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Full Description
The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema.
The Red Years of Cahiers du Cinéma (1968-1973) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. Volume I focuses on the relationship of film with the spheres of ideology and politics.
Contents
The Red Years of Cahiers du Cinéma (1968-1973)
Volume I: Ideology and Politics
Introduction
Part I: Theories of Ideology
Chapter 1. "Cinéma/Idéologie/Critique": an Epistemological Break?
Chapter 2. Jean-Louis Comolli and Jean Narboni: Crossed Lives
Chapter 3. Décalages: "Young Mr. Lincoln de John Ford"
Chapter 4. "La Vicariance du Pouvoir" and the Battle of Othon
Chapter 5. "Technique et Idéologie" by Jean-Louis Comolli
Chapter 6. Afterlives of the Apparatus
Part II: Engagements with Politics
Chapter 7. The Radicalization of Cahiers du cinéma: 1963-1969
Chapter 8. Cahiers du cinéma and the Rapprochement with the PCF: 1969-1971
Chapter 9. Cahiers du cinéma's Turn to Maoism: 1971-1973
Chapter 10. Cahiers du cinéma and Jean-Luc Godard
Chapter 11. Cahiers du cinéma in the "Post-gauchiste" Era: 1973-1981
Chapter 12. Bernard Eisenschitz: Cinema, Communism and History
Chapter 13. Jean-Louis Comolli: A Theoretical Practice of Political Cinema.
