\ SHORT HISTORY OF CAHIERS DU CINEMA Emilie Bickerton VWJNIO 14 SUATHYD AO AMOLSIH LUOHS V woueyorg orsI Fim Stusies $22. 981812.908528 50CAN Cahiers du cinéma was te single most Fafluential project i the history of film. Founded in 1951, it was responsible for establishing film as the seventh ar equal folierature, painting or music, and it Tevlutionized fil-making ane writings Tie contributors would pu thei wont io action: the likes of Godard, Truffaut Riverte, Rohmer were to become some ofthe preatet directors ofthe age their films part ofthe rnoutelle vague. smationally celebrated In this authoritative new histo Bickerton explore the evolu impact of Cahiers di cinéma, fr ite eaehy Jptemationalization, and is response tothe {elevison age ofthe seventies and eighties. ‘Showing how the story of Cahiers continues to resonate wth erties, practitioners and the film-poing public, A Short History of (Cahiers da cinéma isa testimony to th ‘etraordinary legacy and archive these “eolleted pages af @ notebook” have provided fr the woeld of einem erm er Gad Brats (90) Emilie Bickerton ison the eitoril oa of New Left Review. She writes ‘om film, literature and anthropology. ie tar Se, tendon WIF OES USA: 20 Jy Stet, rok, NY 1201 Design Peer CarpetA SHORT HISTORY OF CAHIERS DU CINEMA Emilie BickertonContents 4 Marlee Modern Chemistry 5 Red Notebooks [6 Tee Davey Yous 7 TheAcknowledgements T would ike odhank my lege te Zefi Review in price Srsan Watkins, Tony Wood.nd Perry Anderson forte comments ‘neater versions ofthis book. Johanna Zhang for the pres technically, concepually—and our walls and as where much of wha fotlows became a lie clearer. And hak yout all hose wh Flped and advise mein diferent bt ievalabe way Chester Biclerion, Sebssan Budge, Tom Pena Lor Seot Fon, Michal Win, Erma Wikon, Jolin Plant, Lava Maley, Adam Shas Ptvck Hayes. In Pai mary of hoe who lived the Cae story were ind exeughto share memories with me. Theme and git foc recounig sich rematabl alealowed metobewerunertand the ved experience of wring fr the oat. In parce thank you: Raymond Rllour, Jean-Louis Conall, Jean Doucet, Beard Bisenchiz, JanAndeé Fic, Andeé S. Labaaie and. Synie Pere. For my family, as ever, my doqpt grade: Helene and David Claire, Psigh ofthe Har (W955) Introduction at Slows ia amie ale, and ye it tas never been tld ns ign concepon the French lm journal Chir de ini bad Iarked » break with the revaling regimes of tt in the sri fulureof the post-war. tn lm hie was dened by the lent raion tnd French cna de alist glonyIerary alpation, conte mss or rosiale—both unanimously clcested for reasons Bective by puto or pantelip. Coles proponed a very fren notion of cnema an tured comsensin apna on ts ead Its writers believed that fl was no only an enetnment inhtry Ba als an ee a the beginning of journey Fal had alee’ produced a numberof great masters equal to Velingues oe Proust In their eld. nthe writing on Fim however, there Wat onal for abygone era Od-guard cis were shut away in iit Aecrep palaces, at off frm the world like Billy Wilde's fllen Imovs stra Suse Boulevard Inthe st ase Gabi psy his reap of rcs were Tovers fia de Qhovsand phoenie ae constantly bor. Iwas the at aes rojas Jem Godard amd vp in 8. eu, they see ashes where by hunks os bave ened deftly ede yo Ty Frys Ca core, apa 5 2 Yes Codd 22 Ap 198x Innodacion Bound in its cial yellow covers, Cais was asa own de condor mogarine wi bite pln. It dew its polemical enengy fiom the remarable combination fndiviuae who made pits st edtoval group. This elec team brought a mixture of Catoliom, ‘amican, mans and metaphysics othe meeting wih cinema omin growing Cold War climate where pblc ures and debates ‘eee postioned vis-vs an emerying world ode, Cakieniially erie apr. Ke focmed on developing deeper engagement with ‘Shc bull on sesthete foundations, Sach ch Body of work was Sneed of filler undartading 2 home thee wa Jean Renoir, nd fury pioneers Jean Vigo and Jean Epseas the cinematographic Iandscape worlwide incuded Kalin no-realsa dough Rabert> Romalini ane Luchino Visconti n America he exes Pets Lang and Aled Htchoock worked slong Sara Ful, Nicholas Ray and Billy Wider, Vaso On, Akira Kura, Kenji Mizoguchi were fcve to the Ea, Such crectors had Be defended in a coherent Enhio, within he conten of the story of a ‘The proces of viewing them by thew masters leo provided Calis ees with an edacton in how to make fms. The Young, Turks, a» Clade Chabal Jean-Lve Godard, Frangois Truflat, JoqesRivete and Ese Rohmer became known, were preparing thei oon practical intervention imo the world of cinema, in which the journal was theft sage. Celis was tei rancho netorius in one former eda’ phrase, evoking Fiz Lang's hierway for tus, a gaeing place whet the yourg men—ant Sylvie Piers aval in the sate, 0 women worked at Cohirs—could plore and ned ways to acl dhe genius hey ha acon fils Hee they could live and breathe the movie, argue and debate over the eet screening find the ight wordt asi the passions, racially, mec some of the asters. Writing orcad them 10 ask, nd ansver, how s decor employed various techniques this own thigu ens, how he conveyed his marative visually and developed ‘emai continuity throug uve. The year 1951-1959 were aplesve one for Cates, cnciingtsumphanly when Feangols ‘Trulfaecolleced the Palme Or 3t Cannes. Having previouy mised or dened the cra and now arcades coming Introdcton 5 from terse’ pages crises interionally could only eat their ord. ‘Up thi pint the story of he uals Broadly wal known. *These wer the conic "yellow yea’ when some angry young men fists thi ethbeforeenactingshe shorted cinematic revlon Oh the New Wave. A ow moments have Become emblematic, nd fice to sum up tis venion ofthe magazine's story. A young ea Piere Léa’ defn tare adhe caera in The 0 Bos the jump cuts between Jea-Paal Belmondo and Jean Seberg walking Gown the Champe Eyes in Freer Niles Dai’ jaz sore rating Lois Mall's drama in an elevator, fm he Sef "These moments punctured he previous encepin of what nem ul expres an how. Suny the conventional studio seting, Tithe scenarios and rls of editing were replaced wih low-budget Techniques and andcioos working mend. Smal ams shot senes fn the ster an in en parents with mole camera and tring diet sound; takes an tacking shor grew unusually Tongs primers wth dng ld to the ms of collage and amp cts the love afc wih America brought ijn and Wiliam Faulks ‘The alnographic cnn vi rated by Jean Rouch and Robert Flaherty net with ni plet nes ul of gun, women nd motor as But fora the elope ha have subsequently Been devoted to she Tew Wave, the movement wu brie overby 165 Is ‘Ws inuence as Dsoktl define, but the work elf was nual. The ideas eda Calas Tring sin ten yeas lo faced he challenge tf moving on from esi acento grap a ansformed cinematic Tandscape inthe sis. Colers raged to build on the New Wave and redened inelf on nccxsve occasions throu the sities and sent, fenerating conte ada riical writing and ideas on fl I these decates the periodic renewal fhe eri am feo greater Irrational, some of he ears applications ofrctaralsm aed foychonnalyss fim poled and idclgial equstha mre The gine on te spect, and consideraons around the impact of Iclevnion on he moving image. The major fashpoins sha iid the defining question involved bts personales nd ouside even Te“ Invrdction In the sities the ela brween Hive and Robes wap rely ‘Chait ver thee word view. Aeitor fom 157, Rohmer retained the casa ineple wstes developed ding Coie’ fist ten years, tong itl tp # move fines approach and esiniing bis ‘Seven wo the old mers. For Rive, this etal poston was {mpotent inthe fae of modern cinema, Conenating on adecor's ‘ocr ofthe cinematic presentation of sory couldn expan the wort beng produce by Pir Paolo Paoli, Cluber Rocha ot ‘Napa Oshima, More isrctve were the ideas of Leva the pes of Pierre Boulet and the abaract canvases of Mark Row. Tn the sevens it was not just the word of art and ides shat abies srmed toward, but alo polis. The sloriows tolnton of bean and rie was vigononly eeappased. Chin’ ‘red yea ich involved re lnc ato Mao, ae ts most notre Pb deade marked by varying degrees of ieologialinransigence, rie ner and uorcrinque Arsong the debris of deleted tevolonaryfervout, Cale stepped Back in 197410 recorders ‘cal acon, Theses wereproduced daring hesetumutoous Ses ate now te mos widely translated in Chir? archive, and are Tomenaner for comtemporary fn theory. The discordance that ‘remained the new eto for dhe magn inthe eighties ‘necked Serge Toubina (who Gist ative a Red Book-waving ‘Nook and Serge Dune. Toutinna would eventually pes hrough tis more ‘coonewed, glossy and upmarket vishn for Cokie, (Rliping Daney'slem cles defined, more exploratory andrtially fad erative, The consequence of hiss il i evidence ‘day: the gies eas the desde when Cobies joined the ruck of Ttatgarem cinema ides prececupied with Oscar contenders nd ve res, aber than withdrawing up bate par 2 challenge ‘fisrherdeven model ffl cricn which it ha itself become ‘Chronology naturally onguises the nari forthe hiory ‘ot any journal. Along the, et of queions and relaonships tnenge that ae atthe bear of the Cabs tle rectng and Siimtingsucrsive generations of ears atthe magne. One ithe reledonhip between a and pli. The postions taken by tor vnc suchas Howard Hae, Hitcheosk or Oxo Iouodction sit Preminger wer posible ply because ofthe young Tus ack o polsor ey aw the alan: of ea and dot are abut any Poll nrees that might ao exit inthe work. Thy embraced Mholywod for ie anc achievements, i cont 1 the aat= ipmcceani epoused by the Commanst Pay (whihchowe Soviet (Gms) or French pts (who frwned over cinéma de gua. Sis sly ache pojest enabled Cabri tose artistry a she mot appteny onary melodtama or Vrms man IPhey were locking at everthing ide the frame, ale > gipses hndiidul and personal rice that wood sex hough she Ger ad sl der tht his apart conventional wesem could My hehe wock of Antony Mann or Budd Boesch. abies was consciously split 350 avoid thepai of those ombuing 0 Bion Prag, the Comnist Pat's Lax Ltrs Ponce thele-leaing Psa a thes pages offen echoed in Aman magzrives, cis exprned thi Views sbout the word Through Sin, Shen Georg Sadoul saw Pip on South Sree at the Vesicefivalin 1953} called Faller‘ McCay of cinema Wer the sn fin was deemed outrageously anrAmetcan in the Slates ors preempt. On bot ies ofthe Asani tha wer an trample of cine being viewed fr the sory alone 20 feria those at Chis were wont d, looked at what he pires were aye The wl plycdby the United States iinfuenc culty andi Ipactand presence politely, hasbeen vil and defining fstor or (Cir At very ge its position has een oneted foro agaist fhe cic emerging fiw dht county. In the immediate pont- Liberation years before the Cold War stn, America was broadly recive France withamixtre of fection dunce. But Moe coh it reprseaed te promise of modersiny—sesthei nd Technologic the impoweshment sfleed daring the war, fo well ns dine bresk for height gsnst faci. Bosh Jean Ferg Sd, o Jogos Dolson, Speer 15 Aoprsedin Anoine de Base, Le Clie nonin due oud Fee ate ove rn Pca 203 9-17av Introdecion Pal Sate and Simone de Benvoir would recount dhe mice of romunce ad intrigue America evoked during thi ge in he ety ‘ies: Calir singlehandedly elevated pet of American clare, Alsregarded in the sates a mere enertiment,t0 the level of at through proces similar to Sare's praia of Falkner ard John Dos Paso. Bodh thew weiter and diets such se Huw and ‘itchenek, were eanoized fst ia Fanc. Iwas an adiintion that long conse cc snd audiences intermaonally, who dienied mary ofthese cla products bubblegum or ach, Een inthe tigen there were til sgn hat this crite atten conned Falle’s hie Dog—a parable of rai in ighies America—was anend-of-carcer meric, bt wa monty ignored inthe Se. ‘The film war wie elezed an erally colebraed in France! “The Francn-American love fae tured ite nthe late iis, and hs shit mas registered bythe ineressnginteraioaiam of Cobiers,Jeu-Lse Godard daicased hs fist pitt 0 Monogram fms and proudly cast Flle in Perot ova Elie Consatine Jn Aphvile but by 1972 twas his cyniciam—t0 make «movie yu need achequbook an starsat le him t ct Jae Fonda ta Yves Montnd as leds in Tout oben, Jaco Tats couse captures the progressive evaluation from curosty and easement to disppeinmen, diilusion and eventual resitance towards ‘Ameria. The postman Frangois in Jw de fe, made atthe end ofthe foes, berayed exasperated admiration in his temps to trl the efeny ofthe American mailman tha > inprewd the locals Monier Ho's Holiday afew yeas ter expel noe seeps. ats protagonist fourd the vigour involved in ebsae imponablewo follow, disupsing the rgimented olde outines with his very diferent conception a redem and time. Deft loom ‘My Uicle—even moreso in Plime made in 1967. By this point the American Iilesyle bad set tin Franc, and Monsieur Halo’ spi wae dsined by his filed tempts to navigte through faceless ‘ben door let sorwere and etal blengs nig woes {lof people wear the sume wits and skins. Serge, bri ay tnxrdion » ‘To an exeot all French dogma, an censialy the geeratons at abies, reginered din acting and tense atracion-repabion toward Americ, its fl, cultre andthe model forlving expo During the ges the eters announced return wo the US aie the tis te been severed under de Alsen and Maat induence Ainge rod ear Steven Spcerg, Georg cat and Francs ord {Copp wer ed as anew generation of Hollywood ati. The proces ac ational behia hi eonciaion wa fa very diferent rer Th peti cate rl seat por that Td ess tthe early mers working i the tao ye was teplced by » model esi als radical convent and filed inset IA cinta cpnin, Te challenge wth new Hellywood wat thn ole sos fad £7, ort Fig Clb and Mili Dlr “Bay, in lor roger than the average movie mayan, bu with fssenaly the same message don't ms the last release “This wa presented at the tne at Cals ging back 8 oe, aad also seconcing the poplar bus of cinema withthe dite practic of cinpilia, This balance between broad appeal ad lism tbo rans conanly dough the Car yeas founding editor and inelctalispiraon, André Bain, tad remarked n 1968 da thetwo coesned when the art wasbor ing evil appeal toa very nde utes ibe he why Auden ad he ig opporuntyofcnenn. Where be our tein a fons has eve ev sete Hemasnce,the ene of smal and pve lt, em, by is very ate eine serve the ames over the wl Any sempre ‘statin the penpecive oanurow audience the st Hic Hsia inet and dome fled pe gen co Hib orig evase-gde, from Georges Mile and D.W. Grith fo Lous Fenilade acd Esch von Stott, always sed to make Fi Bs Diese de va pe 'Een rnis 2 Dover “iowi Imrodacion ‘commercial fms and aspired to have her works screened tothe Tages posible audience In smi pir, Calo fs champoned the fis i bieved were thebestof heat, with the sm to bring 2 deeper undersanding of ther vac to the wider pi, whom it Inlievedpecfenly capable of pring them. Today, the aesthetic hoes dang rical activity andthe bliin the capacity ofthe public to lem and develop have Boh one fom Chin ‘Weking a popular care in higher regter, bur without the tte projectojusifyit ao elects he eraishmen of imattice sm academic dpe nits orignalncarason dh, abies vas esoltly ant-establshimen ance which nla angi towards the univenicy—the fine genesion of cinephes gt tie luction athe movie, ne taco led my bacclarete because of Fi Lang, explained one onto, Jean Clande Bin ‘The ideu of saying fn within an nto was esl. By the n-sevesies, However, aking fl serioa'y had geal the ay 10 the aademy, ard many of Calin’ own texts were on dent? realing iss. Thi has encouraged the separation between ers 2 wansmision and dsemination and cron a pein in i ‘own igh Chis as ite wh ot hough sory. “The young Turks had alnays though of theless fre ieeion. The laonship bermeen eres pratoner ha lo ‘een an ital factor i Cabin’ eveltion, ye two of i est influential edo, André Bexn and Serge Davey, dal not make the unnsiion. The mitre han alays been compen and yale the erie~indane gave the joamal ts usgney and demanded 2 bsasive relaonsip to cinems; the ct-cee labore dhe inllecnal environment within which this obsession oud sii. 1 am nota visionary’, Daney explained “always ner abe shown, ‘bts soon a fame exits, I'm very shar.” Thone who show in ‘words and pice, and those who work excel by watching — ‘he history of Chir reveal how at andi requires both, “The cinemas Indicape if explain the Gebirs Sry up {0 a point. Without Talon neo-reaism, without the surperse of (© Sergey, Pov, 3p 1, Fewodction ii Hitchcock, she screwball comedies of Hawks of the saturated ‘melodramas of Doughs Sik, vhar would the Young Tusks have rallied around? If there had been no Joan Ren Orson Welles, Iwho would have shows Andeé Dsin that cinema wasn impute at that oo nits ery sroctare or montage, alo bring ste despest insights into realy? Iwas bens Michelangelo Antonioni, Rocha sand john Cassavetes exited that Rivet ha to break with a pure Ise ens approach he wanted to make see of thee work. ‘Cinema is of course the val ingredient in Cais hiory, and Inhatconsiaes modem cinema has always been the diving once fit investigations. This has ofen mae the journal's projects isionary—seeing cinema where others sw cheap nontase o¢ “toting sal: but ao responsive —given the ature of cine ‘hat is tobe done? Along the way there have been ‘atoas priorities: the destruction of prevaling value sts an “theslevation ofthe fn mandi the eration ofa cuon via concepes nique to cinema, and the application of approacs to what it “tens tobe human, fm merphyis to ttl aking in Sdecount the spectators parclar poston within thi system of ‘meaning and policing the very ae of lm ri ‘Yet in turn, what would nco-realam hive been without Baca; icheork without Truffaur; Ray without Gedard? At Cahiers, for first time, hema wae reeted upon and writers nourished son around it creating euler hat could seeive it. The cements they made nat only shape the joural’spertiular ory, bur aso setced out 3 grand narrative fo The history of Cahiers molded by remakable individual, but murk hasbeen so power oly because there was aleve tng various generation of editor. Barn played key Hic ole in the eacherous years when the jour had mo tration to prop it up. He balanced the polemical with the cus using his own cache a an eased weer and animstor end legacy tothe shockingstatermenes ang out bythe pealant “Turks he boned hard to main rendhip wih Saou, ofthe rts inluencein Paris the ne. ans time and that of Cai cine for col seven year but his hough hasei Inodtion| ished pages tothe dy otto mention hose of ter ous der hers ofcinema, Tela enformed te ierview ino ‘cial ool, with hie an-auoriaraaraure he was devastating In isaac om the domist French cinema of the ine. Rivee's fprculrypasinate ection after lm sereeing matted every ‘trim his prsene, Hiss wth Romer eryealized she tension’ between clases and modernism da cinema faced emeing the ‘Sues. Godan’ taetory helps to exlain Cai’ own firations ‘ith Maoism, miianey and exploration of various malimedin Daney would be the la ole the eral function in anew and ‘nguae decom. “This book tel the sory of whut happened the worlds mos Important fm magarine how such 2 projet as Cahier: was possible, why i emerged in France rather than esewhere, and the reasons it evenually came to an end; ip om enya ust. nother ural moupiec forthe spectacle Iie a history of seeing and laming how tose. "We wereall Hegelian’ Erie Rohmer hs frplane retrospectively, "We belived the judgements we were ‘making on ims were ioral ones” And they were. Chir is aly responsible for writing the story of cinema in the wentieth ‘eury. Wahout i, and it mamoral archive, those ices would ‘erily mean esto ws today.Billy Wilde, Seer Bower (1950) The Crucible Be Ape 1951 «si yllow-covered josh, Coir de cine, Ree Ines de cintin :dicnema, vis pulsed fom a eranped dye ope rete ned {Grea, «prude rc anda aspeed publ’, The prevailing Barat 146, aveme de Charpy alu judgement round Sm by Freech ere and scone, based ric impulses an te ny Inston shat film was an impoverished extension of theate or eather han en et a nigh were tb cic Bd pets dere by pt feral. Ciscdvaceampeschite cinema then paral wood Bas were Robert Desens Diary ef « Cony Pe Di Diyuyk's Give Cr Tis Dey, Billy Wilde's Sumer Aoeard wn WVisoro de S's Male Ml ad Scot npc adc ys When roy Inching André Bazin, Caude Chabrl,Jon-Luc Godard, argues vet, cf fs eri eam, they had mountain w clin. The proposition tha the movies, ad especialy those westerns, mis and madras om Hollywood, coud be at was pepoteron nthe mid-entih erry. fu Caters wanted to write about Sane! Faller i he I Chistes Maslows or copa Rober Nats, because they werealarists and belonged tothe sae worl Hi directors were he eqs f an eat novelist oe pater nee and Feangots Telit combined Gen the (abit he al modernist projec, magazine with the ti of conscrating cine to the realm ofthe arte By 1959 i od teceded, The denouement is dnppointng, but Cabin ie yee2 Cae dcnéma te remarkable: fom the te camry, to paraphrase Alexandre Arc, whose iervenions engaged and. provoked l-makers ‘nu acon and helped shape the way cnem was undersood and txperienced populatly and theoreti, tthe commer guide Published today. Wha gave ase othe bh of hie ile magazine that would have such an enormous impac? Why in Franc, and at ‘his ime? And afer fi glory yar ow dd the nal develop, and why in such dzeaions? To answer theve quesons, we most foto the years dhaprended Apel 95 and th environment out of whch Caters merged repo In 1085 che pioneering lm-makers Avge nd Lous amie had ected ha fim was an invention wih 0 fae, but developmen inthe medium soon proved them wrong: twas fori ground for {mis of syle and genre—srraian, expresionn, satura, seas, poet, gothic hore and equal so forthe nerchange berwoen etn and practice. Cabendepest rot ein the ih ‘experimental work by enti and directors fom the pre-war era of ‘let fin and the erly aie. Through the twenties and thins ‘here were pussonte debuts over the inpac of ound the role of the decor or meta e arte, andthe possibilities ofthe caer, ‘The indantry tof wat want France had he lagen out of ny sarin the werd p to 1914, contig 9 per cet ofall fis Aisrbuted inemationally. Cee hi in the 18206 with increasing competion from Hollywood's suadion—by 1928, #5 per cnt of the fins dstibted around the wold wee Amerian—but il the French public forum for screenings snd dicuions continued (0 ‘expand dramatically Wetting on cinema was beginning to Hour {5 wll. Almost every Pariah weekly ran ela ceview slum, ‘qusshindpenden fm joumals were being se up with an aey of free oa tates Leiner: amie pe Ape8 Cahiers inna sharpened ieslgical potions sl fatr. Many ad 1 reorient the portico the fori, go utdergrourd—the ural Eric ladies inthe Fre Zone before editor Emmanuel Mounier ws imprisoned eve the ountyaogether Actor Jsn Gabin are Aner Jalen Duvivier were among the most high-peilefiures thei induery heed to Ameri. Are yet, pada wartime ‘wus good pried for French cinema. The public was so hungry for ‘eae that 280 screens fom a possible 310 reopened in Pars in 1940, having been shut down win the Germans italy ccc the cy, stndance rose fom 220 lon in 198 0304 lion in 198, Ouput was repose 100, dospite difiule condone and Vichy censorsip. In this period Marcel Caré, Revo and Mesi> Geonges Connotpodced some ingot works, with Ze Enfims lupo La Grande ifson nd Le Chon. ‘France wa filled witha minute of elation and econ hardship lie the war, The fh experience of camaraderie songs rviers ‘ea tempered bya newly fle moral urceraiay, Broughton y the prnges of collaborators tat now rocked ines and artic Fic. Clourot was forced into exile air it wae reveled that Le ‘Coro had ben produced by Continent, a Germann company before twat nationale i 194, Eecnomialy, she ston was ira milion and half French ctaene were sl in Germany, ss prisoners of war, deportes cr canscrpied workers: the county's Infasacur ha bondevaeated badly harperng the esbuien of food and ther emer: Recovery would be slow with Fane's ‘conomichaee ravaged by Allied bombings borage, and Germany's Grain om is machinery and labour By 1947 the station remained ical bred atoning ws enrdoed, and herneen September and My the next yen Tow sales and high prices provoked waves ‘fares and demonstrations. The pli future was alo uncer: the Fourth Republi linged on, under prea #2 mich fm De ‘Gaulle athe Communi Party. Beth emerged fom the war wih beri credenislDe Galle athe fice of Fre Francs, the PCF 35 the pr de 7500 fallen exh vod er suppor forthcoming tletion, ‘Cinerati uure thrived a0 ai wt fed fm the se The Crcble ° sity imposed bythe Ocapation. The audience was bigger ver and the nana industry had remained consent, if A nework af elt-wing cin-clubs was st up in Pai, under he contol of the PCF, which looked ocalureasakey ing grou. Georges Saul, Pany member and resident xc as Letres fansvs, was ts spokesman. Extremely pais, he eine pet fom most quer fr bag one S's serious itrians, Guordion of reecree figs of paramount inponarc in thse yeas was Hen In 195 he had ce up with fs fend Goong Fran the Cina cinch. Lngoi? approsh to proganming unigic—thee 3 whole scence of camouflage bend a goed it ike what we elled howe cvs The sitchin is Tinks ate made berwecn the ils digs happen, something 0 when painting are hang inan ein: wonder ups nile.” A year ler heft the Cncnathique Franca, red «private, acon eepository of nana and eras Langlois was intrest dung the wa in Keping i cule alive an wba He ton many underground ‘or fends (Simone Sgporet would fit see Bap in 1941 in Largs me sing rom) and ake worked CGincmahsue actully emerged stonger after the war. itsecured ste subs, and wih the stration pedigree eh, ead ben frre sore ten of lowing ic ascukon th repopulate in oli cy down Hs aly everyting ore Edged Corry epi il, Clie ang, ep wih se arcing eo Forshitry fhe Charmane and purge of Lang Tet etn, Hore dea Cindi Pra Pas 206.0 (aie cinta ‘pied ater the archival wartime atv of Langlois it quickly ee ee eee ees In Cinémathoque Frangaine’ were st wp in Algeria, Morocen and Tunis Largs took alvanageofbe post warinfut of Helly wood doe, lowing the release of afiveyeurbutlog of ater their ‘uxpended dsrbuion dering the war screnings of silent dase ‘lected wit (wsubsded) Haws, Hitbeock and fi ain the ru de Mesine. These prayranmes played major alee marin, ae ene ieee ae Early bate ciee Among 2 spate of new fm journals, Boum Frngis ha Sarre, (Camas, alent, Jaques Becker and Langs oni eo bard. 1 publabed foundational vex ha would be inp ormultions ofthe allegiance to price dire in oppoton to eerste poles de etn such Alexandre Ast’ pee on th cadre {lo (eamer-pes), which invoked «notion ofthe lm decor as side sist cotmpnble to apes er an ethos wile, bis progston unt at 2 novel his fountain pen whe Leenbartt ‘comin inthe inematonl pit of hs pre-war handbook to call Secapeiion detente cows between Fonda Wyle? Meare Scherer (oon take the pron Exc Rodier, rem Erich won Sroein and Sax Rohmer, ror of Fu Match) wat ding Gate du cima, he alletin ofthe Quart Latin ced." 19146, the Seer cele Jean Getees Atl reeeche his pr-mar Reve cima, with amision 1 dullenge the plden gi a dealand the sent ea and combat the atonal praise heaped onthe einima de pnt of Marcel Car aa Re Cn Conviced hex of ‘nea ei» pac langae of nn, Ail looked the vanguard Fay, and the work of Wells, Sears and Wylein 5 Rimandrs Aare, Naimance dune noua and I air Syl Roger Lear “A ls Ford, vive Wyle, ion Pras, 3) Much and Apa 10 The magi, which ced epsilon Holrwocd wees, ar ‘a nlodamas spend fr no wn. ‘The Crucible " US. Inthe ly, prego magne pbc by Calimard — the disapproval of Camus, na neighbouring oer, who Fe twas sf rsorces—Auil pled a aitue of esis spd + tte bringing together Jae Den-Valeroe (working Givin), Asi, Prete Kas, Bazin and Rohmer, Aw’ Fn on cet ed pining eri seria tent, The last modernist project 1950, the post-Liberaion eulice bal begun to ebb as Cold far peeares sot n. The PCF extended a more rigid contol over ‘ranas and some ofthe cine-dubs. Divisions widened Sadoul represented she old-guaed coasenss: the silent I tet wah erence Holywood with can ed nal prod with uncial enthusiam, By contrat, he group round whit wis won to become the Chie projet was not ony by cs pastonane cinpla but by is iatence ‘eed for 3 rptune with eablsied sinemstgraphis practice theory. For them, as Peter Wollen has put “the complete ofthe exiting rope of tate was a precondition for Sole eves wih iy Alas denmnting tobe ona diferent sale of values This paradigm shift wat ‘he ofa series of rwemieh-cenury cal evolutions in the name Ie ghee gis of etic cent thi svg, the New World was seen at acaltral lly,» potent ier af modernity and tho dynamic popular energies TH. The name Cabire—suggestng notes cited in schoo bok indiae the preliminary deply eins, ate cntrprie ‘America tad been a calunl atric inthe yeas before and ely fe the war. The lo Hemingway, Falkner or Dos wee nprng the stems of Balzac and Bali arving tit, ike rpsens of Grek waged in the derecve 0 tof he marcrip Sarr send foram moder Pac Walen Ps lend: Wiig Film London 0p. 218