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	Auteur theory - Wikipedia, the free encyclopedia
		In essence, the theory champions the idea that a film (or a body of work) by a director reflects the personal vision and preoccupations of that director, as if he or she were the work's "author" (auteur).
		However, they proposed an ideal to strive for: the director should use the commercial apparatus the way a writer uses a pen and, through the mise en scene, imprint his or her vision on the work (conversely, the role of the screenwriter was minimized in their eyes).
		The auteur theory was used by the directors of the nouvelle vague (New Wave) movement of French cinema in the 1960s (many of whom were also critics at the Cahiers du cinéma) as justification for their intensely personal and idiosyncratic films.
	en.wikipedia.org /wiki/Auteur_theory (976 words)

	Cahiers du cinema (Site not responding. Last check: 2007-10-22)
		Claude Chabrol was the first of the young Cahiers du cinéma critics to direct a full-length film; Le Beau Serge, his semi-autobiographical debut, predates Truffaut's The 400 Blows and Godard's Breathless by a year, and is generally credited with being the first true nouvelle vague feature.
		Eric Rohmer was editor-in-chief of Cahiers du cinéma from 1957 to 1963; Claire's Knee, the fifth in his celebrated Moral Tales cycle, is one of his most renowned films.
		The famous fetishized body part belongs to a sunny, sensuous 17-year-old completely absorbed in her young boyfriend; its obsessive admirer is Jérôme, a mature, mid-thirties, about-to-be-married diplomat embroiled in the characteristic Rohmerian conflict between head and heart, and embarking on a final fling or two during a summer visit to Annecy.
	www.cinematheque.bc.ca /cahiers.html (1362 words)

	French culture \| cinema: Cahiers du Cinema, a tribute (Site not responding. Last check: 2007-10-22)
		Cahiers writers certainly were choosy about contemporary European cinema, but one filmmaker they embraced early on was Ingmar Bergman, and Monika, or Summer with Monika as it's sometimes known, was thought to be his most beautiful film.
		The film that put former Cahiers editor Eric Rohmer on the map was this nuanced, perfectly written and acted comedy about a Catholic intellectual (Jean-Louis Trintignant) who lets the ideal of a perfect wife in his head impede him from a love affair on Christmas Eve with the alluring Maud (Françoise Fabian).
		René Allio was very important to Cahiers during their Maoist period as a shining example of a politically engaged filmmaker with a low quotient of bourgeois complacency.
	www.frenchculture.org /cinema/festival/programs/0110-cahiers.html (4102 words)

	Cahiers du cinéma -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-22)
		It was a development from the earlier magazine Revue du Cinéma and the members of two Paris film clubs - Objectif 49 ((Click link for more info and facts about Bresson) Bresson, (French writer and film maker who worked in many artistic media (1889-1963)) Cocteau and Alexandre Astruc, etc.) and Ciné-Club du Quartier Latin.
		The magazine also created the (An art movement in French cinema in the 1960s) Nouvelle Vague or New Wave of French cinema, which was largely directed by ex-writers of the magazine.
		After being reactionary and isolated in the (The decade from 1950 to 1959) 1950s the replacement of Rohmer by Jacques Rivette in 1963 meant that the magazine staff were more sensitive to political and social trends as well as responding more to non-Hollywood films.
	www.absoluteastronomy.com /encyclopedia/c/ca/cahiers_du_cin%e9ma.htm (279 words)

	Film Comment
		The first issue of Cahiers du Cinéma was dated April 1951 and featured on its cover a fl-and-white still of Gloria Swanson, bathed in the beam of an unseen movie projector, from Billy Wilder's Sunset Boulevard.
		Cahiers became known as an almost mythical breeding ground for new talent, a reputation that extended far beyond the directors of the New Wave to include such contemporary talents as André Téchiné, Leos Carax, and Olivier Assayas, all of whom first ventured into print as Cahiers critics.
		By repositioning the entire notion of cinema as an art in itself, by legitimizing the position of the director as a creative force, and by breaking down the barriers between commercial and personal filmmaking, Cahiers du Cinéma contributed to a crucially important cultural shift, one that helped reveal the 20th century to itself.
	www.filmlinc.com /fcm/9-10-2001/cahiers.htm (2193 words)

	[Cahiers du cinéma]
		Cahiers du cinéma, because of the journal’s long history with its innumerable meanderings, we understand better than most that a film’s essential political stakes depend first and foremost on the construction of its mise en scène.
		It is not a matter of calling into question this foundation, but it is evidently not a reason to not pay attention to the modes of construction or destruction of the society that shows films, when these films, deliberately or not, have as their subject the actual state of social affairs.
		Cahier critique), but his films, like those of Cronenberg, Carpenter, Joe Dante and Kiyoshi Kurosawa are a minority when faced with the legion of films whose fictions tend, on the contrary, to feed the paranoiac rejection of that coming from elsewhere.
	www.cahiersducinema.com /site/article488.html (2914 words)

	[No title]
		So, when the CAHIERS was politicized, they took their examples more and more from the Soviet cinema of the twenties, but again it was to distinguish between Eisenstein (who "wrote") and Pudovkin (who "didn't write"), and this was the same as the distinction between Hitchcock and Huston.
		Cinema usually shows us people, events, places that we don't know; there's no reason for it to give us the impression that they are there, next door.
		And CAHIERS cinephilia, the cinephilia of the "Hitchcocko-Hawksian," is special in that it is a relationship - a perverse one - to the people, because the films of Hawks and Hitchcock at the time they were made were seen by the people and looked down on by cultivated persons.
	home.earthlink.net /~steevee/Daney_1977.html (4813 words)

	Film Comment: Cahiers back in the day
		The first issue of Cahiers du Cinema was dated April 1951 and featured on its cover a fl-and-white still of Gloria Swanson, bathed in the beam of an unseen movie projector, from Billy Wilder's Sunset Boulevard.
		Cahiers became known as an almost mythical breeding ground for new talent, a reputation that extended far beyond the directors of the New Wave to include such contemporary talents as Andre Techine, Leos Carax, and Olivier Assayas, all of whom first ventured into print as Cahiers critics.
		Though there were many other French publications of importance at the time, including most conspicuously Positif and Presence du cinema, it was the polemic launched and sustained by Cahiers that was responsible for installing many of the basic concepts of postwar film criticism.
	www.findarticles.com /p/articles/mi_m1069/is_5_37/ai_85700672 (1198 words)

	50 Years with the French Cinema - Features [Les Cahiers du cinéma] (Site not responding. Last check: 2007-10-22)
		Throughout its history, the Cahiers du cinéma has been distinguished by its ability to provide a dual focus on both American and French cinema, sensitizing both critics and the public to the art of directing on both sides of the Atlantic.
		Notwithstanding this international perspective, in writing on Hollywood the Cahiers tended to support well established auteurs from within the studio system, whereas in France it rallied to the cause of isolated filmmakers on the fringes of the system and directors it deemed to be unfairly neglected.
		To celebrate fifty years of the Cahiers along with fifty years of French cinema, we will be presenting one film per decade and one for the decade to come.
	www.france.diplomatie.fr /mediasociete/cinema.gb/promotion/diffusion_nc/collections/cahiers/presentation.html (481 words)

	Steve Erickson on Cahiers du Cinema and Hoveyda
		Steve Erickson on Cahiers du Cinema and Hoveyda
		These changes were a response to two events that profoundly affected the Parisian intellectual circles where the CAHIERS is produced and read: the advent of structuralism and the thwarted revolt of students and workers which began in May 1968.
		Some of them have published articles from the CAHIERS, and a few are completely written in a weird language which is also beginning to turn up in the pages of respectable academic journals: Frenchlish, a compound of structuralist jargon, high-mindedness and English words used as if they meant the same thing as their French cognates.
	www.hoveyda.org /cahiers.html (2950 words)

	Cahiers du Cinema
		In one of the most beautiful poetic scene of the movie, she plunged him into a bath-tub to save him from her relatives - evil ghosts - and finally she embraced him underwater.
		It was on January 1989 and it was 'A Chinese Ghost Story' directed by Ching Siu Tung and produced by Tsui Hark: the first movie distributed in France of this new era (nouvelle vague) which took hold of Honf Kong cinema 10 years before.
		'Cahiers du cinéma' is one of the most renowned magazines dedicated to cinema in Europe (and not only in Europe) since several decades.
	xoomer.virgilio.it /nguidett/cahiers.htm (741 words)

	-Cahiers Du Cinema- (Site not responding. Last check: 2007-10-22)
		He was a member of Cahiers du Cinema and one of the most influential directors of the French New Wave.
		This landmark composition called for filmmakers to evolve their films into a revolutionary new art where the film is as powerful means of expression as other forms of art like paintings and novels.
		One of the founding members and critics of the Cahiers Du Cinema, he was a major influence on his peers given his intellect and his academic background.
	cahiers_du_cinema.blogspot.com (1035 words)

	The Tracking Shot in Kapo
		The aim was to give birth to another cinema “which would know” that to give the event back to the fiction too early is to remove its uniqueness, because fiction is that freedom which disperses and which opens itself in advance to the infinity of the variation and to the seduction of the true lies.
		Ironically, I saw the proof that cinema was no longer intimately linked to the history of men by the fact that, contrary to the Nazi torturers who had filmed their victims, the Khmers had left behind only photographs and mass graves.
		But it was with cinema that I had understood in what respect this history concerned me and in which form – a tracking shot too many – it had appeared to me. One must be loyal to what has once transfixed him.
	www.sensesofcinema.com /contents/04/30/kapo_daney.html (7237 words)

	AUTEUR THEORY FACTS AND INFORMATION (Site not responding. Last check: 2007-10-22)
		Much of Truffaut's writing of this period (as too that of his colleagues at the film criticism magazine ''Cahiers_du_cinÃ©ma'') was designed to lambast post-war French cinema, and especially the big production films of the ''cinÃ©ma de qualitÃ©'' ("quality films") that Truffaut's circle referred to with disdain as ''cinÃ©ma de papa'' (or "Dad's cinema").
		Truffaut's thinking was indebted to the work of AndrÃ©_Bazin, co-founder of the ''Cahiers du cinÃ©ma'' (where Truffaut worked), who promoted the idea that films should reflect a director's personal vision and who championed such filmmakers as Howard_Hawks, Alfred_Hitchcock and Jean_Renoir.
		The ''auteur theory'' was used by the directors of the ''nouvelle_vague'' (New Wave) movement of French cinema in the 1960s (many of whom were also critics at the ''Cahiers du cinÃ©ma'') as justification for their intensely personal and idiosyncratic films.
	www.19gmarketinggroup.com /auteur_theory (925 words)

	NYU - Press Release (Site not responding. Last check: 2007-10-22)
		Panels scheduled for Friday are: “Origins and Perspectives of the Journal” (10 a.m.-1 p.m.); “Cinema and the Politics of Cinema” (2:30-4 p.m.); and “Contradictions and Debates” (4:30-6 p.m.).
		Cahiers du Cinéma was founded in 1951 by Jacques Doniol-Valcrose, Lo Duca and André Bazin.
		Nowhere has this journal’s resonance been more felt than in the development of the discipline of cinema studies over the last three decades in the U.S. NYU’s Department of Cinema Studies, the first of its kind in the nation, is an appropriate co-host of this event.
	www.nyu.edu /publicaffairs/newsreleases/b_NEW_Y3.shtml (553 words)

	Bazin Bibliography 4
		Bazin discusses the film by Pierre Braunberger and Myriam, the montage experiments of Koulechov with Mosjoukine, and the preservation on film of the death of a bullfighter and political executions in Shanghai.
		Bazin notes, among other things, that Soviet cinema was showing a heroic Stalin who had a lot in common with Tarzan, with the exemption that Tarzan’s films did not pretend to have documentary basis.
		This is one of several pieces by Bazin in which he discusses the mutual influences of cinema and literature on each other and, among other things, addresses and counters certain arguments made against cinema utilizing literary sources.
	www.unofficialbaziniantrib.com /bazin_bibliography_4.htm (2811 words)

	Entertainment News - Cahiers du cinema film fest from 1st Jan (Site not responding. Last check: 2007-10-22)
		Films, to be shown at Y B Chavan centre in south Mumbai from January one to three are 'Bitter Reunion', 'Handsome Serge', 'Pierrot goes wild', 'Claire's knee', 'The woman next door', 'Irma Vep' and 'The Gleaners and I', one of the organisers said in a release here today.
		This package has been organised with a view to pay tribute to the 'cahiers du cinema' and its 50 years association with the French cinema.
		Cahiers du cinema was founded in 1951 by a prolific film critic and film academician andre bazin.
	web.mid-day.com /entertainment/news/2002/december/39720.htm (200 words)

	[Cahiers du cinéma]
		To take May 68 and the disappointed hopes that followed and to add to this a generational story of a first love, always unique, of the birth of love.
		In other words, there is the need to inscribe the cinema in a dialogue, sometimes but not always conflictual, with the world in which we live
		On Acting in the Cinema and in the Theatre
	www.cahiersducinema.com /rubrique84.html (171 words)

	Topica Email List Directory
		the cinema and the visual arts: the death of art is a "moment" of
		of the cinema, and of a certain cinephile.
		cinema, and of reflection upon the cinema, in a framework free of
	lists.topica.com /lists/cinemaville/read/message.html?mid=1715245640&sort=d&start=43 (2473 words)

	Orson Welles: A Critical View - BOOKS
		Andre Bazin is one of the most influential figures in cinema, not for his actions behind a camera, but for his actions as an active spectator--as that most loathsome and vital of creatures, the critic.
		A founder of the legendary arts magazine Cahiers du Cinéma, Bazin became the de facto father of the French Nouvelle Vague movement and a nearly literal father to director François Truffaut, whom he saved more than once from imprisonment and impoverishment.
		Each began their careers in the cinema as its staunchest critics, and each would later endeavor to redefine film as a more "novelistic" and "authentic" method of expression.
	www.filmfreakcentral.net /moviebooks/orsonwellesacriticalview.htm (839 words)

	Irma Vep, Olivier Assayas, 1998 [Les Cahiers du cinéma] (Site not responding. Last check: 2007-10-22)
		This film marks the invention of a new manner, a style which is both highly wrought and elegant, but which also develops an innovative concept of cinema.
		However, more importantly she serves to conjure up the fictional world of Hong-Kong cinema, a world permeated with the same taste for speed and breakneck narrative pace (Wong Kar-wai).
		Assayas has succeeded in creating a film imbued with a modernity that is extremely rare in the French cinema: a work focused on the bustle and the excitement of urban life, which captures a real sense of the frantic rhythms of the world as it is today.
	www.france.diplomatie.fr /mediasociete/cinema.gb/promotion/diffusion_nc/collections/cahiers/film05.html (302 words)

	French culture \| cinema: Jacques Rivette (Site not responding. Last check: 2007-10-22)
		Jacques Rivette is the first of the Cahiers du Cinéma critics to direct a feature, and at age 73 he is still making films that challenge our perception of cinema and life, and the intersection of the two.
		It was there that these Nouvelle Vague (New Wave) critics began to create a new film aesthetic, rejecting the traditional studio values for more spontaneous, innovative film, and maintaining that a film should be judged on the extent to which the auteur succeeded in realizing his personal vision.
		For Cahiers du Cinéma, Rivette contributed essays and interviews with such New Wave heroes as Alfred Hitchcock, Otto Preminger, Howard Hawks and Anthony Mann.
	www.frenchculture.org /cinema/festival/rivette (1593 words)

	Amazon.ca: Books: Cahiers Du Cinema: 1969-1972 (Site not responding. Last check: 2007-10-22)
		Cahiers du Cinema is famous as the critical journal of the French "New Wave." François Truffaut, Jean-Luc Godard, Eric Rohmer, Jacques Rivette, and many other major directors wrote for it in the 1950s and '60s.
		Its early years have understandably received a lot of attention, but, as Nick Browne points out in his introduction to this volume, Cahiers du Cinema published tremendously important articles even after its legendary heyday.
		Between 1969 and 1972, Cahiers du Cinema became a radical Marxist journal.
	www.amazon.ca /exec/obidos/ASIN/0674090632 (266 words)

	Jean-Luc Godard: A Short Bibliography of Materials in the UC Berkeley Libraries
		Godard regards cinema as a fallen medium and believes that Hollywood is no longer capable of making movies that fulfill their potential.
		Godard was central to the new wave of cinema, so much so that nearly all other films could be taken as proofs of his criticism, illustrations of his theories, and gestures toward his own brazen attempts at film.
		Jean-Luc Godard's television programmes 'Histoire(s) du cinema,' which incorporates images of European history in the history of cinema, is screened on Britain's Channel 4.
	www.lib.berkeley.edu /MRC/godardbib.html (12229 words)

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