FIL 1030 History of Film - MDC Faculty Home Pages

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André Bazin Critic who argued that film was art and the artist was the director. Laid down the precepts for “The Auteur Theory.” II. Cahiers du Cinéma and the “Auteur” Theory of Film Criticism Founded in Paris in 1951 by Jacques Doniol-Valcroze, Lo Duca, and legendary film critic and theorist André Bazin, Cahiers du cinéma - literally "cinema notebooks" - has been the most influential film magazine in the history of the art form of cinema. The ideas championed on its pages have revolutionized film theory and criticism and filmmaking practice, and helped give rise to much of what we think of as serious film culture today. Indeed, Cahiers has played an instrumental role in the development of the very idea of cinema as an art form. It was in Cahiers du cinéma that a now-celebrated coterie of young, often fiercely polemical critics - Jacques Rivette, Eric Rohmer, François Truffaut, Jean Luc Godard, and Claude Chabrol most prominent among them - began attacking the hidebound, safe and highly literary "tradition of quality" then predominant in French filmmaking (which they disparaged as cinéma de papa, or papa's cinema). Their cinephile sensibilities cultivated by countless nights viewing Hollywood and international achievements at Henri Langlois's Cinémathèque Française, they began advocating a radical new notion, la politique des auteurs - or auteur theory - that advanced cinema as a distinctive creative form with its own language and means of personal artistic expression (cinema was not simply a bastard art, a form of literature with pictures, or of filmed theatre); argued that it was the director who was the author, or artist, or creative force of this medium; and put forth the then-revolutionary idea that American genre filmmakers and craftsmen such as Howard Hawks and Alfred Hitchcock, with their dynamic styles and highly personal signatures, were true masters of the art. (The Cahiers critics were also great proponents of more personal, individualistic French talents such as Renoir, Vigo, Cocteau, Tati, and Bresson). Most famously, at the end of 1950s, these young talents put the aesthetic ideas and film- wonk sensibilities they had promulgated on the pages of Cahiers into glorious filmmaking practice, giving birth to the great creative explosion known as the nouvelle vague, the French New Wave.
III. The French New Wave Francois Truffaut New Wave Splash: • “The 400 Blows” (1959) • “Shoot The Piano Player” (1960) • “Jules and Jim” (1962 The Adventures of Antoine Doinel: • “The 400 Blows” (1959) • “Antoine and Colette” • “Stolen Kisses” (1968) • “Bed and Board” (1970) • “Love on the Run” (1979) Audience Favorites: • “Day for Night” (1973) • “The Last Metro” (1980) Homages to Hitchcock: • “Fahrenheit 451” (1966) • “Bride Wore Black (1968) • “Mississippi Mermaid” (1969)
Page 1 and 2: School of Entertainment and Design
Page 3 and 4: Italian Neo-Realism Precedents: Mu
Page 5 and 6: Vittorio De Sica and Cesare Zavatti
Page 7 and 8: “La Strada” Federico Fellini Fr
Page 9: Post-War France I. Post-War Classic
Page 13 and 14: III. The French New Wave Jean Luc G

FIL 1030 History of Film - MDC Faculty Home Pages

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