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ISBN-10: 0415029880

ISBN-13: 9780415029889

From the Back
Since its origin in 1951, the French movie magazine Cahiers du Cinéma - probably, the main influential and doubtless the main fascinating movie magazine ever released - has been an enormous resource of principles and controversy inside movie feedback and film-making. The fourth quantity during this influential sequence of anthologies covers the colourful and turbulent interval from 1973 to 1978, during which the editorial makeup and coverage of the magazine replaced extensively, and problems with idea, heritage and politics ruled serious debate. The anthology combines essays through critics similar to Pascal Bonitzer, Serge Daney and Th ese Giraud; round-table discussions; stories of up to date motion pictures from megastar Wars and King Kong to Padre Padrone and Jeanne Dielman ; and interviews with prime theorists together with Marc Ferro and Michel Foucault, offering a wealthy sampler of Cahiers' provocative and necessary contribution to debates in movie and cultural politics.

About the Book
This ultimate quantity of choices from Cahiers du Cinéma goals to mirror the foundations underpinning the sequence which have been defined by way of Jim Hillier in his Preface to the 1st volumes. specifically, we now have attempted to make sure that this quantity is self-contained, is consultant of the interval coated and is out there to the non-specialist reader.
In normal, the texts during this quantity are extra 'accessible¿ than a lot of these in quantity three. this isn't due to any editorial determination on our half. It easily displays the editorial shift in Cahiers which turned more and more discernible through the later Nineteen Seventies - a shift echoed via the journal's determination to desert its austere layout (no photographs) of the early Seventies. Cahiers persevered to occupy, and advance, the political and theoretical positions elaborated within the post-1968 interval, particularly questions about the position of the spectator (the effect of Lacan's psychoanalytic paintings remains to be very evident), and questions on politics and heritage coming up out of the writings of Michel Foucault, Marc Ferro and others. yet, as Bérénice Reynaud indicates in her creation, those positions grew to become steadily much less entrenched than they have been within the instant post-1968 years. Cabiers, because it have been, started to argue with itself.
A carrying on with total dedication to knowing the character and operation of mainstream cinema, via a scientific re-reading of either motion pictures and movie historical past, feedback and concept, started to be complemented by means of an equivalent dedication to discover choices to this cinema, no matter if within the deconstructed ecu cinema of Godard, Straub/Huillet and others or within the 'anti-imperialist' cinema in, for instance, Algeria, Palestine, Chile. there has been additionally a renewed curiosity in French cinema, and within the manner within which a surely 'national' cinema had to be generated and understood. during this feel, questions about cinema and cultural fight remained on the most sensible of the Cazbiers time table: what may perhaps a thorough movie magazine give a contribution to political fight at the cultural front?
Bérénice Reynaud

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This fit perfectly with my own growing interest in the mysteries surrounding the JFK assassination, and my conviction that the secrecy had to be stripped away and the documents of the Warren Commission and other agencies declassified if we were ever going to learn the full truth. However, the political realist in me also knew that this was considered a taboo subject that no one on the Hill or elsewhere in Washington would touch with a ten-foot pole. In the meantime, I had discovered another book on the Kennedy assassination, Conspiracy by Anthony Summers, a British journalist who had worked for the BBC.

After eight years there, with only a short break, I was burning out. I wanted to try something new and different. A wild idea had been percolating in the back of my head, and I decided to act on it. At the end of the year, I wrote a letter to Oliver Stone. I said that I had been very impressed by the impact that JFK had made, and that we could never have passed the “JFK bill” without his film. This was very true. I also said that I felt that I might be able to have even more impact by working with a filmmaker like him than I could have as a congressional staffer.

In this case, the classified files of the HSCA amounted to more than 800 boxes of material that were locked away—interviews, transcripts, tapes, depositions, CIA and FBI files acquired by the committee and a mountain of other material. It was criminal that this material had not been made public in the first place. An attempt had been made by Congressman Stewart McKinney of Connecticut in 1983 to introduce a bill in the House that would open up these files, but it had been blocked by Stokes and Blakey.

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Cahiers du Cinéma, Volume 4: 1973–1978: History, Ideology, Cultural Struggle: An Anthology from Cahiers du Cinéma nos 248–292, September 1973–September 1978 (Routledge Library of Media & Cultural Studies)


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