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Vincendeau Prelims 5/2/09 10:18 am Page i

The Vincendeau Prelims 5/2/09 10:18 am Page ii Vincendeau Prelims 5/2/09 10:18 am Page iii

The French New Wave Critical Landmarks

Edited by Peter Graham with Ginette Vincendeau

A BFI book published by Palgrave Macmillan Vincendeau Prelims 5/2/09 10:18 am Page iv

This publication © British Film Institute 2009

First edition published 1968 by Martin Secker & Warburg as a publication of the BFI Education Department Preface, linking material, editorial arrangement and translations of Chapters 2 and 10 © Peter Graham 2008 Introduction and editorial arrangement © Ginette Vincendeau 2008 Individual essays © the authors 2008

All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988.

This edition published in 2009 by PALGRAVE MACMILLAN

on behalf of the

BRITISH FILM INSTITUTE 21 Stephen Street, London W1T 1LN www.bfi.org.uk

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Cover design: couch Cover image: À bout de souffle (Jean-Luc Godard, 1960, Société Nouvelle de Cinématographie/Productions /Imperia) Images provided by BFI Stills, Posters and Designs Set by Cambrian Typesetters, Camberley, Surrey Printed in China

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ISBN 978–1–84457–282–3 (pb) ISBN 978–1–84457–283–0 (hb)

(previous page) François Truffaut and filming Jules et Jim Vincendeau Prelims 5/2/09 10:18 am Page v

Contents

Preface to the 2009 Edition ...... vii PETER GRAHAM Preface to the 1968 Edition ...... ix PETER GRAHAM Acknowledgments for the 1968 Edition ...... xi Acknowledgments for the 2009 Edition ...... xii

Introduction: Fifty Years of the French New Wave: From Hysteria to Nostalgia ...... 1 GINETTE VINCENDEAU

1: The Birth of a New Avant-Garde: La Caméra-Stylo ...... 31 L’Écran français no. 144, 30 March 1948

2: A Certain Tendency in French Cinema ...... 39 FRANÇOIS TRUFFAUT no. 31, January 1954

3: The Evolution of Film Language ...... 65 ANDRÉ BAZIN Qu’est-ce que le cinéma?, 1958

4: The Delights of Ambiguity – In Praise of André Bazin ...... 91 GÉRARD GOZLAN Positif nos. 46 & 47, June & July 1962 Vincendeau Prelims 5/2/09 10:18 am Page vi

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5: La Politique des ...... 130 ANDRÉ BAZIN Cahiers du cinéma no. 70, April 1957

6: Little Themes ...... 149 Cahiers du cinéma no. 100, October 1959

7: Review of Alexandre Astruc’s Une vie ...... 155 JEAN-LUC GODARD Cahiers du cinéma no. 89, November 1958

8: The Emperor Has No Clothes ...... 163 ROBERT BENAYOUN Positif no. 47, July 1962

9: Interview with François Truffaut ...... 187 Cahiers du cinéma no. 138, December 1962

10: A Case Study: Contrasting Views of À bout de souffle:...... 221

Jean-Luc Godard ...... 221 – Cahiers du cinéma no. 106, April 1960

À bout de souffle ...... 228 RAYMOND BORDE – Premier Plan, Nouvelle vague, 1962

Le Quai des brumes 1960: À bout de souffle by Jean-Luc Godard ...... 231 GEORGES SADOUL – Les Lettres françaises no. 818, 31 March 1960

Bibliography...... 239 Index ...... 251 Vincendeau Prelims 5/2/09 10:18 am Page vii

Preface to the 2009 Edition

The original edition of this book, then entitled The New Wave, a collection of articles by and interviews with leading members of the Nouvelle Vague, as well as some broadsides from French critics who opposed the movement, was published in an English translation by Secker & Warburg in association with the British Film Institute in 1968. When that edition went out of print, it became clear, with film studies now a fixture in university syllabuses, that a new and enlarged edition of the book could usefully fill a gap. Over the years I realised, after much deliberation, that François Truffaut’s polemical article, ‘A Certain Tendency in French Cinema’, which at the time I had decided not to include in the selection, could no longer be omitted. The piece had become so canonical that no anthology about the New Wave could be without it. A note, however: although the piece has already been anthologised in English, I was unhappy with aspects of the various existing translations. As a result, the reader will find here a brand new translation of this now classic article. This new edition also includes three other additional articles, by Raymond Borde, Luc Moullet and Georges Sadoul, all of them discussions of Godard’s film À bout de souffle, as well as a substantial and comprehensive introduction by Ginette Vincendeau that puts the Nouvelle Vague phenomenon into perspective. I decided to retain the bulk of my original linking commentary (which should be seen in its historical context: it was written at a time when film studies and indeed semiotics were still in their infancy). Otherwise, the changes I have made to the original text of the translations and commentary are minimal.

Peter Graham, March 2009 Vincendeau Prelims 5/2/09 10:18 am Page viii Vincendeau Prelims 5/2/09 10:18 am Page ix

Preface to the 1968 Edition

Almost exactly ten years ago, the Nouvelle Vague burst on to the French film scene. Like the British Angry Young Men movement, it was less a movement than a useful journalistic catchphrase; under it, a very heterogeneous bunch of film-makers were lumped together, some of them readily, but most of them willy-nilly. But the Nouvelle Vague did have a nucleus of new directors who shared common cinematic ideals and who had the advantage of being both articulate and in control of a mouthpiece that had a certain prestige: Cahiers du cinéma. François Truffaut, Jean-Luc Godard, Claude Chabrol, , Eric Rohmer and Jacques Doniol-Valcroze all made their first features in 1958–9, and, naturally enough, one has the impression when reading the austere, august pages of Cahiers of that period that they were the Nouvelle Vague. This transition, en bloc, and within the space of a year, of a group of men from criticism (or, if you like, theory – for their criticism was always theoretical) to creation must be unparalleled in the history of the cinema and perhaps all other arts. Most of the films of the Cahiers directors are well known to British filmgoers. The publication of Cahiers du cinéma in English now makes their writing available too. But its place in contemporary French criticism and culture may be less familiar. One of the aims of this book is to fill in some of the gaps: to trace the origins of their aesthetics, to indicate the enormous influence of the late André Bazin, to give examples of the sort of criticism they were writing before they became directors, and to suggest some of the problems of transition.

Jean-Pierre Léaud (left) in François Truffaut’s Les Quatre cents coups (1959) Vincendeau Prelims 5/2/09 10:18 am Page x

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But I hope also to give a fairer and more representative picture of the currents of French film criticism than the one to be obtained from the pages of Cahiers. It has often been assumed, and understandably so because of the Nouvelle Vague, that Cahiers represents the only important school of criticism. There are, of course, several other good film magazines in (such as Cinéma 68, for example). But the only one which could be said to form a school, and a school diametrically opposed to that of Cahiers, is Positif. The critics of Positif were not lucky, or adroit, enough to cash in on the Nouvelle Vague phenomenon and pass, as many of them would have liked to have done, from criticism to direction. But they none the less represent a wide section of critical opinion. And so two of their most important articles on the Nouvelle Vague have been included as a foil to the other pieces. But the phenomenon of the Nouvelle Vague was not purely a question of cinematic . It was above all a revolution in production, in the attitude of the public and, in particular, producers. If it allowed the Cahiers group, like skilful surf-riders, to sweep along just ahead of the crest of the wave and give the impression of drawing along with them other new directors, the facts of the situation were that experienced makers of shorts, such as and , had the chance to make their first features; and it became much easier for young film-makers such as Alexandre Astruc, and , who had already made one feature, to go on to make others.

Peter Graham, 1968 Vincendeau Prelims 5/2/09 10:18 am Page xi

Acknowledgments for the 1968 Edition

We should like to thank the editors of Cahiers du cinéma and Positif for permitting us to translate and reproduce our translation of the articles in this book; for permission to reproduce the article ‘The Evolution of Film Language’, from André Bazin’s Qu’est-ce que le cinéma?, we should like to thank the University of California Press who are the holders of the English- language rights of Bazin’s book, and published a selection of essays from it, translated by Hugh Gray, under the title What Is Cinema? Stills are by courtesy of Contemporary, Gala, Compton/Cameo, Rank, Connoisseur, Columbia, 20th Century-Fox, Film Traders, Miracle Films, Paramount and Regal. Vincendeau Prelims 5/2/09 10:18 am Page xii

Acknowledgments for the 2009 Edition

Peter Graham and Ginette Vincendeau would like to extend their thanks to all those who helped prepare and bring about this new edition: Rebecca Barden, Charles Barr, Simon Caulkin, Sophia Contento, Sophie, Guy and Pierre Delanoue, Jonathan and Rina Fenby, Susan Hayward, Tony Kitzinger, Min Lee, Andrew Lockett, Michel Marie, Brian Oatley, Valerie Orpen, V. F. Perkins, Alastair Phillips, Geneviève Sellier, Paul-Louis Thirard, Jean- Louis, Odette and Raymond Vincendeau and Leila Wimmer. Vincendeau Prelims 5/2/09 10:18 am Page xiii Vincendeau Prelims 5/2/09 10:18 am Page xiv Vincendeau Ch1 5/2/09 10:23 am Page 30 Vincendeau Ch1 5/2/09 10:23 am Page 31

1: The Birth of a New Avant-Garde: La Caméra-Stylo ALEXANDRE ASTRUC

What interests me in the cinema is abstraction. ()

One cannot help noticing that something is happening in the cinema at the moment. Our sensibilities have been in danger of getting blunted by those everyday films which, year in year out, show their tired and conventional faces to the world. The cinema of today is getting a new face. How can one tell? Simply by using one’s eyes. Only a film critic could fail to notice the striking facial transformation which is taking place before our very eyes. In which films can this new beauty be found? Precisely those which have been ignored by the critics. It is not just a coincidence that ’s La Règle du jeu (), Orson Welles’s films, and ’s Les Dames du Bois de Boulogne (Ladies of the Park), all films which establish the foundations of a new future for the cinema, have escaped the attention of critics, who in any case were not capable of spotting them. But it is significant that the films which fail to obtain the blessing of the critics are precisely those which myself and several of my friends all agree about. We see in them, if you like, something of the prophetic. That’s why I am talking about avant-garde. There is always an avant-garde when something new takes place. … To come to the point: the cinema is quite simply becoming a means of expression, just as all the other arts have been before it, and in particular

Alexandre Astruc Vincendeau Ch1 5/2/09 10:23 am Page 32

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painting and the novel. After having been successively a fairground attraction, an amusement analogous to boulevard theatre, or a means of preserving the images of an era, it is gradually becoming a language. By language, I mean a form in which and by which artists can express their thoughts, however abstract they may be, or translate their obsessions exactly as they do in the contemporary essay or novel. That is why I would like to call this new age of cinema the age of caméra-stylo (camera-pen). This metaphor has a very precise sense. By it I mean that the cinema will gradually break free from the tyranny of what is visual, from the image for its own sake, from the immediate and concrete demands of the narrative, to become a means of writing just as flexible and subtle as written language. This art, although blessed with an enormous potential, is an easy prey to prejudice; it cannot go on for ever ploughing the same field of realism and social fantasy which has been bequeathed to it by the popular novel. It can tackle any subject, any genre. The most philosophical meditations on human production, psychology,

Jean Renoir’s La Règle du jeu (1939) – (left), Carette (centre), (right) Vincendeau Ch1 5/2/09 10:23 am Page 33

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metaphysics, ideas, and passions lie well within its province. I will even go so far as to say that contemporary ideas and philosophies of life are such that only the cinema can do justice to them. Maurice Nadeau wrote in an article in the newspaper Combat: ‘If Descartes lived today, he would write novels.’ With all due respect to Nadeau, a Descartes of today would already have shut himself up in his bedroom with a 16mm camera and some film, and would be writing his philosophy on film: for his Discours de la méthode (Discourse on Method) would today be of such a kind that only the cinema could express it satisfactorily. It must be understood that up to now the cinema has been nothing more than a show. This is due to the basic fact that all films are projected in an auditorium. But with the development of 16mm and television, the day is not far off when everyone will possess a projector, will go to the local bookstore and hire films written on any subject, of any form, from literary criticism and novels to mathematics, history, and general science. From that moment on, it will no longer be possible to speak of the cinema. There will be several cinemas just as today there are several literatures, for the cinema, like literature, is not so much a particular art as a language which can express any sphere of thought. This idea of the cinema expressing ideas is not perhaps a new one. Jacques Feyder has said: ‘I could make a film with Montesquieu’s L’Esprit des lois [The Spirit of the Laws].’ But Feyder was thinking of illustrating it ‘with pictures’ just as Sergei Eisenstein had thought of illustrating Karl Marx’s Capital in book fashion. What I am trying to say is that the cinema is now moving towards a form which is making it such a precise language that it will soon be possible to write ideas directly on film without even having to resort to those heavy associations of images that were the delight of the silent cinema. In other words, in order to suggest the passing of time, there is no need to show falling leaves and then apple trees in blossom; and in order to suggest that a hero wants to make love, there are surely other ways of going about it than showing a saucepan of milk boiling over on to the stove, as Henri-Georges Clouzot does in Quai des Orfèvres (Jenny Lamour). The fundamental problem of the cinema is how to express thought. The creation of this language has preoccupied all the theoreticians and writers in the Vincendeau Ch1 5/2/09 10:23 am Page 34

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history of the cinema, from Eisenstein down to the scriptwriters and adaptors of the sound cinema. But neither the silent cinema, because it was the slave of a static conception of the image, nor the classical sound cinema, as it has existed right up to now, has been able to solve this problem satisfactorily. The silent cinema thought it could get out of it through editing and the juxtaposition of images. Remember Eisenstein’s famous statement: ‘Editing is for me the means of giving movement (i.e. an idea) to two static images.’ And when sound came, he was content to adapt theatrical devices. One of the fundamental phenomena of the last few years has been the growing realisation of the dynamic, i.e. significant, character of the cinematic image. Every film, because its primary function is to move, i.e. to take place in time, is a theorem. It is a series of images which, from one end to the other, have an inexorable logic (or better even, a dialectic) of their own. We have come to realise that the meaning which the silent cinema tried to give birth to through symbolic association exists within the image itself, in the develop- ment of the narrative, in every gesture of the characters, in every line of dialogue, in those camera movements which relate objects to objects and characters to objects. All thought, like all feeling, is a relationship between one human being and another human being or certain objects which form part of his or her universe. It is by clarifying these relationships, by making a tangible allusion, that the cinema can really make itself the vehicle of thought. From today onwards, it will be possible for the cinema to produce works which are equivalent, in their profundity and meaning, to the novels of William Faulkner and André Malraux, to the essays of Jean-Paul Sartre and Albert Camus. Moreover we already have a significant example: Malraux’s L’Espoir (Days of Hope), the film which he directed from his own novel, in which, perhaps for the first time ever, film language is the exact equivalent of literary language. Let us now have a look at the way people make concessions to the supposed (but fallacious) requirements of the cinema. Scriptwriters who adapt Honoré de Balzac or Fyodor Dostoevsky excuse the idiotic transformations they impose on the works from which they construct their scenarios by pleading that the cinema is incapable of rendering every psychological or metaphysical overtone. In their hands, Balzac becomes a collection of Vincendeau Ch1 5/2/09 10:23 am Page 35

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engravings in which fashion has the most important place, and Dostoevsky suddenly begins to resemble the novels of Joseph Kessel, with Russian-style drinking-bouts in night-clubs and troika races in the snow. Well, the only cause of these compressions is laziness and lack of imagination. The cinema of today is capable of expressing any kind of reality. What interests us is the creation of this new language. We have no desire to rehash those poetic documentaries and Surrealist films of twenty-five years ago every time we manage to escape the demands of a commercial industry. Let’s face it: between the pure cinema of the 1920s and filmed theatre, there is plenty of room for a different and individual kind of film-making. This of course implies that the scriptwriter directs his own scripts; or rather, that the scriptwriter ceases to exist, for in this kind of film-making the distinction between author and director loses all meaning. Direction is no longer a means of illustrating or presenting a scene, but a true act of writing. The film-maker/author writes with his camera as a writer writes with his pen.

André Malraux’s L’Espoir (1945) Vincendeau Ch1 5/2/09 10:23 am Page 36

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In an art in which a length of film and soundtrack is put in motion and proceeds, by means of a certain form and a certain story (there can even be no story at all – it matters little), to evolve a philosophy of life, how can one possibly distinguish between the man who conceives the work and the man who writes it? Could one imagine a Faulkner novel written by someone other than Faulkner? And would Citizen Kane be satisfactory in any other form than that given to it by Orson Welles? Let me say once again that I realise the term avant-garde is redolent of the Surrealist and so-called abstract films of the 1920s. But that avant-garde is already old hat. It was trying to create a specific domain for the cinema; we on the contrary are seeking to broaden it and make it the most extensive and clearest language there is. Problems such as the translation into cinematic terms of verbal tenses and logical relationships interest us much more than the creation of the exclusively visual and static art dreamed of by the Surrealists. In any case, they were doing no more than make cinematic adaptations of their experiments in painting and poetry. So there we are. This has nothing to do with a school, or even a movement. Perhaps it could simply be called a tendency: a new awareness, a desire to transform the cinema and hasten the advent of an exciting future. Of course, no tendency can be so called unless it has something concrete to show for itself. The films will come, they will see the light of day – make no mistake about it. The economic and material difficulties of the cinema create the strange paradox whereby one can talk about something which does not yet exist; for although we know what we want, we do not know whether, when, and how we will be able to do it. But the cinema cannot but develop. It is an art that cannot live by looking back over the past and chewing over the nostalgic memories of an age gone by. Already it is looking to the future; for the future, in the cinema as elsewhere, is the only thing that matters. (L’Écran français no. 144, 30 March 1948) Vincendeau Ch1 5/2/09 10:23 am Page 37

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Astruc’s call for a totally independent means of expression is one that no one, of whatever school, would take exception to. The champions of ‘specificity’ were later to twist his argument to fit their own pet theory that a film can be judged only in so far as it is specific, or differs from the other arts, i.e. visually. But Astruc’s own films confirmed what he had said in this article: he conceived of a total cinema in which every component part, whether already existing in the arts, like words and music, or new and specific to the cinema, like visual and spatial movement, should have equal importance. Another article which greatly influenced the thinking of Nouvelle Vague directors was François Truffaut’s ‘Une certaine tendance du cinéma français’ (‘A Certain Tendency in French Cinema’), which appeared in Cahiers du cinéma in January 1954 when – astonishingly – he was still only twenty-one. His age may explain the somewhat haphazard organisation of the article (even after Bazin, the editor of Cahiers, who had had misgivings about publishing the article, had spent months going through it with a fine-tooth comb). The piece is typical of the vituperative, fearless and much feared Truffaut, who used to demolish films by the dozen when he was a critic on the weekly Arts as well as Cahiers in the 1950s. What may surprise readers today who are familiar with Truffaut’s films is the article’s resolutely right-wing stance: he takes a very poor view of anti-clerical, anti- militaristic and anti-bourgeois films, as well as what he sees as blasphemy. But, as he explains in an extensive interview reproduced later on in this book, he had mellowed considerably by 1962, after making three features and coming to grips with the brass tacks of the film industry – distribution, box office, production budgets, financial constraints and so on. Vincendeau Index 5/2/09 10:46 am Page 251

Index

Page numbers in italics denote illustrations; those in bold indicate detailed analysis

À bout de souffle 6, 7, 9, Action française 123 All the Boys Are Called 19, 22, 99, 109, 110, Addy, Wesley 93 Patrick see Tous les 120, 121, 169, 194, adversaire coriace: garçons s’appellent 201, 220, 222, 230, Henri Jeanson’, ‘Un Patrick 232, 233, 237n2 25n3 Allégret, Yves 3, 40, 48, discussed by: African art 133 51, 56, 59 Raymond Borde ‘Against the Cinema of Allied Artists 221 vii, 5, 219, Furnishing’ 163 Amants de Bras-Mort, Les 228–31 Âge du cinéma, L’ 184 52, 59 Luc Moullet vii, 5, Âge nouveau, L’ 88n American in , An 219, 221–8 Agel, Henri 100–7 passim 147 Georges Sadoul vii, Aimée, Anouk 160, Amore in città 167 5, 219, 231–7 176–7 Amour du cinéma. 50 ans pays tribute to Bob le Albatross, L’ 155 de la revue Positif, L’ flambeur 7 Aldrich, Robert 93–4, 93, 28n60 as ‘rough-draft cinema’ 128n1, 167, 175, 226 And God Created Woman 169 Aleksandrov, Grigori 68, see Et Dieu … créa la À double tour 235 76–7 femme Abel, Richard 9, 25n6, All About Eve 167 Andersen, Hans Christian 27n35 All Roads Lead to Rome 164 Acteur de cinéma, L’ see Tous les chemins Andrews, Dana 79–82, 27n46 mènent à Rome 81 Vincendeau Index 5/2/09 10:46 am Page 252

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Année dernière à Astruc, Alexandre cont. cont. Marienbad, L’ 127, Godard’s review of Une definition of the term 179, 202, 205, 207–8, vie 155–61 143, 144 210, 212 his notion of the Ayffre, Father Amédée 44 ‘Années 50, rayon caméra-stylo 3, 5, Aymé, Marcel 110 nouveautés’ 26n26 31–6 Aznavour, Charles 197, Anouilh, Jean 41, 50 member of the ‘Right 202, 203, 204 Antonioni, Michelangelo Bank’ group of film- 128, 167, 170, 185n5, makers 10 B-features 132, 142, 144, 210 Au delà des grilles 50 170 Apollinaire, Guillaume Auberge rouge, L’ 42, 47, Back Street 72 224 50, 59 Bad Liaisons see Les Appelez le 17 175 Auboin, Ghislaine 63n6 Mauvaises rencontres Aristophanes 224 Audé, Françoise 23 Badie, Laurence 47 Arnoul, Françoise 160 Audiard, Michel 173, 211, Baecque, Antoine de 5, 7, Arts 234 16–17, 25n4, 25n7, Godard writes for 231 Audran, Stéphane 22, 213 26n13, 26n25, 27n28, Truffaut writes for 37, Auffray, Patrick 195 28n47 117, 194–5, 196, 198 Augustine, Saint 97 Baie des Anges, La 209 Arts Loisirs 238 Aurenche, Jean 40, 41, Bal du Comte d’Orgel, Le Ascenseur pour l’échafaud 44–6, 62n3, 63n10 49 237 Assassinat du Duc de co-scriptwriter with Bald Prima Donna, The Guise, L’ 231 Pierre Bost 3, 41–4, 120 Assassination of the Duke 46–59, 62n1, 62n2, Balzac, Honoré de 34, 122 de Guise, The see 62n4, 62n6, 63n7, 197 Baratier, Jacques 11, 166, L’Assassinat du Duc Autant-Lara, Claude 3, 190–1 de Guise 40, 41, 42, 44, 49, 50, Bardem, Juan Antonio Assayas, Olivier 25 56, 58, 59, 62n5, 62n6, 160 Astaire, Fred 71 63n6, 224 Bardot, Brigitte 21, 199 Astrophel and Stella 224 auteur 2, 13, 15, 22, 56, Barefoot Contessa, The Astruc, Alexandre x, 3, 4, 62, 132, 133, 138, 142, 202 30, 31, 37, 63, 101, 173, 237 Barrès, Maurice 123 108, 148, 155, 159, auteur cinema 5, 56 Barthes, Roland 15, 126 167, 188, 202 auteur studies 9, 12, 15 Bassiak, Boris 241 Vincendeau Index 5/2/09 10:46 am Page 253

INDEX 253

Bataille, Henri 107 Bazin, André cont. Belle équipe, La 234 Bateau d’Émile, Le 189, influence on Cahiers du Belmondo, Jean-Paul 20, 192 cinéma 89, 113 208, 211, 220, 222, Battleship Potemkin, The on Kuleshov’s 226, 229, 230, 230, 75, 76–7 experiment with 233, 234, 235 Baudelaire, Charles 21, editing 67, 74–5, 84 Ben Hur 210 141, 155 Myth of Stalin in the Benayoun, Robert 15, Bay of Angels see La Baie Soviet cinema’, ‘The 161, 162 des Anges 126, 127 ‘Against the Cinema of Bazin, André 2, 4, 12, 37, Orson Welles 26n10 Furnishing’ 163 63, 64, 88, 90–128 political stance of 3 ‘The Emperor Has No passim, 169 ‘La Politique des Clothes’ 2, 163–86 Cinéma français de la auteurs’ 130–47 Bérard, Henri 188 Libération à la Positif’s attitude Berger, Nicole 203 Nouvelle Vague, Le towards 89 Bergman, Ingmar 210, 219 14 Qu’est-ce que le cinéma? Bergman, Ingrid 103, 103 on close-ups 74, 75, 78 88 Bernanos, Georges 42, on cross-cutting 77 on silent cinema 65, 87 44, 46, 47 De Sica 96 Stylistique de Robert Bernard, Marc C. 182, on depth of composition Bresson’, ‘La 44 186n22, 186n25 4, 73, 77–86, 93, 94, Beau Serge, Le 9, 12, 108, Berthomieu, André 226 95 110, 232 Bertolucci, Bernardo 25 discusses The Best Years Beaumarchais, Pierre- Best Years of Our Lives, of Our Lives 79–83 Augustin Caron de The 79–83, 81, 92–3 on editing 66, 67, 74–5, 132–3 Bête humaine, La 78 84, 174 Beauregard, Georges de Beylie, Claude 100–7 Evolution du langage 12, 189 passim cinématographique’, Beck, Béatrix 46 Beyond the Gates see Au ‘L’ see ‘The Beck, Pierre-Michel 50 delà des grilles Evolution of Film Becker, Jacques 56, 57, see Ladri Language’ 57, 167, 170, 218 di biciclette Evolution of Film Beckett, Samuel 209 Bidone, Il 100 Language’, ‘The Beethoven, Ludwig van Bigger Than Life 100, 26n10, 65–88 130, 140 135, 136 Vincendeau Index 5/2/09 10:46 am Page 254

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Billard, Pierre 10, 27n40 Borde, Raymond 15, Broken Blossoms 75 Bitsch, Charles 98–107 25n2, 123, 126 Brook, Peter 11 passim, 170, 188 on À bout de souffle vii, Brooks, Richard 160 Bitter Reunion see Le 219, 228–31 Browne, Nick 17, 28n60 Beau Serge Bordwell, David 18, Brunius, Jacques B. 205, Bitter Victory 104, 160 28n61 206 Black Orpheus see Orfeu Bossu, Le 40 Buache, Freddy 12, 25n2 Negro Bost, Pierre 41 Buñuel, Luis 46, 102, 128, Blanchar, Pierre 38 co-scriptwriter with 170, 185n5 Blanchard, Dominique 54 Jean Aurenche 3, Burch, Noël 5, 6, 21, blasphemy, Truffaut on 41–4, 46–59, 62n1, 26n13 46, 47, 51 62n2, 62n4, 62n6, Burstyn, Joseph 221 Blé en herbe, Le 42, 49, 63n7, 197 Bus Stop 147 50, 60, 62n6 Boulanger, Daniel 173 Blier, Bernard 53 Bourdieu, Pierre 5, 21 Cahiers du cinéma 1–30 Blin, Roger 185n10 Boyer, François 42 passim, 28n51, 28n60, Blind Desire see La Part Brasillach, Robert 2, 107 37, 39, 62, 63, 88n, de l’ombre Brats, The see Les 98–107 passim, 99, Bob le flambeur 7, 8 Mistons 140, 185n5, 194, 211, Bob the Gambler see Bob Bratschi, Georges 234 219, 231, 236 le flambeur Braunberger, Pierre 12, Bazin’s influence on 89 Boetticher, Bud 224 189, 202 founding of 3 Bogart, Humphrey Breathless see À bout de hostility towards Positif imitated by Belmondo souffle 5, 21 in À bout de souffle Brecht, Bertolt 118 mouthpiece of the New 229 Brémond, Claude 96–7 Wave ix–x Boîte aux rêves, La 40 Bresson, Robert 3, 10, 31, of 178 Bon Dieu sans confession, 44, 46, 56, 57, 63n10, and la politique des Le 51, 57 65, 102, 113, 143, 198 auteurs 128 Bonjour tristesse 235 Breton, André 184 Positif’s hostility Bonnard, Pierre 140 Brialy, Jean-Claude towards 3, 5, 21, 165, Bonnes femmes, Les 12, 108–9, 112, 208 166–7, 185n1, 219 22, 22, 109, 209, 212, Broca, Philippe de 109, vehicle of la politique des 213, 213, 214, 215 161, 173, 178 auteurs 130, 143, 147 Vincendeau Index 5/2/09 10:46 am Page 255

INDEX 255

Cahiers du cinéma Cassel, Jean-Pierre 178 Chabrol, Claude cont. 1969–1972: The Caughie, John 28n53 denies existence of the Politics of Caunes, Antoine de 25 Nouvelle Vague 10 Representation 28n60 Cavalier, Alain 13, 183, ‘Little Themes’ 4, Cahiers du Cinéma: The 188 149–54, 175 1950s 28n60 Caves du Vatican, Les 236 member of the ‘Right Cahiers du Cinéma: The Cayatte, André 60 Bank’ group of film- 28n60 Céline, Louis-Ferdinand makers 10 Cahiers du cinéma. Vol. 4 175 right-wing political 1973–1978 : History, Celluloid and Marble see stance of 2, 3, 5, 10 Ideology, Cultural ‘Le Celluloïd et le Chamfort 132 Struggle 28n51, 28n60 marbre’ Champfleury, Jules 21 caméra-stylo, la 3, 4, Celluloïd et le marbre’, ‘Le Chaplin, Charles 138, 31–6 185n5 140, 185n5 Camus, Albert 34, 48 Certain Tendency in Chapsal, Madeleine 26n22 Camus, Marcel 11, 190–1 French Cinema’, ‘A Chardère, Bernard 25n2 Canard enchaîné, Le 235 see ‘Une certaine Charensol, Georges 210 xiv, tendance du cinéma Charlotte and Her 1, 5, 13, 39, 97, 166, français’ Boyfriend see 187 certaine tendance du Charlotte et son Jules Cantatrice chauve, La 120 cinéma français’, ‘Une Charlotte et son Jules 223, Capital 33 3, 9, 15, 37, 39–63 226, 231, 237n1 caprice de Caroline chérie, Cervoni, Albert 125 Château de verre, Le 50 Un 50 Chabrol, Claude ix, 1–30 Chayefsky, Paddy 170 Carette 32 passim, 22, 27n39, Cheat, The 88 Carné, Marcel 71, 72, 75, 108, 109, 111, 121, Cheaters, The see Les 94, 165, 232, 234, 235 147–8, 150, 165, 165, Tricheurs Caroline cherie see Un 169, 173, 185n1, 188, Christian-Jaque 41, 207, caprice de Caroline 190–1, 194, 209, 212, 216 chérie 213, 225, 226, 235 Christie, Julie 217 Carrosse d’or, Le 56, 57, acts as guarantor for À Chukhrai, Grigori 186n19 60, 104, 140 bout de souffle 232 Ciampi, Yves 60 Cartouche 109 confrontation with Ciel est à vous, Le 234 Casque d’or 57, 60 Chukhrai 186n19 Ciment, Michel 5, 26n12 Vincendeau Index 5/2/09 10:46 am Page 256

256 THE FRENCH NEW WAVE

Cinema and Modernity 19 Cinéquanon ciné-club 164 Comingore, Dorothy 139 Cinéma 58 27 Citizen Kane 36, 77, 85, Communications 6, 97 Cinéma français 91, 94–5, 95, 139, 140, Compagnes de la nuit, Les d’aujourd’hui 219 142 60 Cinéma français de la Clair, René 138 Companeez, Jacques 60 Libération à la Clarté 115, 178, 186n14, Companions of the Night Nouvelle Vague, Le 14 186n15, 186n19 see Les Compagnes de Cinéma français depuis la Classic French Cinema la nuit nouvelle vague, Le 14 and the New Wave’, composition in depth see Cinéma français des années ‘The 28n62 depth of composition 60, Le 12 Classic French Cinema, Confessions of a Newly- Cinéma français face aux 1930–1960, The Wed see Vous n’avez genres, Le 29 28n62 rien à déclarer? Cinéma 68 x Classical Hollywood Confidential Report 140, CinémAction 25n3, 26n11, Cinema: Film Style 141, 142 26n12, 26n17 and Mode of Contempt see Le Mépris Cinémathèque de Production to 1960, Conversation with Toulouse 219 The 18, 28n61 François Truffaut’, ‘A Cinémathèque Française Clément, René 3, 40, 40, 185n4 2, 169 47, 143, 167, 211, 226 Corydon 137 ‘Cinémathèque affair’, Cléo de 5 à 7 11, 23, 23, 24 costume films 3, 18 the 13 Cinématographie française, Cléo from 5 to 7 see Cléo Cottafavi, Vittorio 167 La 164 de 5 à 7 Count d’Orgel’s Ball see Ciné-modèles, cinéma Cloche, Maurice 185n1 Le Bal du Comte d’elles: situation des Clouzot, Claire d’Orgel femmes dans le cinéma Cinéma français depuis la Courbet, Gustave 21 français 1956–1979 nouvelle vague, Le 14 Cousins, Les 9, 12, 112, 23n68 Clouzot, Henri-Georges 165, 165, 166, 211, 226 ‘Cinéphilie et masculinité’ 33, 51, 56, 59, 67, 172 Cousins, The see Les 26n13 Cocteau, Jean xiv, 1, 56, Cousins Cinéphilie: invention d’un 57, 167 Coutard, Raoul 12, 156, regard, histoire d’une Colette 42, 49, 62n6 188, 226–7, 231 culture, 1944–1968, Combat 33 Crime de Monsieur Lange, La 25n7, 26n13 Combat dans l’île, Le 188 Le 234 Vincendeau Index 5/2/09 10:46 am Page 257

INDEX 257

Crime of Monsieur Lange, David, Mario 214 Delights of Ambiguity – The see Le Crime de Davis, Bette 82 In Praise of André Monsieur Lange Dawn Devils see Les Bazin’, ‘The 91–128, Crin blanc: le cheval Démons de l’aube 147 sauvage 167 Day in the Country, A see Démons de l’aube, Les 40 Crisp, Colin 18, 28n62 Une partie de Demonsablon, Philippe Crohem, Daniel 111, 116, campagne 101–7 passim 119 Daybreak see Le Jour se Demy, Jacques 10, 108, Cross-Channel Perceptions: lève 127, 161, 176–7, 192, The French Reception Days of Contempt 39 209 of British Cinema Days of Hope see L’Espoir Dénonciation, La 194 26n13, 28n50 ‘De la notion d’auteur depth of composition 4, cross-cutting 94, 232 dans le cinéma: effets 73, 77–86, 93, 94, 95 Bazin on 77 pervers d’une vanité Dernières vacances, Les Cuba si! 127 flattée’ 26n11 62n6 Cukor, George 185n9 DeMille, Cecil B. 88, 105 Désaccord parfait 25 Curtelin, Jean 25n2 De Sica, Vittorio 85 Descartes, René 33 Curtis, Tony 152 De Sica (book by Bazin) Desperate Decision see La 96 Jeune folle D’un cinéma l’autre: notes ‘Dead Champagne: Destinées 42, 62n1 sur le cinéma français Variety’s New Wave’ Devil in the Flesh see Le des années cinquante 25n1 Diable au corps 27n37 Decae, Henri 188, 237 Diable au corps, Le 40, 42, Dalio, Marcel 32 découpage 91, 92, 94, 226 46, 48, 49, 62n5, 63n7 Dames du Bois de Dédée d’Anvers 51 Diary of a Country Priest Boulogne, Les 31, 57, Defiant Ones, The 152 see Le Journal d’un 63n10 Dégourdis de la 11ème, Les curé de campagne Daney, Serge 9, 10, 16, 41, 50 Dictionnaire philosophique 18, 27n37, 27n43 Déjeuner sur l’herbe, Le 167 132 Dassin, Jules 203 Delacroix, Eugène 155 Diderot, Denis 225 Daughters of Destiny see Delahaye, Michel 104 Dieu a besoin des hommes Destinées Delannoy, Jean 3, 7, 38, 42, 46–7, 49 Dauman, Anatole 12 40, 42, 43, 49, 52, 54, Dieu au cinéma 44 Davet, Michel 42 56, 59, 62n2, 210 Dingle, Charles 83 Vincendeau Index 5/2/09 10:46 am Page 258

258 THE FRENCH NEW WAVE

Discours de la méthode 33 Dreamers, The 25 Eighth Day, The see Le Discourse on Method see Dréville, Jean 189 Huitième jour Discours de la méthode Dreyer, Carl Theodor 65, Eisenhower, Dwight 226, 1895 25n7 70, 87 231 ‘1960: vue d’Espagne, la Drieu La Rochelle, Pierre Eisenstein, Sergei 33, 34, Nouvelle Vague est 107, 180 66, 67, 68, 76–7, 104 fasciste, ou la Drôle de guerre des sexes Ekk, Nikolai 97 Nouvelle Vague selon du cinéma français, La El 102 Jean Parvulesco’ 21 Elmer Gantry 104 25n7, 26n14 Drums in the Night 118 Emil and the Detectives Domarchi, Jean 105, Du rififi chez les hommes 97, 98 131–2, 210 203 Emile’s Boat see Le Donen, Stanley 167, Dubois, Marie 203, 204 Bateau d’Émile 185n5 Duchesne, Roger 8 Emperor Has No Doniol-Valcroze, Jacques Duras, Marguerite 187 Clothes’, ‘The 2, ix, 108, 166, 190–1, Durgnat, Raymond 7, 10, 163–86 194, 225 14, 26n27, 27n44 Enclos, L’ 127 member of the ‘Right Duvivier, Julien 72, Enclosure see L’Enclos Bank’ group of film- 185n1, 234 End of Desire see Une vie makers 10 Enfants terribles, Les 197 Dorfmann, Robert, 188 Earrings of Madame Esnault, Philippe 124 Dorsday, Michel 102 de …, The see Espoir, L’ 34, 35 Dostoevsky, Fyodor 34, 35 Madame de … Esprit 126 Douanier Rousseau 96 Écran français, L’ 2, 36 Esprit des lois, L’ 33 Douce 41, 42, 46 editing 66, 69, 70, 84, 88 Esquenazi, Jean-Pierre Douchet, Jean 16, 98–107 accelerated editing 66, 21, 24 passim 85 Essai sur le jeune cinéma author of Nouvelle Bazin on 66, 67, 74–5, français 26n23 Vague 16, 17, 24 84, 174 Essais 89 member of the ‘Right by attraction 66, 69, 75, Et Dieu … créa la femme Bank’ group of film- 85 198, 199 makers 10 Kuleshov’s experiment Et pourtant je tourne: un Dr Jekyll and Mr Hyde with 67, 74–5, 84 homme et son métier (1931) 72 parallel editing 66 27n39 Vincendeau Index 5/2/09 10:46 am Page 259

INDEX 259

Etaix, Pierre 13 Fast Cars, Clean Bodies: Folie du Docteur Tube, La États généraux du cinéma Decolonisation and the 157 13 Reordering of French Fonda, Henry 82 Éternel retour, L’ 54 Culture 19 see Jeux Étrave, L’ 225 Faulkner, William 34, 36, interdits Europa ’51 103, 103, 135 157, 223 Ford, John 72, 128, 146 Eustache, Jean 12 Félix, Louis 190–1 Fort, Charles 163 Eve 210 Fellini, Federico 128 Forty Guns 224 Évolution du langage feminism 21 ‘40 under 40: The Young cinématographique, L’ femme est une femme, Une Academy of French 26n10, 63, 65–88 7, 110, 171, 201, 203, Cinema’ 10 Evolution of Film 207, 208 Fossey, Brigitte 40, 47 Language, The Ferry, Jean 51, 59 Foucault, Michel 15 26n10, 63, 65–88 Festival du film maudit 2 400 Blows, The see Les Express, L’ 6, 26n21, Feuillère, Edwige 3, 50 Quatre cents coups 26n22, 185n2, 185n3, Feyder, Jacques 33, 63n8, France-observateur 114 186n13, 186n17, 72 France-soir 228 186n18, 186n19, 225, Figaro, Le 114 Franci, R. M. 185n4 228 fille pour l’été, Une 227 Françoise Steps Out see Eyes without a Face see Film History 25n1 Rue de l’Estrapade Les Yeux sans visage film noir 72, 146, 174, 203 Franju, Georges x, 126, Film Quarterly 6, 26n20 161, 202 Fahrenheit 451 (1966) 217 Films Zanzibar et les Frankenstein (1931) 72 faithfulness/unfaithfulness dandys de mai 1968, Freda, Riccardo 128 (to the original) Les 28n52 132, 160 41–4, 46, 48, 49, 62n4, Fire and Ice see Le French Cinema Book, The 199 Combat dans l’île 27n38 Fall of Lola Montes, The Flaherty, Robert 69, 70, French Cinema: The First see Lola Montès 87 Wave, 1915–1929 see Flaubert, Gustave 21, 53, 27n35 Loin du Viêt-nam 137 French Film Theory and Farceur, Le 175, 178 Flitterman-Lewis, Sandy Criticism: A 3, 105, 113, 114, 23 History/Anthology, 120, 182 FLN 179 1907–1939 25n6 Vincendeau Index 5/2/09 10:46 am Page 260

260 THE FRENCH NEW WAVE

French Line’, ‘The Gazette du cinéma, La 2 Godard, Jean-Luc cont. 185n6, 185n7 Gégauff, Paul 173 interviewed in Le French New Wave: An gender 21, 22 Monde 119, 123 Artistic School, The General Line, The 66, 68 member of the ‘Right 25n4 genre cinema 3, 9, 13, 18 Bank’ group of film- Fresson, Bernard 19 Germania, anno zero 85 makers 10 Fuller, Samuel 105, 167, Germany, Year Zero see political stance of 2, 5, 224 Germania, anno zero 10, 123, 178, 179–80 use of tracking shots by Gide, André 42, 44, 46, review of Une vie 148, 174–5 47, 49, 62n2, 137, 236 155–61 Fury 75 Giraudoux, Jean 132 right-wing anarchism of Giroud, Françoise 179 Gabin, Jean 3, 18, 52, 189, coins term Nouvelle on torture 186n19 211, 234 Vague 6, 165 Truffaut on 211 Game of Love, The see Le Givray, Claude de 108 Godard and French Society Blé en herbe Glass Castle, The see Le in the 1960s 21 Gance, Abel 56, 57, 66, Château de verre Godard: Images, Sounds, 67, 138 ‘Globalement positive’ Politics 21 gangster films 18, 71 26n17 Goethe, Johann Wolfgang Garçon, François 26n11 God Needs Men see Dieu von 130 Garçon, Maurice 62n6 a besoin des hommes Gold Rush, The 140 Garçon sauvage, Le 42 Godard, Jean-Luc ix, Golden Coach, The see Le Garment Jungle, The 93, 1–30 passim, 23, Carrosse d’or 93, 128n1 98–109 passim, 99, Golden Marie see Casque Garnett, Tay 199 156, 166, 169, 170, d’or Garrel, Philippe 12 171, 173, 181, 185n1, Goldhammer, Arthur Gates of the Night see Les 190–1, 207, 208, 220, 25n5 Portes de la nuit 221–37 passim, 232, Good Lord without Gatti, Armand 166 233 Confession see Le Gaulle, Charles de 7, connection with Jean Bon Dieu sans 163–4, 170, 226, 231 Parvulesco 5, 224 confession Gauthier, Guy 7, 26n26 critic on Arts 231 Good Time Girls, The see Gautier, Jean-Jacques 113 critic on Cahiers du gaze, the 82 cinéma 231 Gorin, Jean-Pierre 13 Vincendeau Index 5/2/09 10:46 am Page 261

INDEX 261

Gorky, Arshile 174 Hess, John 15, 18, 24, House of Pleasure 157 Gorky, Maxim 178 28n57 Houston, Penelope 13 Goudet, Stéphane 28n60 Higgins, Lynn 17 Hovald, Patrice G. 107 Gozlan, Gérard 15, 90 Hillier, Jim 17 Hoveyda, Fereydoun 167, Delights of Ambiguity 19, 168 – In Praise of André 122, 122, 127, 166, Hugo, Victor 123, 137 Bazin’, ‘The 2, 206, 207, 222, 223 Huitième jour, Le 227 91–128, 147 box-office success of Humanité-dimanche 126 Graham, Peter 1, 2, 14, 17 187, 202 Hurdes, Las 46 Grand Illusion, The see compared with À bout Huston, John 128, 131, de souffle 221, 225, 143, 167, 169 Grande illusion, La 78 227 Huyssen, Andreas 21 Grangier, Gilles 60 a Nouvelle Vague film? Grant, Cary 145 9 I Confess 100 Gray, Hugh xi histoire d’eau, Une 231, I Was a Fugitive from a Greed 70 237n1 Chain Gang 71 Green, Marika 102 Histoire du cinéma mondial Image et Son 28n54 Green Years, The 199 219 Immoral Moment, The Grémillon, Jean 234 History of the French New see La Dénonciation Griffith, D. W. 66, 70, 75, Wave Cinema, A 12, Informer, The 71 78, 104, 224 17, 28n49 ‘Inquiry into Left-Wing Guibert, Jean-Paul 189 Hitchcock, Alfred 88, 91, Criticism’ 126 Guitry, Sacha 167 100, 104, 106, 130, Intolerance 75 Guitton, Jean 60 134, 167, 170, 201, Invisible Man, The 72 Gwenn, Edmund 106 212, 213, 226 Ionesco, Eugène 120 Hitchcocko-Hawksians 3, Iris 26n13 Habib, Ralph 60 128 Irma Vep 25 Hanoun, Marcel 166, 227 homme marche dans la Italian Neo-Realism 107 Hardy, Thomas 157 ville, Un 41, 52, 59 Italiani si voltano, Gli Hawks, Howard 105, 130, Honour among Thieves 167 145, 145, 167, 228 see Touchez pas au It’s Hot in Hell see Un Hegel, Georg 168, 183 grisbi singe en hiver Heidegger, Martin 165 Hossein, Robert 190–1 Ivens, Joris 122 Hell and High Water 105 Hot Blood 167 Vincendeau Index 5/2/09 10:46 am Page 262

262 THE FRENCH NEW WAVE

Jacquot de Nantes 25 Joyce, James 141 Kubaschewsky, Ilse 218 Jasset, Victorin 231 Jules et Jim ii, 61, 108, Kuleshov, Lev 67 ‘Jean-Luc Godard’ 219 109, 173, 185n11, 195, experiment with editing Jean-Luc Godard: A 196, 199, 200, 202, 74, 85, 96 Portrait of the Artist at 208, 215, 241 70 27n34 15, 28n57 La Fayette 189 Jean-Pierre Melville: An La Patellière, Denys de American in Paris Kael, Pauline 13 189 27n30 Kant, Immanuel 168 La Rochefoucauld, Jeancolas, Jean-Pierre 15, Karina, Anna 12, 23, 170, François de 132 28n55 171, 208 Labarthe, André S. 6, 14, Jeanne d’Arc 42 Kast, Pierre, 108, 194, 200 26n23 Jeanson, Henri 2, 3, 7, member of the ‘Right member of the ‘Right 25n3, 41, 55, 56, 59, Bank’ group of film- Bank’ group of film- 173, 234 makers 10 makers 10 Jenny Lamour see Quai Keaton, Buster 40 Lachelier, Jules 97, 124 des Orfèvres Keep an Eye on Amelia Ladies of the Park see Les Jeune folle, La 51 see Occupe-toi Dames du Bois de Jeux inconnus, Les 42 d’Amélie Boulogne Jeux interdits 40, 40–1, 42, Keepers, The see La Tête Ladri di biciclette 85, 91 47, 47, 49, 63n7 contre les murs Lady in the Lake 201 Jezebel 72, 82 Kelly, Gene 167 Lafayette 189 Joan of Arc 42 Kennedy, John F. 180 Lafont, Bernadette 12, 22, Joannon, Léo 41 Kessel, Joseph 35 213 Joano, Clotilde 213, 214 Khrushchev, Nikita 180 Lamorisse, Albert 167 Joker, The see Le Farceur King of the Gate-Crashers, Lamprecht, Gerhard 97, Jouhandeau, Marcel 62 The see Le Roi des 98 Jour se lève, Le 71, 72, 75 resquilleurs Land without Bread see Journal des faux- Kiss Me Deadly 116, 123 Las Hurdes monnayeurs, Le 137 Kline, T. Jefferson 17 Lang, Fritz 3, 75, 107, Journal d’un curé de Knave of Hearts see 116, 128, 130, 167, 226 campagne, Le 42, 44, Monsieur Ripois Langlois, Henri 13 46–7, 60, 62n3, 197, Korzybsky, Alfred 165 Larbaud, Valery 141 198 Kramer, Stanley 152 LaSalle, Martin 102 Vincendeau Index 5/2/09 10:46 am Page 263

INDEX 263

Last Vacation, The see Life of Edward II of Lumière, Louis 78 Les Dernières England, The 118 Lust for Life 131–2, 146 vacances Lift to the Scaffold see Last Year in Marienbad Ascenseur pour Ma classe de sixième 62 see L’Année dernière à l’échafaud Ma nuit chez Maud 14 Marienbad Ligne de mire, La 164, MacCabe, Colin 9, 21, Lattuada, Alberto 167 227 27n34 Laudenbach, Roland 41, Liogier, Hélène 25n7, Mac-mahonians 3 51, 59, 158, 160 26n14 Madame Bovary 53–4, Laurent, Jacqueline 71 Little Foxes, The 79, 82, 137 Laurent, Jacques 182 83, 91 Madame de … 57 Lavelle, Louis 97 ‘Little Themes’ 149–54 Magnan, Henri 27n29 Laviron, Jean 60 Logan, Joshua 147 Magnificent Ambersons, Laydu, Claude 57, 198 Loin du Viêt-nam 13 The 78 Le Pen, Jean-Marie 5 Lola 127, 175, 176–7, 192, Maison du silence, La 51 Léaud, Jean-Pierre viii, 209 Maistre, François 111 xiv, 1, 25, 195, 201 Lola Montès 202, 207, 209 Making Waves: New Leblanc, Michel 225 Losey, Joseph 3, 128, 167, Cinemas of the 1960s Leenhardt, Roger 56, 210, 223 27n36 62n6, 188 Loshitzky, Yosefa 21 Malaparte, Curzio 185n1 ‘Left Bank’ group of film- Love Eternal see Malle, Louis x, 10, 161, makers 12, 17 L’Éternel retour 168, 185n8, 219, 237 left-wing cinema 182 Love in the City see Amore Mallet, Robert 141 Légende des siècles, La in città Malraux, André 13, 35, 137 Love Letters see Lettres 39, 66, 165 Lelouch, Claude 14 d’amour Man Walks in the City, A Lenin, Vladimir Ilyich Love Story see Douce 41 see Un homme marche 178 Lovell, Terry 15, 18, dans la ville Létraz, Jean de 223 28n56 Man Who Knew Too Lettres d’amour 40 Lovers of Bras-Mort, The Much, The (1956) Lettres françaises, Les see Les Amants de 134, 135 27n32, 112, 124 Bras-Mort Manceaux, Michèle 180, Lévy, Raoul 12, 216 Loy, Myrna 81 186n13 Lewis, Marshall 185n4 Lualdi, Antonella 158 Manèges 41, 51, 53 Vincendeau Index 5/2/09 10:46 am Page 264

264 THE FRENCH NEW WAVE

Manet, Edouard 157 Maupassant, Guy de 155, Mississippi Mermaid see Mankiewicz, Joseph 167, 160, 205, 208 La Sirène du 202 Mauvaises rencontres, Les Mississipi [sic] Mann, Anthony 146, 167 160, 202 Mistons, Les 110 Manon 51 May ’68 events 13 Mitry, Jean 82 March, Fredric 79–82 Mayakovsky, Vladimir Mizoguchi, Kenji 101 Marchand, Corinne 11, 24 111 Mocky, Jean-Pierre 11 Marco Polo 216 Mayo, Antoine 155 Modot, Gaston 32 Mardore, Michel 100–7 Melville, Jean-Pierre 3, 7, Moguy, Léonide 185n1 passim 8, 10, 167, 211 Moi un noir 127 Marie, Laurent 6, 26n17 polemic with Truffaut Moine, Raphaëlle 18 Marie, Michel 12, 16–17, 7, 238 Molière 133, 225 25n4, 26n19, 27n41, Melville on Melville 27n31 Molinaro, Edouard 174, 28n47 Mépris, Le 21 190–1, 227 Marina 113 Mère coupable, La 132–3 Moment of Truth, The see Marines 127 Metropolis 116 Minute de vérité, La Marken, Jane 51, 205, 206 Metz, Christian 15 Monaco, James 11, 14, Marker, Chris 13, 14, 17, Michelangelo Buonarotti 27n45 166 130 Monde, Le member of the ‘Left Milton 229 quotes Godard 186n20 Bank’ group of film- Minnelli, Vincente 128, survey of the Nouvelle makers 10 131–2, 146, 168, 170, Vague 9 Marquand, Christian 155, 171, 185n5 Monkey Business (1952) 157, 158, 159, 160, 199 Minute de vérité, La 42, 145, 145 Martin, Marcel 126 51, 52 Monogram Pictures 221 Marx, Karl 33 Miquette (1950) see Monroe, Marilyn 145 Marx Brothers 71 Miquette et sa mère Monsieur Hulot’s Holiday Groucho 114 Miquette et sa mère 59 see Les Vacances de Mary, Philippe 21, 24 Miracles n’ont lieu qu’une Monsieur Hulot Masculine Singular: fois, Les 51 Monsieur Ripois 167 French New Wave Miracles Only Happen Monsieur Verdoux 140 Cinema 29 Once see Les Montaigne, Michel de 89 Mason, James 136 Miracles n’ont lieu Montesquieu, Baron de la Matisse, Henri 135, 140 qu’une fois Brède et de 33 Vincendeau Index 5/2/09 10:46 am Page 265

INDEX 265

Montfort, Sylvia 4 My Night with Maud see New York Film Bulletin Montgomery, Robert 201 Ma Nuit chez Maud 185n4 Moravia, Alberto 173 Mystère Picasso, Le 172 Nickelodéon ciné-club 164 Moreau, Jeanne ii, 12, Mystery of Picasso, The Nogueira, Rui 27n31 196, 215, 241 see Le Mystère Picasso Noiret, Philippe 4 Morgan, Michèle 3, 38, Myth of Stalin in the Noro, Line 38 52, 54 Soviet cinema’, ‘The Nosferatu 69 Morin, Edgar 6 126, 127 Notre-Dame-de-Paris 137 Moullet, Luc 98–107 notti bianche, Le 160 passim Nacache, Jacqueline , le 7, 17 on À bout de souffle vii, 27n46 Nouvelle Critique, La 221–8, 236 Nadeau, Maurice 33 186n19 on fascism 182 Naissance d’une nouvelle Nouvelle revue française on Fuller’s use of avant-garde: la (NRF) 41 tracking shots 174–5, caméra-stylo’, ‘La 29 Nouvelle Vague, the 186n12, 186n21 Nana 54 beginnings of 166–7 Mourlet, Michel 98–107 Nanook of the North 69, 70 box-office success of 6 passim, 182, 186n23 Napoleon Road see La critical success of 6 ‘In Defence of Route Napoléon as a movement 9 Violence’ 182, Natanson, Jacques 47 neo-romanticism in 186n24 neo-realism 72, 86, 172 121 Moussé, Christophe 25n3 neo-romanticism 121 term coined by Moussy, Marcel 173, 194 Neupert, Richard 9, 12, Françoise Giroud 6, Movie 5 17, 25n1, 25n4, 27n33, 165 Mozhukhin, Ivan 67, 85, 96 28n49 Nouvelle vague (book by Mr Arkadin 141 New Wave see Nouvelle Raymond Borde, Mr Smith Goes to Vague Freddy Buache and Washington 71 New Wave: A Jean Curtelin) 25n2, Mrs Parkington 199 Genealogical 219, 231 Mulvey, Laura 21 Approach’, ‘The 16 Nouvelle vague (book by Murnau, F. W. 69, 86, 87, New Wave: Truffaut, ) 16, 17 101, 104 Godard, Chabrol, Nouvelle vague? (book by see Vivre Rohmer, Rivette, The Jacques Siclier) 10, sa vie 11, 27n45 26n24, 27n42 Vincendeau Index 5/2/09 10:46 am Page 266

266 THE FRENCH NEW WAVE

Nouvelle vague (film by Nouvelle vague: une école Paris nous appartient 22, Jean-Luc Godard) 25 artistique, La 25n4, 110–20, 110, 115, Nouvelle Vague arrive!’, 27n41, 28n47 116, 117, 119, 175 ‘La 26 Nowell-Smith, Geoffrey Part de l’ombre, La 40 Nouvelle vague en 9, 27n36 , Une question’, ‘La 29n71 205, 206 Nouvelle vague et le O’Donnell, Cathy 81 Party Girl 167 cinéma d’auteur: socio- Occupe-toi d’Amélie 59 Parvulesco, Jean 5, 25n7, analyse d’une Oeil du malin, L’ 194 224 révolution artistique, Olsen, Christopher 136 Pascal, Jean-Claude 160 La 21 Opération béton 231 Passek, Jean-Loup 27n37 ‘Nouvelle vague et Operation Concrete see Passion de Jeanne d’Arc, politique’ 28n54 Opération béton La 70 ‘Nouvelle vague’, Le Ophüls, Max 56, 202, Passion of Joan of Arc, Cinéma des Français – 207 The see Passion de La Ve République 100 Jeanne d’Arc, La (1958–1978) 28n55 Orfeu Negro 11, 166 Passionate Plumber, The Nouvelle Vague: portrait Orgueilleux, Les 57 40, 60 d’une jeunesse, La Orpen, Valerie 23 Pastoral Symphony see La 25n4, 26n25, 27n28, Orphée 60 Symphonie pastorale 28n48 Orpheus see Orphée Pattes blanches 51 Nouvelle Vague: The Orr, John 19 Paviot, Paul 194 First Decade 26n27, Orson Welles 26n10 Pépé le Moko 39, 234 27n44 Ostrowska, Dorota 17 Pericles 113, 116, 117, Nouvelle Vague: Two 128n2 Views from Paris’, Pagliero, Marcello 40, 48, Peterson, Oscar 175 ‘The 26n20 51, 59 Petit, Pascale 155, 157, Nouvelle Vague: un cinéma Paisà 85 158, 160 au masculin singulier, panchromatic film 73 Petit soldat, Le 109, 119, La 21, 26n22 Paresse, La 109 121, 179, 181, 201 Nouvelle Vague: une Parinaud, André 62n5 Picasso, Pablo 135, 172 approche Paris-Jour 27 Pickpocket 102, 102 généalogique’, ‘La see Picnic 147 27n37, 27n43, 28n58 Paris nous appartient Pilard, Philippe 15, 28n54 Vincendeau Index 5/2/09 10:46 am Page 267

INDEX 267

Plaisir, Le 157, 197 Pollet, Jean-Daniel 10, Poujouly, Georges 47 plan américain, definition 164, 190–1, 227 Poulenc, Francis 62n5 of 75 Pollock, Jackson 174 Premier Plan 2, 3, 15, 17, plan séquence 86, 174 popular cinema 9, 13, 18, 18, 124, 231 Welles’s use of 77–8 135, 146 Preminger, Otto 3, 227 Plato’s cave 120 Pornographe, Le 25 Présence du cinéma 186n22, Plombier amoureux, Le Pornographer, The see Le 186n23, 186n25 see The Passionate Pornographe Président, Le 189 Plumber see Le President, The see Le Poe, Edgar Allan 160 Quai des brumes Président 39, 41, Porte étroite, La 49 Prévert, Jacques 39, 51, 63n8, 72, 127 Portes de la nuit, Les 40 52, 234, 235 Pointe courte, La 4, 23 Portrait-robot 194 Prévost, Françoise 111, Poitier, Sidney 152 Positif 2, 6, 28n60, 127, 119 politique des auteurs, la 5, 183, 219 Prix 193 13, 15, 18, 21, 130–47 attitude towards Bazin Proud Ones, The see Les passim, 167 89 Orgueilleux applicable to Cahiers du contrasted with Cahiers psychological dramas 3 cinéma 128 du cinéma x, 17, 108 psychological realism 39, applicable to Positif declaration of intent 40, 53, 56, 60, 63n8 128, 173 183–4 Psychology of the Cinema, articulated by Cahiers du cinéma 130 hostility towards The 66 Bazin’s article on ‘La Cahiers du cinéma 3, Politique des auteurs’ 5, 21, 165, 166–7, Quai des brumes, Le 39, 127, 130–47 185n1, 219 75, 231–4 passim definition of 3, 128, 131 hostility towards the Quai des Orfèvres 33, 67 Politique des Auteurs Nouvelle Vague 2, 5, Quain, Herbert 164 Part One: World 7, 18, 24, 120, 161 ‘40 moins de 40: la jeune View as Aesthetic’, ‘Inquiry into Left-wing académie du cinéma ‘La 28n57 Criticism’ 125, 126 français’ 10, 27n40 Politique des Auteurs and the politique des Quatre cents coups, Les Part Two: Truffaut’s auteurs 128 viii, 5, 9, 166, 187, Manifesto’, ‘La ‘Positif et la Nouvelle 195, 195, 196, 200, 28n57 Vague’ 26n12 201, 202, 221, 222, 232 Vincendeau Index 5/2/09 10:46 am Page 268

268 THE FRENCH NEW WAVE

Quatre jeudis, Les 188 Renoir, Jean cont. Rififi see Du rififi chez les Que Viva Mexico! 158 Bazin’s admiration of 89 hommes Queffélec, Henri 42, 44 ‘decline’ of 167 ‘Right Bank’ group of Qu’est-ce que le cinéma? 88 depth of composition, film-makers 10 his use of 73, 78 right-wing anarchism, Racine, Jean 137, 138, 225 poetic realism of 72 Godard’s 179 Radiguet, Raymond 42, seen as auteur by right-wing cinema 182 44, 47, 48, 49, 62n5 Truffaut 56 Rim, Carlo 41 Ramuz, Charles- Renoir, Pierre-Auguste Rimbaud, Arthur 136 Ferdinand 155 236 Rio Bravo 105 Ray, Nicholas 3, 100, 101, Resistance, French 2, 133 Rittenmayer, Charlotte 104, 130, 136, 143, Resnais, Alain x, 4, 14, 157 160, 167, 188 19, 122, 122, 123, 161, Riva, Emmanuelle 19, 179, 187, 188, 202, Rebatet, Lucien 122, 207 205, 223 (pseudonym of River, The 100–1, 140 appropriated by the François Vinneuil) 2 Rivette, Jacques ix, 10, Nouvelle Vague 166 Truffaut’s admiration 98–108 passim, 110–22 compared with Godard of 5 passim, 110, 188 226, 227 recteur de l’île de Sein, Un defines auteur 143, 144, edits Varda’s first 42, 46, 51 209 feature 23 Red Inn, The see interviewed in: member of ‘Left Bank’ L’Auberge rouge group of film-makers Clarté 115 Red Rose, The see La 10, 12 Les Lettres françaises Rose rouge Truffaut’s high opinion 112 Règle du jeu, La 31, 32, 78, of 206–7, 212, 216 Radio-Cinéma-TV 87, 91, 140, 205, 234 Revel, Jean-François 114, 112 Reichenbach, François 170 member of the ‘Right 190–1 Revue du cinéma, La 2, Bank’ group of film- Rembrandt van Rijn 140 62n1, 63 makers 10 Renoir, Claude 155 Reynaud, Bérénice 28n51, Riveyre, Jean 198 Renoir, Jean 3, 31, 32, 54, 28n60 Road to Life 97 57, 65, 87, 100, 101, Rideau cramoisi, Le 157 Robbe-Grillet, Alain 10 104, 119, 130, 132, Riding School, The see ‘Robert Bresson’s 138, 140, 160, 206, 234 Manèges Stylistics’ 44 Vincendeau Index 5/2/09 10:46 am Page 269

INDEX 269

Roché, Henri-Pierre 173 Royal Affairs in Versailles Schneider, Betty 111, 115, Rogers, Ginger 71, 145 see Si Versailles 116 Rohmer, Eric ix, 10, 14, m’était conté Schoendoerffer, Pierre 10 98–107 passim, 109, Rozier, Jacques 10, 108, Scipion, Robert 41, 51 109, 121, 130, 131, 161, 185n1, 190–1 Scob, Edith 126 132, 140 Rue de l’Estrapade 57 Scorsese, Martin, 24 on ‘Le Celluloïd et le Rules of the Game, The Screen 28n56 marbre’ 167, 185n5 see La Régle du jeu scriptwriters, member of the ‘Right Rush, Barbara 136 scriptwriting 41, 54, Bank’ group of film- Russell, Harold 81 56 makers 10 Seberg, Jean 121, 220, political stance of 2 Sadoul, Georges 2, 125, 222, 222, 226, 227, on ‘Renoir américain’ 126, 127, 169 230, 235 140 on À bout de souffle vii, Séchan, Edmond 190–1 Roi des resquilleurs, Le 5–6, 219, 231–7 Secret de Mayerling, Le 228 Salaire de la peur, Le 57 54 Roi est nu’, ‘Le 163–86 Salammbô 137 Secret of Mayerling, The Ronde, La 207 ‘Sam Fuller in Marlowe’s see Le Secret de Rope 236 Footsteps’ 186n12, Mayerling Rops, Daniel 124 186n21 Seine a rencontré Paris, La Rose rouge, La 59 ‘Sam Fuller sur les brisées 122 Ross, Kristin 19 de Marlowe’ 186n12, Seine Meets Paris, The Rossellini, Roberto 85, 186n21 see La Seine a 86, 101, 103, 104, 105, Sandburg, Carl 228 rencontré Paris 130, 143, 167, 170, 226 Sarment, Jean 123 Sellier, Geneviève 18, 21, Rouch, Jean 10, 166, 211 Sarris, Andrew 5 23, 24, 26n22 Roud, Richard 168, Sartre, Jean-Paul 48, 51, Sept péchés capitaux, Les 185n6, 185n7 137, 228, 234 109, 173 Roue, La 66 Savage Triangle see Le Seven Deadly Sins, The Rousseau, Jean-Jacques Garçon sauvage see Les Sept péchés 228 Saville, Victor 199 capitaux Rousso, Henry 25n5 Scarface 39, 71 Seven Year Itch, The 147 Route Napoléon, La 44, Schell, Maria 155, 157, Shadow of a Doubt 213 59 158, 159, 160, 208 Shafto, Sally 28n52 Vincendeau Index 5/2/09 10:46 am Page 270

270 THE FRENCH NEW WAVE

Shakespeare, William social fantasy 32 Symphonie pastorale, La 130, 133 ‘Sociology and the 38, 40, 42, 44, 46, 49, Sherman, Vincent 128n1 Cinema’ 28n56 54, 62n2, 63n7 Shoot the Pianist see Tirez Sologne, Madeleine 54 Symphonie pastorale or sur le pianiste Spaak, Charles 47, 63n8, Love of One’s Craft’, shooting script 74, 77, 86 173, 234 ‘La 56 si jolie petite plage, Une 51 Spirit of the Laws, The Symphonie pastorale, ou Si Versailles m’était conté see L’Esprit des lois l’amour du métier’, 167 Stagecoach 72, 146 ‘La 56 Siclier, Jacques 6, 10, 14 Staiger, Janet 18, 28n61 Sidney, Sir Philip 224 Stars and Stardom in Tabet, André 60 Sight and Sound 168, French Cinema 27n46 Tabu 69, 86, 158 185n6, 185n7 Stewart, James 134 Tati, Jacques 3, 56, 60 Sign of Leo, The see Le Story of Water, A see Une Téchiné, André 12 Signe du lion histoire d’eau Teilhard de Chardin, Signe du lion, Le 109, 109, Strait Is the Gate see La Pierre 97, 124 110, 117, 121, 185n5 Porte étroite Télé-7 jours 186n16 Signes parmi nous, Les Strange Ones, The see Les television, Truffaut on the 155 Enfants terribles medium of 218 Sigurd, Jacques 41, 51, Stravinsky, Igor 140 Temple, Michael 9, 56, 59 Stroheim, Erich von 65, 27n38 Silence, The 210 69, 70, 87, 89, 138, Temps du mépris, Le 39 silent cinema, Bazin on 205–6 Temps modernes, Les 65, 87 Stylistique de Robert 51–2 singe en hiver, Un 189, Bresson’, ‘La 44 Ten Commandments, The 211 Such a Pretty Little Beach 105 Singer, Alexander 183 see Une si jolie petite terra trema, La 86 Singier, Gustave 135–6 plage Testament d’Orphée, Le Sirène du Mississipi [sic], Sullerot, Evelyne 6 167 La 14 Sunrise 69 Testament of Orpheus, The Sirk, Douglas 128, 185n5 superimposition 75, 85, see Testament ‘Sissi’ series, the 218 88 d’Orphée, Le Sloth see La Paresse /Surrealists 2, Tête contre les murs, La Smith, Alison 23 35, 36 202 Vincendeau Index 5/2/09 10:46 am Page 271

INDEX 271

Theories of Authorship: A trente glorieuses 7 Truffaut, François cont. Reader 28n53 36 fillette 25 member of the ‘Right They Were Five see La Trial, The 216 Bank’ group of film- Belle équipe Tribune de Genève, La makers 10 Third Lover, The see 234, 236 polemic with Melville L’Oeil du malin Tricheurs, Les 165 7, 238 Thompson, Kristin 18, Trotsky, Leon 184 political stance of 2, 5, 28n61 Trouble with Harry, The 107, 178–9 Thorent, André 111 104, 106 on Resnais 206–7, 212, Time without Pity 223 Truffaut, François ii, xiv, 216 Tirez sur le pianiste 7, 110, 1–30 passim, 61, 63, writes for Arts 37, 117, 117, 194, 195, 196, 100, 108, 109, 122, 194–5, 196 197, 201, 202, 203, 131, 166, 173, 185n1, writes synopsis for À 204, 205 187–219 passim, bout de souffle 234 Titian 140 190–1, 195, 197, 204, 20thCentury-Fox 221 To Desire Differently: 217, 222–3, 227, 241 Twice upon a Time see Feminism and the on blasphemy 46, 47, Désaccord parfait French Cinema 23 51 Toland, Gregg 140 certaine tendance du Ulmer, Edgar G. 128, Tolstoy, Leo 130 cinéma français’, 167 Touchez pas au grisbi 167 ‘Une vii, 2, 5, 7, 9, 37, Tous les chemins mènent à 39–63 Vacances de Monsieur Rome 59 on Godard 210 Hulot, Les 57, 60–2 Tous les garçons s’appellent as guarantor for À bout Vadim, Roger x, 10, 123, Patrick 231, 237n1 de souffle 232 167, 190–1, 199, 219 Towards a Free ‘Interview with’ Vagabond, The see La Revolutionary Art 184 187–219 Vagabonde tracking shot, Fuller’s use interviewed in Clarté Vagabonde, La 49 of 174–5 186n14, 186n15 Valère, Jean 190–1 ‘tradition of quality’, the on Jean Aurenche and Valéry, Paul 63n9 3, 22, 24, 39, 41, Pierre Bost 41–4, Van Gogh 132 48–50, 56, 59, 60 46–59 Varda, Agnès 3, 4, 11, 14, Travelling et sex-appeal on the medium of 17, 22–3, 23, 24, 25, 41 television 218 161, 166 Vincendeau Index 5/2/09 10:46 am Page 272

272 THE FRENCH NEW WAVE

Varda, Agnès cont. Vingt ans de cinéma à Welles, Orson cont. member of the ‘Left Venise 88n1 use of depth of Bank’ group of film- 20 ans de théories féministes composition 77–9, makers 10 sur le cinéma: Grande- 81, 85 Variety 1, 9 Bretagne et États- use of plan séquence Vatican Swindle, The see Unis 29n67 77–8, 85 Les Caves du Vatican Vinneuil, François (aka Werner, Oskar 108, 215, Vegel, Raymond 190–1 Lucien Rebatet) 2, 5 217 Velázquez, Diego Virgin see 36 fillette Western, the 72, 146, Rodríguez de Silva y Visconti, Luchino 86, 160 192 155 Vivre sa vie 192, 201 What Is Cinema? see 39 Vlad, Roman 155 Qu’est-ce que le Venus de Milo 133 Voice of Silence see La cinéma? Verger 56 Maison du silence Wheel, The see La Roue ‘Vérités sur les jeunes Voltaire 132, 137, 138, White Mane see Crin filles’ 26n22 225 blanc: le cheval Verneuil, Henri 10, 189 Vous n’avez rien à déclarer? sauvage Vertigo 212, 226 41 White Nights see Le notti Vertov, Dziga 174 bianche Véry, Pierre 60 Wages of Fear, The see Le White Paws see Pattes Vichy regime 234 Salaire de la peur blanches Vichy Syndrome: History Wagner, Jean 102 Whitman, Walt 228 and Memory in France Walsh, Raoul 3, 128, 167, Wild Palms 157 since 1944, The 25n5 182 Wilson, David 17, 28n51, Vidor, King 228 Warner Bros. 221 28n60 vie, Une 127, 148, 159, see À Wimmer, Leila 5, 26n13, 208 double tour 28n50 Godard’s review of Weber, Eugen 6 Wise, Robert 175 155–61 Welles, Orson 31, 36, 65, Witt, Michael 9, 27n38 Vigo, Jean 170 85, 95, 128, 138–40, Woman Is a Woman, A Vincendeau, Ginette 18, 139, 141, 167, 185n5, see Une femme est une 27n30, 27n46 185n9, 216 femme introduction by vii, Bazin’s defence of 4, Woman of Antwerp see 1–29 26n10 Dédée d’Anvers Vincendeau Index 5/2/09 10:46 am Page 273

INDEX 273

women’s cinema 15 Wyler, William cont. Zanzibar films 14, 28n52 Wright, Teresa 79–82 use of depth of Zarathustra 182 passim, 81 composition 77–83 Zavattini, Cesare 86 Wyler, William 72, 83, 85, use of the plan séquence Zazie dans le métro 127, 92–3, 95 77 168, 185n8 Bazin’s defence of 4, Zecca, Ferdinand 78 26n10 Yeux sans visage, Les 126 Ziegfeld Follies 71 Yordan, Philip 218 Zurlini, Valerio 183 Vincendeau Index 5/2/09 10:46 am Page 274

List of Illustrations While considerable effort has been made to correctly identify the copyright holders, this has not been possible in all cases. We apologise for any apparent negligence and any omissions or corrections brought to our attention will be remedied in any future editions.

Jules et Jim, © Films du Carrosse; , Ciné-Tamaris; Bob le flambeur, Organisation Générale Cinématographique/Cyme/Play Art; Cléo de 5 à 7, Rome- Paris Films; Hiroshima mon amour, Argos-Films/Como Films/Daiei Kyoto/Pathe Overseas; Les Bonnes femmes, © Paris Film Production; La Règle du jeu, Nouvelle Édition Française; L’Espoir, Productions Corniglion-Molinier; La Symphonie pastorale, Films Gibé; Jeux interdits, Silver Films/Mondex Films; Le Blé en herbe, Franco London Film; La Minute de vérité, Franco London Films/Cines; The General Line, Sovkino; Nanook of the North, Robert Flaherty; Le Jour se lève, Productions Sigma/Vog-Sigma; The Battleship Potemkin, First Studio Goskino; The Best Years of Our Lives, Samuel Goldwyn Inc.; The Little Foxes, © Samuel Goldwyn Inc.; Tabu: A Story of the South Seas, Golden Bough; The Garment Jungle, Columbia Pictures Corporation; Citizen Kane, © RKO Radio Pictures; Emil and the Detectives, Ufa; À bout de souffle, Société Nouvelle de Cinématographie/Productions Georges de Beauregard/Imperia; Pickpocket, Agnès Delahaie Productions; Europa ’51, Lux Film; The Trouble with Harry, © Productions; , AJYM Films; Paris nous appartient, AJYM Films/Films du Carrosse; Les Yeux sans visage, Champs-Élysées Productions/Lux Film; The Man Who Knew Too Much, © Filwite Productions; Bigger Than Life, © Twentieth Century-Fox Film Corporation; Mr Arkadin, Film Organisation S.A./Cervantes Films/Sevilla Films Studios; Monkey Business, Twentieth Century-Fox Film Corporation; The Defiant Ones, © Lomitas Productions/© Curtleigh Productions; Une vie, Agnès Delahaie Productions/Nepi Film; Les Cousins, AJYM Films; Zazie dans le metro, Nouvelle Éditions de Films; Une femme est une femme, Rome-Paris Films; Lola, Rome-Paris Films/Euro International Films; Le Farceur, AJYM Films/Roland Nonin; L’Année dernière à Marienbad, Terra Film/Société Nouvelle des Films Cormoran/Précitel/Como Films/Argos- Films/Films Tamara/Cinétel/Silver Films/Cineriz di Angelo Rizzoli; , Productions Georges de Beauregard/Société Nouvelle de Cinématographie; Les Quatre cents coups, © Films du Carrosse; Tirez sur le pianiste, Films de la Pléiade; Journal d’un curé de campagne, U.G.C.; Et Dieu … créa la femme, U.C.I.L./Cocinor/Iéna; Une partie de campagne, Panthéon Productions; Fahrenheit 451, © Vineyard Productions.