A Short History of Cahiers du Cinéma by Emilie Bickerton

By Emilie Bickerton

Cahiers du Cinéma was once the only such a lot influential undertaking within the background of movie. based in 1951, it used to be accountable for constructing movie because the "seventh art" equivalent to literature, portray or song, and it revolutionized film-making and writing. Its individuals may positioned their phrases into motion: the likes of Godard, Truffaut, Rivette, Rohmer have been to develop into the various maximum administrators of the age, their motion pictures a part of the the world over celebrated nouvelle vague.

In this authoritative new background, Emilie Bickerton explores the evolution and impression of Cahiers du Cinéma, from its early years, to its late-sixties radicalization, its internationalization, and its reaction to the tv age of the seventies and eighties. displaying how the tale of Cahiers keeps to resonate with critics, practitioners and the film-going public, a brief background of Cahiers du Cinéma is an affidavit to the extreme legacy and archive those "collected pages of a notebook" have supplied for the area of cinema.

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Die hochentwickelte ökonomische Infrastruktur des Films - die komplizierten Regeln von Produktion, Distribution und Konsumtion, die ihm zugrunde liegen - bringt für die Filmemacher strenge Begrenzungen hervor, eine Tatsache, die von Kritikern oft nicht gesehen wird. Diese ökonomischen Faktoren stehen nun wiederum in Beziehung zu politischen und psychologischen Verwendungszwecken, für die eine Kunst eingesetzt werden kann. Als ökonomische Ware kann der Film zum Beispiel oft am besten begriffen werden, wenn er als Dienstleistung gesehen wird, die ihrer Natur nach psychologisch ist: Wir gehen meistens ins Kino, um emotional bewegt zu werden.

Es war nicht mehr notwendig, eine Vorführung zu besuchen, ein Privileg, das über Jahrhunderte einer kleinen Elite vorbehalten gewesen war. Bachs Goldberg-Variationen, die als Nachtmusik für einen einzelnen begüterten Menschen geschrieben worden waren, den Grafen Kaiserling, den ehemaligen russischen Gesandten am Hof des Kurfürsten von Sachsen, und von seinem persönlichen Cembalospieler, Johann Gottlieb Goldberg, gespielt wurden, waren nun für Millionen Menschen erreichbar, die sich keinen Musiker vierundzwanzig Stunden zu ihrer privaten Verfügung halten konnten.

Daß das «Grundthema» sich jedesmal wiederholt, wenn ein Spiel gespielt wird, verstärkt nur die rituellen Aspekte des Dramas. Die meisten Sportarten besitzen auch viele tänzerische Qualitäten. Die Medien haben es nicht nur ermöglicht, sportliche Ereignisse für zukünftige Studien und Unterhaltung aufzuzeichnen, sondern außerdem den Abstand zwischen den Sportlern und den Zuschauern erheblich verringert und so unser Gefühl für den choreographischen Aspekt der meisten Sportarten verstärkt. Man stelle sich einen Fremden vor, dem sowohl Tanz als auch Sport völlig unbekannt sind und dem ein Beispiel aus jedem Bereich vorgeführt wird.

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