Today, Film Studies For Free is delighted to flag up wonderful work by the graduate students of the Cinema Studies master's program at the Savannah
College of Art and Design. They recently published the second volume of their
bi-annual online journal, the Cine-Files. This issue's theme is the French New Wave.
FSFF particularly liked the really interesting take on this well-worn topic - the interviews with luminaries (including Dudley Andrew, Richard Neupert, Geoffrey Nowell-Smith, Jonathan Rosenbaum, Sylvie Blum-Reid and Timothy Corrigan) were an especially nice touch. This blog also very much appreciated the three student filmmaker takes on the New Wave's influence, including Jae Matthews' compelling reflection on Chabrol's Les Bonnes femmes/Good Time Gals - not only because the latter afforded an always welcome opportunity to newly embed its old video essay on the very same (favourite) film (see above). Very well done, guys!
- “Cinephiles in The Cine-Files,” a note from the Editor, Tracy Cox-Stanton
- “The Wave Surfs Me,” a note from the Student Editor, Scotty Barnhart
- Mary Wiles, author of Jacques Rivette (University of Illinois Press, 2012), discusses Rivette's place in the New Wave
- Elliot Thompson considers the sounds of Marx and Coca-Cola
- Ryan Babula profiles Henri Langlois, "the auteur of the cinémathèque"
- Dudley Andrew
- Morris Dickstein
- Peter Hitchcock
- Louis Menand
- Richard Neupert
- Geoffrey Nowell-Smith
- Jonathan Rosenbaum
- Sylvie Blum-Reid
- Timothy Corrigan
Featured Scholarship:
- Chad R. Newsom, “Cahiers du Cinéma and Evaluative Criticism”
- Ryan Babula, “The Politics of Pre-Political Godard: Alphaville, Made in USA”
- Yolande Thame, “‘The Most Beautiful Fraud in the World’: A Production Designer Reflects on the War between the French New Wave and Scenic Design”
Student Filmmakers Reflect on the New Wave’s influence:
1 comment:
I love how inevitable (yet still surprising) Chabrol makes that returned gaze at the end of the film. As you say, we're waiting for something to happen, and because we've been cast increasingly as voyeurs throughout the movie it only makes sense that the voyeurism is finally acknowledged with one cool, assertive, yet mysterious spiking of the camera.
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