Cahiers du cinéma was a French film magazine founded in 1951 that analyzed films from an auteurist perspective. Between 1969-1973, it was led by Jean-Louis Comolli and Jean Narboni and took a Marxist ideological approach to film criticism. They analyzed how films either reproduced or challenged dominant bourgeois ideology through their content and cinematic form/style. They categorized films as (a) directly supporting ideology, (b) attacking ideology through political content and non-traditional form, (c) becoming political through innovative form, (d) having political content but traditional realist form, (e) beginning within ideology but leaving a gap, and (f-g) two modes of documentary either accepting
It talks about the historical perspective of Japanese Cinema. It highlights the popular genres, stalwarts in film making, golden era of Japanese Cinema... etc.
It talks about the historical perspective of Japanese Cinema. It highlights the popular genres, stalwarts in film making, golden era of Japanese Cinema... etc.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2. Outline
• Introduction to Cahiers du cinema
• History of Cahiers du cinéma (from Bazin to Comolli&Narboni)
• Cinema/Ideology/Criticism(1969)
3. Cahiers du cinéma
• Origin:
Criticism of Cinema of quality (after WWII in France)
eg. Marcel Carné Les enfants du paradis (1945)
• Created by André Bazin (1918-1958)
• N°1 in April 1951
“This group of critics were lovers of a dead
sun, they see ashes where a thousand
phoenix are constantly reborn.”
4. The Yellow Years
the 400 blows(1959) Breathless (1959) Vivre sa vie(1962) Band of outsiders (1964)
9. Chief editors of Cahiers du cinéma
1951-1958
André Bazin
1958-1963
Éric Rohmer
1963-1965
Jacques Rivette
1965-1973
Comolli
Narboni
10. The Yellow Years: André Bazin
• Their interest on American films(Hollywood)- Orson Welles,
Howard Hawks ,Nicholas Ray , Alfred Hitchcock, film noir, melodrama
• Italian cinema
• French cinema
- Jean Renoir
August 1956Dial M for Murder(1954) Hatari ! (1962)
11. The Yellow Years: André Bazin
• Italian cinema:neo-realism
• Roberto Rosellini
Jeanne d'Arc au bûcher (1954) Europe’51
12. The Yellow Years: André Bazin
• Politique des auteurs
• Much Notable Critics (who became directors later):
-Godard, Truffaut, Rivette, Rohmer, Chabrol(1930-2010)
• Qu’est-ce que le cinema? - André Bazin
• Reality
• Deep-focus
• Long take
• The French new wave
15. Éric Rohmer(1920-2010)
• Films about love
• Notable works:
• Claire’s knee(1970)
• The Green Ray(1986)
• Tales of the Four Seasons(in 1990s)
16. Years of Éric Rohmer(1958-1963)
• Retained the classical cinephile tastes
• Bertolt Brecht
• Bernard Dort “Towards a Brechtian criticism of cinema”
(n 114 December 1960)
18. Years of Jacques Rivette(1963-1965)
• More Radical than Rohmer
• Politicization
• Reception to anthropology, literary theory, psychoanalysis of Lacan.
• By the mid-sixties, the cinema horizon had expanded to India(Satyajit
Ray), Japan (Kurosawa), Brazil (Rocha), Germany(Straub)…etc.
because Hitchcock, Nicolas Ray, Hawks were in their late years.
21. L’affaire Langlois (March 1968)
• Henri Langlois (1914-1977)
• la Cinémathèque française
• André Malraux
Jean Rouch, Chabrol, Godard
22.
23. Mai 68
• Cannes film festival in 1968 was cancelled
• In solidarity with students and workers
24. Mai 68 Claude Lelouch, Jean-Luc Godard, Francois Truffaut, Louis Malle, Roman Polanski
Cannes film festival
was cancelled
Both Malle and Polanski were
jury members, but they
resigned.
28. Comolli and Narboni-the Mao Period
• Structuralism
• After 1968
• Maoism
• Althusser- ideology
• Godard –Dziga Vertov Group (much works with Gorin)
32. I. Where?
• system: Capitalism
• cinema: how it is produced,manufactured, distributed,understood.
• What is the film today?(compared to what is the cinema?)
33. II. The Films
• Every film is political inasmuch as it is determined by the ideology
which produces it.
• Cinema reproduces “Reality”-an expression of prevailing ideology
• “Concrete reality” - reactionary one
• Once we realize that it is the nature of the system to turn the cinema
into an instrument of ideology, we can see that the film-maker's first
task is to show up the cinema's so called "depiction of reality".
• to sever the connection between the cinema and its ideological
function.
34. (a) Ideological mainstream films
• Majority of the films
• “With the dominant ideology in pure and unadulterated form”
• Bourgeois Realism
• Jean-Pierre Melville
• Gérard Oury
• Claude Lelouch
35. Jean-Pierre Melville(1917-1973)
• Gangster film
• Le deuxième souffle (1966)
• Le Samouraï (1967)
• Le cercle rouge(1970)
• Alain Delon
• Army of Shadows(1969)- a war film
• Critique - the first and the best cinematographic example of Gaullist
art(Comolli 1969)
36. Gérard Oury(1919-2006)
• film director, actor
• The brain(1969)
-the most popular movie at the French box office in 1969.
37. Claude Lelouch(1937-)
• Notable works:
• A man and a woman(1966)
• A Man and a Woman: 20 Years Later(1986)
• Men, Women: A User's Manual(1996)
• Chance or Coincidence(1998)
• Often work with composer Francis Lai
38.
39. A Man and a Woman(1966 dir. Claude Lelouch)
• Anouk Aimée et Jean-Louis Trintignant
45. Polemic: Lelouch, or the clear conscience
• Written by Jean-Louis Comolli (N° 180 , July 1966)
• Fakery:
• 1.music(not anyone can be a Demy) 2.filters 3.dialogue part-
improvised by the actors
• To make people believe that beauty requires no effort, that the pure
mind would be amply rewarded
• It gives the champs-elysee crowd a clear conscience.
• Compared to Godard’s works which make people uncomfortable.
46. (b) ATTACK their ideological assimiliation on
two fronts.
• Attack by two front- Signified and Signifiers – content/form
• they deal with a directly political subject-not just discuss an issue, but
use it to attack dominant ideology. In this sense it is political content.
• the form and structure of these film break down the traditional way
of depicting reality. In this sense these films are considered to have
political form.
• Not Reconciled (Nicht Versöhnt)
• The Edge
• Terra em transe
47. Not Reconciled(1965 dir. Jean-Marie Straub)
• Nicht versöhnt
• Jean-Marie Straub (1933-) left wing
• Danièle Huillet(1933-2006)
• noted for their stimulating style and radical politics.
• Notable works: Chronik der Anna Magdalena Bach(1968)
(Cahiers’ Top 1 in 1968)
Les yeux ne veulent pas en tout temps se fermer (1971)
48. Not Reconciled(1965 dir. Jean-Marie Straub)
It is a story about the continuity and collapse of history, the power of
suppression, and the terror of reconciliation; loyalty, treason and
revenge.
49. The Edge (1968 dir. Robert Kramer)
• Robert Kramer (1939-1999):
• An left leaning American in Paris making radical movies on life in exile
• Film director/screenwriter/actor.
• Documentary works :Route One/USA(1989)
• The Edge (1968):
• dealt with an assassination attempt on a war-mongering president.
• Top 10 in 1968
50. Terra em transe(1967)
• An allegory for the history of Brazil in 1960–66
• Director: Glauber Rocha
• English title: Entranced Earth, Land in Anguish
• New Brazilian cinema in 1960s (Cinema Novo)
• Guerilla cinema
• Third cinema (Solanas and Getino in 1969)
• Influential Essay:
• The Aesthetics of Hunger (1965)
• The tricontinental filmmaker: that is called the dawn
(by Glauber Rocha in cahiers du cinema November 1967)
n° 214, juillet/août 1969
Antonio Das Mortes
51.
52.
53.
54. (C) “Against the grain”
• Not explicitly political, but becomes so through the form and
structure of the film.
• Méditerranée (1963 dir. Jean-Daniel Pollet)
• the Bellboy (1960 dir. Jerry Lewis)
• Persona (1966 dir. Ingmar Bergman)
(b) & (C) should be the chief subject of the magazine
55. (C) Méditerranée (1963 dir. Jean-Daniel
Pollet)
• Jean-Daniel Pollet (1936-2004)
• with the assistance of Volker Schlöndorff
• Notable works:
• Méditerranée (1963)
• L’ordre (1974).
L'Amour c'est gai, l'amour c'est triste (1968)L’ordre (1974).
56. (C) Méditerranée (1963 dir. Jean-Daniel
Pollet)
• cuts repeatedly between meditative camera movements around
various subjects–Greek ruins, a Spanish bullfight, a woman on a
hospital cart, a fisherman–conjuring up a great many mysteries about
their relation to one another.
• Juxtaposition of several still images
57.
58. (C) The Bellboy (1960 dir. Jerry Lewis)
• Jerry Lewis (1946-2017)
• Actor/film director
• Teaming with Dean Martin
• The King of Comedy (dir. Scorsese)
• Special Jerry Lewis (N°197 - JANUARY 1968)
• Slapstick physical Comedy
• French critics love him, but American didn’t.
The King of Comedy
72. The Bellboy
• -Can you talk?
-Certainly I can talk. I suspect I can talk
as well as any other man, Mr. Novak.
-How is it that we’ve never heard you
talk before?
-Because no one ever ask me.
• Narrator: There was no story, but there
is a moral.
74. Persona (1966 dir. Ingmar Bergman)
• It was cinema reflecting itself.(The Phantom of Personality by Comolli)
75.
76.
77.
78. (d) films with political content but realist
form
• Films which have an explicitly political content, but whose form and
structure adhere to the traditional way of depicting reality.
• Z (1969 dir. Costa-Gavras)
• Le temps de vivre (1969 dir. Bernard Paul)
79. Z (1969 dir. Costa-Gavras)
• Costa-Gavras (1933-)
• known for films with overt political themes
• Other Notable works :
• L’aveu (1970)
• État de Siège(1972)
• Missing(1982)
81. Series-Z
• Le pirée pour un homme (J. Narboni March 1969)
• Narboni argued that its petty-bourgeois ideology was at work in the
functioning of the film as much as its consumption, because Z
neglects the concrete analysis of concrete situations, the objective
study of social relations, the breakdown of the political mechanisms.
• After 1968, spectators appeared to be seeking out a cinema that
offered the piquancy of politics but that did not implicate or
challenge their world view directly. With Z you had a filmmaker who
was addressing politics on the surface, but simultaneously
banalizing it
82. (e) self-contradictory to disrupt pure
ideological functioning
• They start out from a non-progressive standpoint but are worked
upon, and work in such a way that there is a noticeable gap, a
dislocation between the starting point and the finished product.
• “Directors makes a conscious use of prevailing ideology, but leaves it
absolutely straight”.
• John Ford
• Dreyer
• Rosellini
• Positions: they criticize themself
83. John Ford
• Ideological analysis by cahiers du cinema:
Young Mr. Lincoln
The Quiet Man(1952) The Man Who Shot Liberty Valance(1962)
85. Roberto Rossellini (1906-1977)
• Neo-realism
war trilogy: Rome Open City(1945), Paisan(1946),
Germany Year Zero(1948)
viva l'italia(1961)
86. Cinéma direct
• originated between 1958 and 1962 in North America, principally in
Quebec and the United States.
• Observational approach
• Don't Look Back (D.A. Pennebaker, 1967)
• Salesman (Albert Maysles & Charlotte Zwerin, 1969)
• Other Important figures:
Robert Drew, Richard Leacock
87. (f)&(g) Cinéma direct
• two modes of cinéma direct documentary
• the former accepting the dominant realism, the latter resisting and
disrupting it
• (f)
• Chiefs (dir. Richard Leacock)
• A good number of the May films
88. (g) Cinema direct
• director not satisfied with the idea of camera “seeing through
appearance”.
• Attacking the problem of depiction by giving an active role to the
concrete stuff of the film.
• Le Règne du jour (1967 dir. Pierre Perrault)
• La Rentrée des Usines Wonder
90. La Rentrée des Usines Wonder
• La reprise du travail aux usines Wonder
• IDHEC
• Director: Jacques Willemont
91. Critical function
• (a)show what they are blind to
• (b)(c)(g)showing how they operate critically on the signified and
signifiers
• (d)(f)the political subject weakened by the absence of the signifiers.
• (e)pointing out the gap between film and ideology
• analysis of what governs the production of a film (economic
circumstances, ideology, demand and response)
• To use the theory of Russian Formalism in 1920s. eg. Eisenstein
(Compared to Bazin’s realism in 1950s)
• Montage Jean Narboni, Sylvie Pierre, Jacques Rivette: 'Montage'
(March 1969)
