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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