Eric Rohmer's Film Theory (1948-1953) : From 'école Scherer' to 'politique des auteurs'
In the 1950s, a group of critics writing for Cahiers du Cinéma launched one of the most successful and influential trends in the history of film criticism: auteur theory. Though these days it is frequently usually viewed as limited and a bit old-fashioned, a closer inspection of the hundreds of litt...
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| Main Author | |
|---|---|
| Format | eBook |
| Language | English |
| Published |
Netherlands
Amsterdam University Press
2018
|
| Edition | 1 |
| Series | Film Theory in Media History |
| Subjects | |
| Online Access | Get full text |
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| Abstract | In the 1950s, a group of critics writing for Cahiers du Cinéma launched one of the most successful and influential trends in the history of film criticism: auteur theory. Though these days it is frequently usually viewed as limited and a bit old-fashioned, a closer inspection of the hundreds of little-read articles by these critics reveals that the movement rested upon a much more layered and intriguing aesthetics of cinema. This book is a first step toward a serious reassessment of the mostly unspoken theoretical and aesthetic premises underlying auteur theory, built around a reconstruction of Eric Rohmer's early but decisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. |
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| AbstractList | In the 1950s, a group of critics writing for Cahiers du Cinéma launched one of the most successful and influential trends in the history of film criticism: auteur theory. Though these days it is frequently usually viewed as limited and a bit old-fashioned, a closer inspection of the hundreds of little-read articles by these critics reveals that the movement rested upon a much more layered and intriguing aesthetics of cinema. This book is a first step toward a serious reassessment of the mostly unspoken theoretical and aesthetic premises underlying auteur theory, built around a reconstruction of Eric Rohmer's early but decisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. In the 1950s, a group of critics writing for Cahiers du Cinéma launched one of the most successful and influential trends in the history of film criticism: auteur theory. Though these days it is frequently usually viewed as limited and a bit old-fashioned, a closer inspection of the hundreds of little-read articles by these critics reveals that the movement rested upon a much more layered and intriguing aesthetics of cinema. This book is a first step toward a serious reassessment of the mostly unspoken theoretical and aesthetic premises underlying auteur theory, built around a reconstruction of Eric Rohmer's early but decisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. In the 1950s, a group of critics writing forCahiers du Cinémalaunched one of the most successful and influential trends in the history of film criticism: auteur theory. Though these days it is frequently usually viewed as limited and a bit old-fashioned, a closer inspection of the hundreds of little-read articles by these critics reveals that the movement rested upon a much more layered and intriguing aesthetics of cinema. This book is a first step toward a serious reassessment of the mostly unspoken theoretical and aesthetic premises underlying auteur theory, built around a reconstruction of Eric Rohmer's early but decisive leadership of the group, whereby he laid down the foundations for the eventual emergence of their full-fledged auteurism. |
| Author | Grosoli, Marco |
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| Snippet | In the 1950s, a group of critics writing for Cahiers du Cinéma launched one of the most successful and influential trends in the history of film criticism:... In the 1950s, a group of critics writing forCahiers du Cinémalaunched one of the most successful and influential trends in the history of film criticism:... |
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| TableOfContents | Front Matter
Table of Contents
Acknowledgments
Introduction
1.: A Novelistic Art of Space
2.: Alexandre Astruc:
3.: Under and On the Volcano:
4.: The Art of Nature
5.: Ethics at the Heart of Aesthetics
6.: After Modernity:
Conclusion
About the Author
Index of Names Cover -- Table of contents -- Acknowledgments -- Introduction -- 1. A Novelistic Art of Space -- 1.1. Sartre's ontology -- 1.2. A novelistic ontology? -- 1.3. Cinema: Novelistic consciousness qua actual nothingness -- 1.4. An art of space -- 1.5. An art of appearance for appearance's sake -- 1.6. Space vs. language -- 1.7. An art more novelistic than the novel itself -- 2. Alexandre Astruc: An Early but Decisive Influence -- 2.1. Kant's transcendental aesthetics - and Heidegger's reinterpretation -- 2.2. 'Dialectique et cinéma' -- 2.3. From and beyond Sartre's Heideggerian perspective -- 2.4. The 'Camera-Stylo' -- 3. Under and On the Volcano: Rohmer's Conversion -- 3.1. The Other -- 3.2. The triumph of exteriority over interiority -- 3.3. Pulling phenomenology back to its Kantian roots -- 3.4. Ethics -- 3.5. God? -- 3.6. Echoes of the conversion -- 4. The Art of Nature -- 4.1. To show and not to tell -- 4.2. Natural beauty -- 4.3. Immediate mediation -- 4.4. Movement and narrative -- 4.5. Mechanism as the background for freedom -- 5. Ethics at the Heart of Aesthetics -- 5.1. On abjection: The Wages of Fear -- 5.2. Films with a soul -- 5.3. Tragedy -- 5.4. Solitude morale -- 5.5. The vertiginous moment: The reversal between inside and outside -- 6. After Modernity: Rohmer's Classicism and Universalism -- 6.1. Beyond modern art -- 6.2. Classic = Modern -- 6.3. An anti-evolutionist approach -- 6.4. Universalism -- 6.5. Authorship and mise en scène -- Conclusion -- About the Author -- Index of Names |
| Title | Eric Rohmer's Film Theory (1948-1953) : From 'école Scherer' to 'politique des auteurs' |
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