Download PDF by : Cahiers du Cinéma, Volume 3: 1969–1972: The Politics of

ISBN-10: 0415029872

ISBN-13: 9780415029872

Cahiers du Cinema is the main prestigious and influential movie magazine ever released. An anthology committed fullyyt to its writings, in English translation, is lengthy overdue.

The choices during this quantity are drawn from the 1969-1972 interval.

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Read Online or Download Cahiers du Cinéma, Volume 3: 1969–1972: The Politics of Representation: An Anthology from Cahiers du Cinéma nos 210–239, March 1969–June 1972 (Routledge Library of Media & Cultural Studies) PDF

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Additional info for Cahiers du Cinéma, Volume 3: 1969–1972: The Politics of Representation: An Anthology from Cahiers du Cinéma nos 210–239, March 1969–June 1972 (Routledge Library of Media & Cultural Studies)

Example text

Shots are inventions by t h e film-maker, words pre-exist in a dictionary; 3. The shot yields a n indefinite amount of information; 4. The shot is an actualized unit o f the discourse; the word, a unit in the dictionary, is purely virtual: a n image of a bench signifying in effect 'here is a bench' and not s i m p l y 'bench'; 5. A shot assumes its meaning only to a small degree t h r o u g h paradigmatic opposition to the other shots that might have appeared a t the same point in the chain (since these are indefinite in n u m b e r ) , whereas a word always forms part of one or several more or l e s s organized semantic fields.

Everything is essential," as Webern said in similar circumstances (but everything in its time, one should add) . . I like the sharpness of the film, the strangely flashing movement of the camera in the street scenes, and the empty walls of the hotel room on which the camera comes to rest for long periods, that bareness from which it cannot break away. I also like the "unreal" condensation of time, and yet one never feels hurried. Progress is only possible on that ridge between truth, concen­ tration and that sharpening which penetrates by burning into our per­ ception of reality .

3. Films based, as in 1, on a creative work of montage, b^t which use it less for its power to carry meanings than, on the contrary, for its power to block them. The montage serving, in other words, a preoccu­ pation with obscuring or even banishing the meaning (Poliet). In this last category, the montage principles of underground or 'undergroundish' cinema should of course be considered. Here a veri­ table passion for montage seems to derive less from a concern (as with Pollet) to give the film a poetic structure, than from a terrorist desire for atomizing, for exploding the very notion of an 'oeuvre'.

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Cahiers du Cinéma, Volume 3: 1969–1972: The Politics of Representation: An Anthology from Cahiers du Cinéma nos 210–239, March 1969–June 1972 (Routledge Library of Media & Cultural Studies)


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