Originally

published in French in Cahiers du Cinema, numbers 103-207, January 1960-December 1968, © Les Editions de l'Etoile

All rights reserved

Printed in

the United States of America

10 9 8 7 6 5 4 3 2 1

This book is printed on acid-free paper, and its binding materials have been chosen for strength and durability.

Library

of Congress Cataloging-in-Publication Data

Cahiers

du cinema, the 1960s.

Bibliography:

p.

Includes index.

1. Moving-pictures-Philosophy. 2. Moving-pictures

France. 3. Moving-pictures-United States. 1. Hillier,

Jim. II. Cahiers

du cinema.

PN1995.C295 1986 791.43'01

86--14235

ISBN 0-674-09062-4

Contents

Preface

Acknowledgments

Books frequently cited in the text

Introduction: Cahiers du Cinema in the 1960s

Part One New Wave/French Cinema

Vlll xi Xlll 1 Introduction: Re-thinking and re-making French cinema 27

1 Lue Moullet: 'Jean-Lue Godard' (April 1960) 35

2 Andre S. Labarthe: 'The Purest Vision: Les Bonnes Femmes' (June

1960)
49

3 Andre S. Labarthe: 'Marienbad Year Zero' (September 1961) 54

4 Jean-Luc Godard: 'From Critie to Film-Maker': Godard in inter-

view (December 1962) 59

5 Jean-Louis Comolli, Jean Domarchi, Jean-Andre Fiesehi, Pierre

Kast, Andre S. Labarthe, Claude Ollier, Jacques Rivette, Fran- <;ois Weyergans: 'The Misfortunes of Muriel' (November 1963) 68

6 Cahiers du Cinema: 'Twenty Years of French Cinema: The Best

French Films since

the Liberation' (March 1965) 82

7 Eric Rohmer: 'The Old and the New': Rohmer in interview

with Jean-Claude Biette, Jacques Bontemps, Jean-Louis Comolli (November 1965) 84 8

Andre S. Labarthe: 'Pagnol' (December 1965) 95

9 Jean-Louis Comolli: 'Polemic: Lelouch, or the Clear Conscience'

(July 1966) 100

10 Fran<;ois Truffaut: 'Evolution of the New Wave': Truffaut in

interview with Jean-Louis Comolli, Jean Narboni (May 1967) 106 v

Contents

Part Two American Cinema: Celebration

Introduction: The Apotheosis of mise en scene 113

11 Fereydoun Hoveyda: 'Nicholas Ray's Reply: Party Girl' (May

1960) 122

12 Michel Mourlet: 'In Defence of Violence' (May 1960) 132

13 Fereydoun Hoveyda: 'Sunspots' (August 1960) 135

14 Michel Mourlet: 'The Beauty of Knowledge: Joseph Losey'

(September 1960) 146

15 Jean Douchet: 'Hitch and his Audience' (November 1960) 150

16 Jean Douchet:

'A Laboratory Art: Blind Oate' (March 1961) 158

Part Three American Cinema: Revaluation

Introduction: Re-thinking American Cinema 165

17 Claude ChabroI, Jacques Doniol-Valcroze, Jean-Luc Godard,

Pierre Kast, Luc Moullet, Jacques Rivette, Franc;ois Truffaut: 'Questions about American Cinema: A Discussion' (December

1963-January 1964)

172

18 Jean-Louis Comolli: 'The Ironical Howard Hawks' (November

1964)
181

19 Claude Ollier: 'A King in N ew York: King Kong' (May-June

1965) 187

20 Jean-Louis Comolli, Jean-Andre Fieschi, Gerard Guegan, Michel

Mardore, Claude Ollier, Andre Techine: 'Twenty Years On: A

Discussion

about American Cinema and the politique des auteurs' (November 1965) 196

21 Jean-Louis Comolli: 'Notes on the New Spectator' (April 1966) 210

22
Jean Narboni: 'Against the Clock: Red Line 7000' Guly 1966) 216

Part Four Towards a New Cinema/New Criticism

Introduction: Re-thinking the function of cinema and criticism 223

23 Bernard Dort: 'Towards a Brechtian Criticism of Cinema'

(December 1960) 236

24 Fereydoun Hoveyda: 'Cinema verite, or Fantastic Realism'

(November 1961) 248

25 Fereydoun Hoveyda: 'Self-Criticism' (December 1961) 257

26 Louis Marcorelles: 'The Leacock Experiment' (February 1963) 264

27 Jean-Andre Fieschi: 'Neo-neo-realism: Bandits at Orgosolo'

(March 1963) 271

28 Roland Barthes: 'Towards a Semiotics of Cinema': Barthes in

interview with Michel Delahaye, Jacques Rivette (September 1963)
276

29 Jean-Andre Fieschi: 'The Falling Sickness: Fists in the Pocket'

Gune 1966) 286

30 Jean-Louis Comolli: 'A Morality of Economics' (May 1967) 290

VI

Contents

31 Jean-Luc Godard: 'Struggling on Two Fronts': Godard in inter

view with Jacques Bontemps, Jean-Louis Comolli, Michel Dela- haye, Jean

Narboni (October 1967) 294

32 Jean Narboni: 'Towards Impertinence' (December 1967) 300

33 Jacques Aumont: 'Several Routes to a Reading: Switchboard Oper-

ator' (Christmas 1967-January 1968) 303

34 Cahiers du Cinema: Editorial: 'The Langlois Affair' (April-May

1968) 307

35 Cahiers du Cinema: Editorial: 'The Estates General of the French

Cinema' (June-July 1968) 309

36 Cahiers du Cinema: Editorial: 'Editorial Changes in Cahiers'

(August 1968) 311

37 Jean-Louis Comolli: 'Postscript: Hour of the Wolf' (August 1968) 313

38 Jacques Rivette: 'Time Overflowing': Rivette

in interview with Jacques Aumont, Jean-Louis Comolli, Jean Narboni, Sylvie

Pierre (September 1968) 317

39 Sylvie Pierre, Jean-Louis Comolli: 'Two Faces of Faces' (October

1968) 324

Appendix 1

Cahiers du Cinema Annual Best Films Listings 1960-68

Appendix 2

Guide to Cahiers du Cinema Nos 103-207, January 1960-

December 1968, in English translation

Appendix 3

Cahiers du Cinema in the 19505 and the 19705

Index of names and film titles

vii 328 335
354
357

Preface

When a four-volume anthology of material from Cahiers du Cinema was first discussed, it was intended that each volume should be self-contained and coherent in its own terms, should seek to be representative of the period covered, should contain largely material not readily available before in English translation, should be relevant to contemporary film education and film culture, should be accessible to the non-specialist reader, and should be pleasurable. It was only after working for several years on the first two volumes that I realized how tall this order was, but I hope that at least some of these original requirements have been met. My main function as editor, and the one that has taken most time, has been to sift through twenty years' output of Cahiers (nine years and over a hundred issues for this second volume) for the tiny selection of material just thirty-nine items in this case -which would make sense of the journal's interests and importance at the time and still be relevant to readers coming to it more than twenty years later. Needless to say, this has not been easy. As editor I have seen my main task as placing Cahiers in context, rather than imposing my own views about it (though my views should be clear enough) or offering a radical critique from today's perspective of the ideological position or positions which Cahiers enshrined. I have felt it particularly important to plan the volumes as a guide, a resource, a base for further work and further reading, as well as self-contained books. It is with this in mind that the volumes include appendices which list other material from Cahiers during the relevant periods available in English translation, as a means of significantly extending the necessarily limited scope of these volumes themselves. My introductions and often (intention ally) profuse footnotes aim to point readers backwards, forwards and sideways to earlier, later and parallel developments in Cahiers as well as to contemporaneous and later developments in critical and theoretical writing in Britain and the USA. In part I have wanted to point, through Vlll I I

Preface

these references, to some of the work in which a critique of Cahiers has taken place, both within Cahiers -clear enough at the end of this volume, and to be elaborated more clearly in the forthcoming Volume 3, covering the period 1969-1972 -and elsewhere.

My general introduction,

'Cahiers du Cinema in the 1960s', tries to sketch out the context for the whole volume. Whereas the introductions to each section aim to discuss some of the major threads and implications in the material comprising the individual section, the general introduction tries to place the contents of the whole volume within a broader perspective as well as to offer an additional range of references from Cahiers. The sectional organization of the volume is not ideal but it does represent, I believe, some important structures of thinking in Cahiers in the period. In other words, I have tried to organize the volume along some of the primary conceptual lines on which Cahiers made sense of cinema in the 1960s. Material is arranged chronologically within each section, but my introductory discussions of each section do not strictly follow the order of the articles which follow. Inevitably, as in Volume I, there is some artificiality in the sectional organization and material needs to be read and related in a variety of ways -within each section or area of cinema but also in the context of writing and thinking in other sections.

The material

on French cinema, for example, needs to be read alongside what was being written about new cinema, which needs to be read along side what was being written about American cinema, and so on. Some of the inter-relationships are pointed to in my introductions and annotation. Intentionally, the sectional organization of the volume closely relates to the organization of Volume 1. The prominence given in this volume to, for example, Jean-Luc Godard, Fran<:;ois Truffaut, Eric Rohmer and Jacques

Rivette as critics

and as film-makers, to American cinema and particularly Hawks, Hitchcock and Ray, and to questions of realism, authorship and mise en scene represents a conscious desire to select material which relates directly back to Volume

1. My introductions and annotation, again, try to

point to some of these relationships.

A note on translations

Translation always poses problems about accurate rendition, especially when, as in this case, several different translators are involved and when some of the original writing is quite difficult. It would be wrong to pretend that we have not experienced occasionally quite severe problems of trans lation. There are a number of points where we have had difficulty in grasping the precise sense of the original and others where, despite such a grasp, the right translation has been difficult to find.

The French

terms auteur and mise en scene have entered critical discussion in English, but auteur in particular did not always have some of the meanings currently attached to it. We have usually retained auteur when 'author' would have been a direct translation and mise en scene where lX

Preface

'direction' might have been a suitable rendering, but we have tried to be sensitive to the varying usage of the terms. Les Cahiers du Cinema (literally, 'Cinema Notebooks') are plural, but we have preferred to refer to Cahiers -the normal abbreviation used -as if in the singular. In the period 1951-1969 Cahiers was an almost wholly male preserve, marked at times by considerable misogyny. Only two items in the two volumes involve a woman critic -Sylvie Pierre -and both are from 1968.

Accordingly, it

seemed appropriate to maintain 'he', 'him' and 'his' to mark this sexual inequality. Similarly, we have kept 'American' where 'US' is strictly correct, since this was the way Cahiers was thinking in the 1950s
and 1960s.

Notes and references

All notes are the editor's except where specifically designated as authors' or translators' notes. A number of books referred to in notes with some frequency are given in abbreviated form in references. Full details can be found in the section 'Books Frequently Cited in the Text', on pp. xiii-xiv. x

Acknowledgments

We are indebted to Cahiers du Cinema for the agreement to produce these volumes of anthology from their material.

In addition,

the editor and publishers acknowledge permission to reprint the following material: Chapter 4, translated by Tom Milne, is reprinted (in extract) from Godard on Godard, edited by Jean Narboni and Tom Milne (© Martin Secker and

Warburg, 1972).

Chapter 38, translated by Amy Gateff, is reprinted (in extract) from Rivette: Texts and Interviews, edited by Jonathan Rosenbaum (© British Film

Institute,

1977). .

As I said in Volume 1, my principal personal debts are -as any teacher's must be -to my students, past and present, in various contexts over the last twenty years, and especially at British Film Institute Summer Schools, in University of London/BFI extra-mural classes, at Bulmershe College of Higher Education and, briefly, at Eastern Michigan University. Those students' ideas, their answers and their questions, have always been the most vital sources of stimulation. But I have also had the good fortune, over the last fifteen years, to have worked with exceptionally stimulating colleagues and, one way or another, lowe a great deal to a wide range of colleagues and their work. I have in mind particularly BF! Education, including summer schools and extra-mural classes (Charlotte Brunsdon, Ed Buscombe, Jim Cook, Richard Dyer, Christine Geraghty, Christine

Gledhill, Sylvia Harvey, Geoff

Hurd, Jim Kitses, Alan Lovell, Terry Lovell,

David Lusted, Colin McArthur, Nicky

North, Sam Rohdie, Tom Ryall,

Philip Simpson,

John Stewart, the late Paddy Whannel, Christopher

Williams, Peter Wollen); the Film and Drama Division at Bulmershe

College of

Higher Education (Stuart Cosgrove, Steve Lacey, Pete Mathers, Laura Mulvey, Peter Muschamp, Doug Pye, Mike Stevenson, Tom Wild); the editorial board of Movie (Charles Barr, Andrew Britton, Ian Cameron, V. F. Perkins, Doug Pye, Michael Walker, Robin Wood). Several valued xi

Acknowledgments

friends have housed me and Cahiers in congenial and even productive surroundings away from home and thanks on this score are due to Leslie

Meyer, Karen Brumer, Lucy Stewart.

BFI Library Services, one of the finest

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