The Second Generation: French Cinema After the New Wave (Introduction) David Heslin October 2018 The Second Generation: French Cinema After the New Wave In the 1970s, French film was in a post-revolutionary phase. Not only had the work of the Cahiers du cinema acolytes and their Left Bank contemporarie...
An Unsentimental Education: Children in the Films of Jacques Doillon Joanna Di Mattia October 2018 The Second Generation: French Cinema After the New Wave An adult tries to comfort the four-year-old girl whose grief and confusion at her mother’s sudden death provides Jacques Doillon’s Ponette (1996) with...
Courting Disaster: Unromantic Entanglements and Warped Affections in André Téchiné’s Post-New Wave Cinema Glenn Heath Jr. October 2018 The Second Generation: French Cinema After the New Wave Polish-German director Ernst Lubitsch was known for infusing his subversive comedies with an effervescent sexiness and class. Studio marketers branded...
Erosion by Desire: Marguerite Duras’ Self-Adaptations Danica van de Velde October 2018 The Second Generation: French Cinema After the New Wave Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Said) – adapted from her novel of the same name published earlier that ...
The Imitation Game: Jean Eustache’s My Little Loves Stefan Solomon October 2018 The Second Generation: French Cinema After the New Wave “I read a book about this guy’s high school years. He said his French professor really made him sick. When he lectured about passion in the works of R...
To Circle the Empty Space: Philippe Garrel’s Marie pour mémoire and Le bleu des origines Gérard Courant October 2018 The Second Generation: French Cinema After the New Wave Translated by Amy Miniter This piece was originally published in Cinéma 79, no. 244, April 1979. It has been reprinted with the kind permission of ...
Paul Vecchiali, a Cinematic Franc-Tireur Daniel Fairfax October 2018 The Second Generation: French Cinema After the New Wave Critic at Cahiers du cinéma, filmmaker, globally recognised auteur. The trajectory is a familiar one, particularly for a French cinephile born in 1930...
A Ferocious Modesty: Benoît Jacquot’s The Wings of the Dove David Melville October 2018 The Second Generation: French Cinema After the New Wave They flourished their masks, the independent pair, as they might have flourished Spanish fans; they smiled and sighed on removing them; but the gestur...
Colloidal Images: The Silent Films of Philippe Garrel Grant Bromley October 2018 The Second Generation: French Cinema After the New Wave “Life’s a gas. I hope it’s gonna last.” – T. Rex, “Life’s a Gas” Wearing only pantyhose over underwear, an androgynous child (Stanislas Robiolle) ...
Casually Radical: Three Films by Jacques Rozier Tope Ogundare October 2018 The Second Generation: French Cinema After the New Wave There it is, on this year’s Venice Classics lineup: Adieu Philippine (1962), Jacques Rozier’s loose-limbed debut about a young TV technician’s dallian...
Vampire Country: Sex and Psychoanalysis in the Films of Catherine Binet David Heslin October 2018 The Second Generation: French Cinema After the New Wave In the film that bears her name, Countess Dolingen is on screen for less than a minute. She lies dead on a slab; then, as thunder rumbles and lightnin...
Maurice Pialat: Acts of Grace Max Nelson March 2012 The Second Generation: French Cinema After the New Wave First we see only ugliness. A troubled young boy hurls a cat down a flight of stairs. A mother cradles her daughter’s corpse and presses her gaping mo...
