Cahiers du Cinema is the main prestigious and influential movie magazine ever released. An anthology committed completely to its writings, in English translation, is lengthy overdue.
The choices during this quantity are drawn from the 1969-1972 interval.
Read 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 resources 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)
In counter-verification, Brecht's version o f the same Gorki text); whereas the latter makes us witness, and c o l l a b o r ate in, a metamorphosis through a series of mutations of the ' m e d i a t o r protagonist' who punctuates the course of the film - and who is n o longer a character but a node of forces and acts: actor (acted o n / a c t i n g ) , and functions in the organization of the sequences like a word b e i n g transformed and exhausting all its possibilities one after the other: a consciousness no longer central, which never at any moment r e f l e c t s or dominates the situation in its entirety, but is presented each time a s an effect of the dynamic of the film.
All this seems to me to form part of what enables the film to function as an account of the unconscious. The film must b e over before its reading (its re-reading) can be started; the telling of the dream must be finished so that the analysis, setting aside all nonliteral matter, can discover the recurring, genuinely significant elements, together with the slips of the tongue, the masks, the metamorphoses, the censorships. Translated by Tom Milne Notes 1 'Montage' was originally printed in Cahiers in four columns, with the main text in the two centre columns and the notes in the outside columns, creating an effect of 'montage'.
Objec tion could be made that in this sense any film, in so far as it comprises a certain number of shots placed end to end and stuck one to another, is dependent on montage, and that therefore any film would qualify (or indeed any shot, since Eisenstein demonstrated so forcibly that montage could not be absent even within a shot). This was why I used the words work, productive, creative montage, montage texture, to make a clear distinction between the films that are dependent on mon tage, and those in which the business of arranging shots, of interrupting them at this point or that, is merely the continuation, the completion a nuance or improvement or two apart - of a preconceived purpose, and contents itself with following an already determined meaning instead of making a new one emerge.
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)