From the Back
Since its beginning in 1951, the French movie magazine Cahiers du Cinéma - maybe, the main influential and possibly the main attention-grabbing movie magazine ever released - has been a tremendous resource of principles and controversy inside of movie feedback and film-making. The fourth quantity during this influential sequence of anthologies covers the colourful and turbulent interval from 1973 to 1978, during which the editorial makeup and coverage of the magazine replaced significantly, and problems with idea, historical past and politics ruled severe debate. The anthology combines essays through critics reminiscent of Pascal Bonitzer, Serge Daney and Th ese Giraud; round-table discussions; stories of latest movies from superstar Wars and King Kong to Padre Padrone and Jeanne Dielman ; and interviews with best theorists together with Marc Ferro and Michel Foucault, providing a wealthy sampler of Cahiers' provocative and critical contribution to debates in movie and cultural politics.

About the Book
This ultimate quantity of decisions from Cahiers du Cinéma goals to mirror the foundations underpinning the sequence which have been defined by means of Jim Hillier in his Preface to the 1st volumes. particularly, we've got attempted to make sure that this quantity is self-contained, is consultant of the interval lined and is on the market to the non-specialist reader.
In normal, the texts during this quantity are extra 'accessible¿ than lots of these in quantity three. this isn't as a result of any editorial choice on our half. It easily displays the editorial shift in Cahiers which turned more and more discernible throughout the later Nineteen Seventies - a shift echoed via the journal's determination to desert its austere layout (no photographs) of the early Nineteen Seventies. Cahiers endured to occupy, and boost, the political and theoretical positions elaborated within the post-1968 interval, particularly questions about the position of the spectator (the effect of Lacan's psychoanalytic paintings continues to be very evident), and questions about politics and background bobbing up out of the writings of Michel Foucault, Marc Ferro and others. yet, as Bérénice Reynaud indicates in her creation, those positions grew to become progressively much less entrenched than they have been within the rapid post-1968 years. Cabiers, because it have been, started to argue with itself.
A carrying on with total dedication to figuring out the character and operation of mainstream cinema, via a scientific re-reading of either motion pictures and picture heritage, feedback and concept, started to be complemented by way of an equivalent dedication to discover possible choices to this cinema, no matter if within the deconstructed ecu cinema of Godard, Straub/Huillet and others or within the 'anti-imperialist' cinema in, for instance, Algeria, Palestine, Chile. there has been additionally a renewed curiosity in French cinema, and within the approach within which a really 'national' cinema had to be generated and understood. during this feel, questions on cinema and cultural fight remained on the most sensible of the Cazbiers time table: what might an intensive movie magazine give a contribution to political fight at the cultural front?
Bérénice Reynaud

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Additional info for Cahiers du Cinéma, Volume 4: 1973–1978: History, Ideology, Cultural Struggle: An Anthology from Cahiers du Cinéma nos 248–292, September 1973–September 1978 (Routledge Library of Media & Cultural Studies)

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19 To promote a populist message, it is tempting to resort to stereotypes of evil and righteousness, however inconvenient the facts. Religious evangelism and melodrama are never far apart. As Shaw implies, the weakness of this strategy becomes apparent when the propaganda loses its relevance and audiences seek more sophisticated imagery. Then the hollowness of the stereotypes is revealed, making it difficult to take Potemkin seriously. The lack of veracity in the characters serves to point up that this is primarily a director’s exercise.

It is only when Hannay is alone with his host that the mask drops. Even then the professor talks of the need to maintain respectability and expresses regret at what has happened. Hannay looks around helplessly for a means of escape now that his illusion of security is taken away. When the professor’s wife and a maid enter, the apparent normality never wavers. The two women seem complicit in the plot, while never acknowledging it. There is genuine ambiguity here. Hannay fears for his life, yet he too is constrained by politeness.

Jews comprised 30 per cent of Odessa’s population and were unpopular for controlling 90 per cent of the export trade in grain, though the reaction of the crowd fails to make this clear. 35 The film is not an accurate record of the failed 1905 revolution, but a celebration of revolutionary ideals. It provides a glimpse of Russian attitudes in the 1920s, filtered through Eisenstein’s internationalist sensibility and the promptings of his political masters. These conflicting demands mean that the result may not be typical of either.

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