From Film Comment (July-August 1977). After I returned to the U.S. early that year after seven and a half years of living in Europe (Paris and London), my “Paris Journal” and “London Journal” column in Film Comment became “Moving,” a preoccupation that eventually yielded the title of my first book, Moving Places.
Note: the 35 mm screening of JEANNE DIELMAN alluded to here was set up by Manny Farber and Patricia Patterson on the University of California, San Diego campus while they were working on the last of their essays. -– J.R.
How to keep moving in the same way that this column must travel — from La Jolla, to Richard Corliss in Cannes, to Film Comment in New York, to wherever you happen to be reading it? Now that TV Guide generally has to take the place of Pariscope, [London’s] Time Out, the New York newspapers, shall I write about the breathneck beginning of Sirk’s SLEEP, MY LOVE, the parallels with Preminger’s WHIRLPOOL,a wonderful exchange between Don Ameche and Hazel Brooks (”Doesn’t sound like my girl…” “You have a lot of girls. This is one of them”), or scenes that unexpectedly and mysteriously take place in the rain?… Read more »
From Sight and Sound (Summer 1977). -– J.R.
THE MAJOR FILM THEORIES: AN INTRODUCTION
By J. Dudley Andrew
OXFORD UNIVERSITY PRESS, £2.50(paperback)
The widespread distrust of film theory still persisting in mainstream criticism is scarcely confined to Anglo-American film culture. Less than a decade back, when Noël Burch’s Praxis du cinéma -– later translated as Theory of Film Practice –- first appeared in France, someone at Gallimard hit on a rather demented sales pitch, and the book was marketed with a wraparound banner boldly proclaiming, ‘Contre toute théorie.’ The curious science fiction tone of this declaration highlights a subterranean bias which informs most film reviewing on and off the continent: the idea that theory is an option best left to dusty academicians, while everyone else is better off operating on free-floating intelligence and intuition. Ironically, this is an assumption which expresses a theory of its own: that knowledge is essentially empirical. And the definition accorded to ‘empiricist’ by the Concise Oxford may be worth at least considering:’(person) relying solely on experiment; quack.’
In all fairness to ‘anti-theorists’, it should be conceded that science and art are hardly the same thing. If a sizeable part of our knowledge of the former is grounded in theory, the parti pris underlying our knowledge of cinema tends to be a much more random affair, a generally murky blend of half-examined predilections and working hypotheses.… Read more »
This book was published in 1977 by the British Film Institute and has been long out of print, although nearly all its contents has been reprinted on the excellent Jacques Rivette website, “Order of the Exile”. — J.R.
Rather than be considered in isolation, this book should be regarded as part of a general effort to make the work of Jacques Rivette available, in every sense of the term. This is not to imply that the following texts and interviews are being offered as a mere supplement to his films: if the entire body of Rivette’s work can be read as a series of evolving reflections on the cinema, the critical work contained in this volume is indissolubly linked with the critical work represented by his film-making. From this standpoint, it is not enough to say (for instance) that Rivette’s 1957 review of Fritz Lang’s Beyond a Reasonable Doubt helps to ‘explain’ — indeed, provides a veritable blueprint for — many of the preoccupations of his 1976 film Noroit. One of the assumptions of this collection is that it might be equally valuable to view Noroit as a key towards understanding Rivette’s important text on Lang.… Read more »