Instead of be thought of in isolation, this e-book may be considered as a part of a basic attempt to make the paintings of Jacques Rivette on hand, in each feel of the time period. this isn't to indicate that the subsequent texts and interviews are being provided as a trifling complement to his motion pictures: if the full physique of Rivette’s paintings will be learn as a chain of evolving reflections at the cinema, the serious paintings contained during this quantity is indissolubly associated with the serious paintings represented via his film-making. From this viewpoint, it isn't sufficient to assert (for example) that Rivette’s 1957 evaluate of Fritz Lang’s past a cheap Doubt is helping to ‘explain’ — certainly, presents a veritable blueprint for — some of the preoccupations of his 1976 movie Noroit. one of many assumptions of this assortment is that it would be both worthy to view Noroit as a key in the direction of figuring out Rivette’s vital textual content on Lang.
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Instead of be thought of in isolation, this publication might be considered as a part of a common attempt to make the paintings of Jacques Rivette to be had, in each experience of the time period. this isn't to indicate that the next texts and interviews are being provided as an insignificant complement to his motion pictures: if the whole physique of Rivette’s paintings might be learn as a chain of evolving reflections at the cinema, the serious paintings contained during this quantity is indissolubly associated with the severe paintings represented via his film-making.
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Additional info for Rivette: Texts and Interviews
ROHMER: Of course. But all the same, we’re talking about a study of significations that more or less makes an abstraction of our more direct approach in Bazin’s time: the cinema as an instrument of discovery. Now, what we contributed to critical discourse in the 1950s was a profound connection with Nature, the discovery of natural objects whose beauty was revealed by the cinema. This is no longer your point of view, I understand. CAHIERS: Your will to refer constantly to the ‘outside’ of the film - the ‘world’, existing before and after it - as a concrete reality, isn’t this, finally, something entirely different from a search for what’s ‘natural’?
So I shot it in 35mm. The same with Ma nuit chez Maud: I tried to see if we could do it with amateurs but I renounced the idea of finding people capable of filling the roles. With the next film, I’m going to shoot it ‘professionally’. But with the sixth ‘Moral Tale,’ it is very possible that, all of a sudden, I could find it more interesting to do it in 16mm with amateurs. I don’t feel constrained by success, and, after the ‘Moral Tales’, I have no idea what I’m going to do. I don’t even consider myself to be a filmmaker by trade.
They were guided by the real paths that they had to follow. CAHIERS: We come back to the idea of the pre-existing real as guarantor, not as object. We agree with you that this ‘filmic place’ could not have existed if there hadn’t been this place that was filmed. But this doesn’t rule out the fact that the filmic place created by the unfurling of the scene totally substitutes itself for the filmed place. ROHMER: I have difficulty following you there. On the contrary, I felt the presence of the filmed place (artificial in this case, natural in other cases) very strongly, to the extent that its topography was the only thing dictating where I placed my camera.