Search results for ""Cahiers du Cinema""

A unique document: Clint Eastwood’s story, as told in his own words A reference work in which one of the great masters of contemporary cinema revisits, film by film, his entire career as both a legendary actor and a remarkable director An insightful conversation with the critic and documentary filmmaker Michael Henry Wilson, who has known Eastwood for over twenty years A richly illustrated, faithful record of Eastwood’s work, containing film stills and set photographs as well as previously unpublished photographs from his personal collection, dating from his youth and early years as an actor A potential 2010 bestseller: Eastwood’s recent films – including Million Dollar Baby (2004), Gran Torino (2008), Changeling (2008) and Invictus (2009) – have enjoyed huge worldwide success, both at the box office and with the critics Includes a biography and a complete filmography

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Michel Chion is a film-maker, lecturer and Cahiers du Cinema critic. He is the author of David Lynch (bfi, 1995) and a series of books on sound, including The Voice in Cinema.

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Challenging the prevailing notion among cinephiles that the auteur is an isolated genius interested primarily in individualism, Colin Burnett positions Robert Bresson as one whose life's work confronts the cultural forces that helped shape it. Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.

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Challenging the prevailing notion among cinephiles that the auteur is an isolated genius interested primarily in individualism, Colin Burnett positions Robert Bresson as one whose life's work confronts the cultural forces that helped shape it. Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.

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RICHARD ROUD (192989) was an American writer on film and co-founder and latterly Director of the New York Film Festival. In the 1950s, Roud was the London Correspondent of Cahiers du cinéma, and from 1963 to 1969, Chief Film Critic for the Guardian newspaper. His books include Cinema: A Critical Dictionary The Major Film-Makers (two volumes, 1980), A Passion for Film: Henri Langlois and the Cinémathèque Française (1983), and Jean-Marie Straub (1972), also in the Cinema One series. MICHAEL TEMPLE is Reader in Film and Media at Birkbeck, University of London, UK. His publications include, as co-editor, Jean-Luc Godard: Documents (2006); The French Cinema Book (2004), and For Ever Godard (2004) and, as author, Jean Vigo (2005).

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A comprehensive study of George Clooney's work through the lens of ten of his most iconic roles. A new title in the fascinating Anatomy of an Actor series from world-renowned cinema magazine Cahiers du cinema. This book explores the career of George Clooney (b.1961). A TV heartthrob doctor for five years, he made one of the most successful transitions from television to being a critically acclaimed, Oscar-winning film actor starring in both mainstream and art-house films. An accessible text combines both a narrative and analytical dimension and is illustrated by 300 film stills, set photographs and film sequences The book will appeal to enthusiastic moviegoers as well as serious cinephiles, fans, and those who want to become actors.

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RICHARD ROUD (192989) was an American writer on film and co-founder and latterly Director of the New York Film Festival. In the 1950s, Roud was the London Correspondent of Cahiers du cinéma, and from 1963 to 1969, Chief Film Critic for the Guardian newspaper. His books include Cinema: A Critical Dictionary The Major Film-Makers (two volumes, 1980), A Passion for Film: Henri Langlois and the Cinémathèque Française (1983), and Jean-Marie Straub (1972), also in the Cinema One series. MICHAEL TEMPLE is Reader in Film and Media at Birkbeck, University of London, UK. His publications include, as co-editor, Jean-Luc Godard: Documents (2006); The French Cinema Book (2004), and For Ever Godard (2004) and, as author, Jean Vigo (2005).

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Fredric Jameson introduces here the major themes of French theory: existentialism, structuralism, poststructuralism, semiotics, feminism, psychoanalysis, and Marxism. In a series of accessible lectures, Jameson places this effervescent period of thought in the context of its most significant political conjunctures, including the Liberation of Paris, the Algerian War, the uprisings of May ’68, and the creation of the EU.The philosophical debates of the period come to life through anecdotes and extended readings of work by the likes of Sartre, Beauvoir, Fanon, Barthes, Foucault, Althusser, Derrida, Deleuze, groups like Tel Quel and Cahiers du Cinéma, and contemporary thinkers such as Rancière and Badiou. Eclectic, insightful, and inspired, Jameson’s seminars provide an essential account of an intellectual moment comparable in significance to the Golden Age of Athens, historically fascinating and of persistent relevance.

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Throughout his career, Jack Nicholson has portrayed unique and challenging roles in classic movies such as Easy Rider (1969), Chinatown (1974), The Shining (1980), The Postman Always Ring Twice (1981), Terms of Endearment (1983), The Witches of Eastwick (1987) and The Departed (2006). Nicholson's twelve Oscar nominations make him the most nominated male Oscar winner.Jack Nicholson: Anatomy of an Actor is new title in the fascinating series from world-renowned cinema magazine Cahiers du cinéma. The book focuses on ten key performances, combining both a narrative and analytical text with 300 images – from film stills to set photographs, film sequences, script notes and more – to explore the unparalleled career of Jack Nicholson. This thoughtful and lively examination of Nicholson's craft will appeal to professional audiences and movie fans alike.

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A comprehensive study of Johnny Depp's work through the lens of ten of his most iconic roles American film star Johnny Depp (b.1963) has led an incredibly diverse career, playing eccentric characters in what are now considered classics including Edward Scissorhands (1990), Fear and Loathing in Las Vegas (1998) and Pirates of the Caribbean (2003). A new title in the fascinating series from world-renowned cinema magazine Cahiers du cinéma, which focuses on ten key performances from a single actor. Once a teen idol, Johnny Depp (b. 1963) has led an incredibly diverse career, playing eccentric characters in now-classics like Edward Scissorhands, Fear and Loathing in Las Vegas, Pirates of the Caribbean and Alice in Wonderland. An accessible text combines both a narrative and analytical dimension and is illustrated by 300 film stills, set photographs and film sequences.

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Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinema, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protege of Francois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."

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Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinema, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protege of Francois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."

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Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself,his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

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Jacques Rivette is perhaps the best-kept secret of French cinema. A founding figure in the New Wave, and at the centre of the Cahiers du cinéma team, he developed into one of the most unusual and adventurous French directors of the last sixty years, yet his work remains little-known in comparison with his contemporaries, and this study is the first in English to look at the full span of his career. Starting with his decisively influential film criticism of the 1950s, it moves from the New Wave through the complex, experimental films of the 1970s to the challenging, playful dramas which ensured his visibility during the following two decades, and ends in the present, including Rivette’s most recent films, Histoire de Marie et Julien (2003) and Ne touchez pas la hache (2007).The book takes a thematic approach, offering detailed discussion of key elements of Rivette’s film world, including games, conspiracy and jealousy, as well as a study of what Rivette’s cinema adds to our understanding of key theoretical concepts in Film Studies such as narrative, space and adaptation. There are many close analyses of sequences from Rivette’s films including Paris nous appartient (1961), Céline et Julie vont en bateau (1974) and La Belle Noiseuse (1991).

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The director of twenty-five films, including My Night at Maud's (1969), which was nominated for a Best Picture Academy Award, and the editor in chief of Cahiers du cinema from 1957 to 1963, Eric Rohmer set the terms by which people watched, made, and thought about cinema for decades. Such brilliance does not develop in a vacuum, and Rohmer cultivated a fascinating network of friends, colleagues, and industry contacts that kept his outlook sharp and propelled his work forward. Despite his privacy, he cared deeply about politics, religion, culture, and fostering a public appreciation of the medium he loved. This exhaustive biography uses personal archives and interviews to enrich our knowledge of Rohmer's public achievements and lesser known interests and relations. The filmmaker kept in close communication with his contemporaries and competitors: Francois Truffaut, Jean-Luc Godard, Claude Chabrol, and Jacques Rivette. He held a paradoxical fascination with royalist politics, the fate of the environment, Catholicism, classical music, and the French nightclub scene, and his films were regularly featured at New York and Los Angeles film festivals. Despite an austere approach to life, Rohmer had a voracious appetite for art, culture, and intellectual debate captured vividly in this definitive volume.

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Cléo de 5 à 7 (Cléo from 5 to 7), Agnes Varda's classic 1962 work depicts, in near real-time, 90 minutes in the life of Cléo, a young woman in Paris awaiting the results of medical tests that she fears will confirm a fatal condition. The film, whose visual beauty matches its evocation of early-Fifth Republic Paris, was a major point of reference for the French New Wave despite the fact that Varda never considered herself a member of the core Cahiers du cinéma group of critics-turned- film-makers. Ungar provides a close reading of the film and situates it in its social, political and cinematic contexts, tracing Varda's early career as a student of art history and as a photographer, the history of post-war French film, and the lengthy Algerian war to which Cléo's health concerns and ambitions to become a pop singer make her more or less oblivious. His study is the first to set a reading of Cléo's formal and technical complexity alongside an analysis of its status as a visual document of its historical moment. Steven Ungar's foreword to this new edition looks back upon Varda's film-making career and considers her contributions as a female auteur and in the context of the French New Wave.

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Michel Foucault’s work on film, although not extensive, compellingly illustrates the power of bringing his unique vision to bear on the subject and offers valuable insights into other aspects of his thought. Foucault at the Movies brings together all of Foucault’s commentary on film, some of it available for the first time in English, along with important contemporary analysis and further extensions of this work.Patrice Maniglier and Dork Zabunyan situate Foucault’s writings on film in the context of the rest of his work as well as within a broad historical and philosophical framework. They detail how Foucault’s work directly or indirectly inspired both film critics and directors in surprising ways and discuss his ideas in relation to significant movements within film theory and practice. The book includes film reviews and discussions by Foucault as well as his interviews with the prestigious film magazine Cahiers du cinéma and other journals. Also included are his dialogues with the noted French feminist writer Hélène Cixous and film directors Werner Schroeter and René Féret. Throughout, Foucault and those he is in conversation with reflect on the relationship of film to history, the body, power and politics, knowledge, sexuality, aesthetics, and institutions of internment. Foucault at the Movies makes all of Foucault’s writings on film available to an English-speaking audience in one volume and offers detailed, up-to-date commentary, inviting us to go to the movies with Foucault.

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The most wanted, the most feared, the most hated, the most powerful job in journalism: being a reviewer means writing about something you love and getting paid for it. So for a lot of people it's the No 1 dream job in the media. Whether your passion is film, music, books, visual arts or the stage, you can get closer to it as a reviewer and establish a career in one of the most influential roles open to a writer. Get the edge on the competition with a book that's a treasure trove of wisdom, experience and downright cunning, passed on by the best critics writing today. A great review will be read by millions, and writing it calls for a high degree of skill. Based on a lifelong passion, packed into a few hundred words and often written in less than an hour, a review makes heavy demands on writer's technique and experience. This book explains how to seize your readers' attention and how to be witty always, fascinating most of the time and bitchy when you need to be. Reviews from classic writers like Pauline Kael or Kenneth Tynan are contrasted with today's hot names including Mark Kermode and Stewart Maconie. We look back at the history of the critic and some of the groundbreaking groups who have shaped our culture, including Dorothy Parker and the Algonquin Round Table, the French New Wave directors who founded Les Cahiers du Cinema and London's celebrated Modern Review, founded by Julie Burchill, Toby Young and Cosmo Landesman.

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