By Emilie Bickerton
Cahiers du Cinéma used to be the one so much influential undertaking within the heritage of movie. based in 1951, it used to be chargeable for developing movie because the "seventh art" equivalent to literature, portray or tune, and it revolutionized film-making and writing. Its individuals might placed their phrases into motion: the likes of Godard, Truffaut, Rivette, Rohmer have been to turn into a few of the maximum administrators of the age, their motion pictures a part of the across the world celebrated nouvelle vague.
In this authoritative new historical past, Emilie Bickerton explores the evolution and effect of Cahiers du Cinéma, from its early years, to its late-sixties radicalization, its internationalization, and its reaction to the tv age of the seventies and eighties. exhibiting how the tale of Cahiers keeps to resonate with critics, practitioners and the film-going public, a quick historical past of Cahiers du Cinéma is an affidavit to the extreme legacy and archive those "collected pages of a notebook" have supplied for the realm of cinema.
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Extra info for A Short History of Cahiers du Cinéma
Musical Practice I have shown that Wong not only adopts film music’s traditional functions but intensifies them. The standard use of music to convey subjective states, bridge temporal gaps, or motivate music diegetically assumes heightened importance and prominence in Wong’s films. To take the full measure of his musical engagement, however, it is necessary to alight on his methods of production. Put simply, music permeates every aspect of Wong’s film practice. It serves initially as a generative element in the film’s inception—the filmmaker commences preproduction equipped with preexisting music containing the kernel of potential narratives.
Notes editor William Chang, “Wong Kar-wai usually compiles the music before the shoot and let[s] the music carry the story” (Lee 2004: 46). Music influences casting too, both as a commercial imperative (a troupe of pop idols attracts financiers and audiences) and as a prototype for character traits 38 Romantic Overtures and action (the actor-musician’s actual life supplies raw material for characterization). Also prior to shooting, Wong instructs actors to glean character traits from recommended tunes.
Sometimes termed “MTV moments” (Romney and Wooton 1995), the music-led sequence, it was claimed, disrupts the film’s narrative flow to allow a discrete musical composition to unfold. In addition, critics likened Wong’s aesthetic to MTV’s preoccupation with surfaces—though for Wong’s detractors, the trappings of MTV stylistics simply furnished ammunition for the familiar charge of superficiality. ) Postmodernism provided critics a framework by which to reconcile aesthetic contexts as diverse as MTV and Godard, which in Wong’s case could sit cheek by jowl without contradiction.