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New Left Review 34, July-August 2005


Jonathan Rosenbaum on Serge Daney, La Maison cinéma et le monde, volumes 1 and 2. Uncollected writings of the Nouvelle Vague’s prodigal son, with dispatches home from the analog–digital frontier.

JONATHAN ROSENBAUM

THE MISSING IMAGE

We could postulate three periods for the extraordinary flourishing of film culture brought about by the French New Wave: Before, During and After. André Bazin, of course, epitomized the first, as a founding editor of the Cahiers du Cinéma in 1951, a crucial contributor to auteur theory, and champion of postwar American films and Italian neo-realism against a stale French ‘quality cinema’. The Young Turks whom Bazin nurtured at the Cahiers—Jean-Luc Godard, Jacques Rivette, Claude Chabrol, Eric Rohmer, François Truffaut, and the somewhat younger Luc Moullet—mainly defined the second period: teenage iconoclasts who picked up the camera to become the stellar practitioners of the following decades.

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