A History of the French New Wave Cinema

Notes

NOTES Introduction 1. Michel Marie, La nouvelle vague; Jean Douchet, French New Wave; Antoine de Baecque, La nouvelle vague; and de Baecque and Charles Tesson, eds., Cahiers du cinema, nouvelle vague. 2. James Monaco, The New Wave; Roy Armes, French Cinema and French Cinema since 1946, vol. 2; and Alan Williams, Republic of Images. 3. de Baecque, La nouvelle vague, 52. 4. Pierre Billard, “40 moins de 40,” 5. 5. Françoise Audé, Ciné-Modèles, cinéma d’elles, 20. 6. Marie, La nouvelle vague, 19. 7. “New Directors,” Le film français 765–66 (January 30, 1959): 70. 8. Richard Neupert, “Dead Champagne,” 225. Chapter 1. Cultural Contexts 1. Evelyn Ehrlich, Cinema of Paradox, 172–73. 2. For excellent summaries of the purification and revitalization of French postwar cinema, see Alan Williams, Republic of Images, and Ehrlich, Cinema of Paradox, 172–77. 3. Jill Forbes and Michael Kelly, eds., French Cultural Studies, 141. 4. Jacques Durand, Le cinéma et son public, v. 5. Maurice Larkin, France since the Popular Front, 179. 6. Ibid., 211. 7. Forbes and Kelly, French Cultural Studies, 143. 8. Jean-Claude Batz, A propos de la crise de l’industrie de cinéma, 63. 9. Ibid., 64. 10. Colin Crisp, The Classic French Cinema, 73. 11. “Box Office Foes: Cars, TV, Prosperity,” Variety, November 27, 1963, 4. 12. Batz, A propos de la crise, 68. 13. Pierre Autré, “Autos et ‘deux roues’ concurrent no 1 de cinéma,” 1. 367 14. Roland Barthes, “La voiture, projection de l’ego,” 92. For more on cars, France, and the film industry, see Kristin Ross, Fast Cars, Clean Bodies. 15. Tino Balio, The American Film Industry, 401–2. 16. André Bazin, “Le Cinemascope,” 672–83. 17. Forbes and Kelly, French Cultural Studies, 172. 18. “La recherche d’un public,” Le Film français 828 (April 8, 1960): 1. 19. Batz, A propos de la crise, 64. 20. Ibid., 71. 21. René Bonnell, Le cinéma exploité, 46. 22. Ibid., 52. 23. Ibid., 55. 24. Batz, A propos de la crise, 69. 25. “La machine à laver tourne-t-elle dans le sens de l’histoire?” L’Express, March 1, 1957, 14. 26. Edgar Morin, Stars and Le cinéma ou l’homme imaginaire. Morin went on to work with Jean Rouch on the famous documentary, Chronicle of a Summer, in 1961 and became editor of Communications, the leading journal on sociology, anthropology , and semiology in France. 27. “La machine à laver tourne-t-elle dans le sens de l’histoire?” 14. 28. Françoise Giroud, “Une grande enquête nationale: Répondez!” 18. 29. Luisa Passerini, “Youth as Metaphor for Social Change,” 319–20. 30. Coleman quoted in ibid., 319–20. 31. Françoise Giroud, La nouvelle vague. 32. “Rapport national sur la jeunesse,” L’Express, December 5, 1957, 19. 33. Jacques Siclier, Nouvelle vague? 34. Maurice Bessy, “Nouvelle vague . . . de spectateurs,” 1. 35. Forbes and Kelly, French Cultural Studies, 164. 36. Georges Duby, Histoire de la France, 3:432. 37. Germain Brée and Eric Schoenfeld, introduction to La jalousie, 5. 38. Alain Robbe-Grillet, personal interview, Athens, Georgia, May 1999. 39. Forbes and Kelly, French Cultural Studies, 164. 40. Alain Robbe-Grillet, For a New Novel, 8. 41. “En retard ou en avance?” L’Express, October 8, 1959, 31. 42. Robbe-Grillet, For a New Novel, 9. 43. Ibid. 44. Ibid., 26. 45. Forbes and Kelly, French Cultural Studies, 150. 46. Jonathan Culler, Structuralist Poetics, 4. 47. Rosalind Coward and John Ellis, Language and Materialism, 12. 48. Roland Barthes, Mythologies, 9. 49. Forbes and Kelly, French Cultural Studies, 168. 50. Duby, Histoire de la France, 3:409. Notes to Pages 9–24 368 51. Wallace Fowlie, Dionysus in Paris, 16–17. 52. Jacques Guicharnaud, Modern French Theatre from Giraudoux to Genet, 216. 53. Forbes and Kelly, French Cultural Studies, 157. 54. Ibid., 160. 55. Colin Crisp, Eric Rohmer, 15–16. 56. Jean-Paul Sartre, “Quand Hollywood veut faire penser . . . Citizen Kane, Film d’Orson Wells,” 3–5, 15. See also André Bazin, “The Technique of Citizen Kane,” 231–39. 57. Jacques Rivette, “Under Capricorn.” 58. Antoine de Baecque, Les cahiers du cinéma, 1:51–52. 59. Jean Douchet, French New Wave, 91. 60. Michel Dorsdale, “Le cinéma est mort.” 61. Antoine de Baecque and Serge Toubiana, Truffaut, 74. 62. Jim Hillier, introduction to Cahiers du Cinéma: The 1950s, 12...