3. Cf.
Burch, Theory of Film Practice, pp. 36-37.
4. Arnold
Hauser, The Social History of Art, trans. Stanley Godman, 4 vols. (New
York: Vintage Books, n.d.), IV:244. See also Willett, Art and Politics, pp. 108-10.
5. Margot
Kernan pointed this out to me.
6. Cf.
Rhode, A History of the Cinema, pp. 117-55.
7. Stig
Björkman, Torsten Nanns, and Jonas Sima, Bergman on Bergman, trans. Paul
Britten Austin (New York: Simon & Schuster, 1973), p.29.
8. Social
History of Art, IV: 250.
9. Ambiguous
Image, p. 14.
10. See
Andrew, Bazin, for a discussion of postwar film culture in France.
11. The
most important analysis of the effects of the gaze in the shot/ reaction shot
style is Daniel Dayan, "The Tutor-Code of Classical Cinema," in
Nichols, Movies and Methods, pp. 438-51. The essays on point of view in Film
Reader 4 are also helpful. See also Nick Browne, "The
Spectator-in-the-Text: The Rhetoric of Stagecoach," Film Quarterly 29
(Winter, 1975-76), 26-38. My reading of the film parallels Thomson, Biographical
Dictionary, pp. 494-95.
12. What
Is Cinema? 11:98.
13. The
notion of closed form is similar to that of Leo Braudy, The World in a Frame
(Garden City, N.Y.: Anchor Press/Doubleday, 1976), pp. 94-103.
14. The
notion of "making strange," re-situating the familiar objects of the
world so that we perceive them differently, is a central concern of
Russian formalist criticism. See Fredric Jameson, The PrisonHouse of
Language (Princeton: Princeton University Press, 1974), pp. 50-54.
15. What
Is Cinema?, I: 27.
16. Ibid.,
p. 26.
17. Ibid.,
p. 35.
18. Ibid.,
pp. 35-40.
19. Jean
Narboni in Jonathan Rosenbaum, ed., Rivette: Texts and Interviews, trans.
Amy Gateff and Tom Milne (London: British Film Institute, 1977), p. 81.
20. See
Brian Henderson, A Critique of Film Theory (New York: E. P. Dutton, 1980),
pp. 16-31.
21. Narboni
in Rivette, p. 8 1.
22. The
notion of the enigmatic code in a narrative, that which prods us into
continuing by making us wonder what will happen, comes from Roland Barthes, S/Z,
trans. Richard Miller (New York: Hill and Wang, 1974).
23. See
Jonathan Rosenbaum, "Tati's Democracy," Film Comment 9
(May-June, 1973), 36-41; Lucy Fischer, "Beyond Freedom and Dignity: An
Analysis of Jacques Tati's Playtime," Sight and Sound 45 (Autumn,
1976), 234-39 (with an afterword by Rosenbaum).
24. Analogue
and digital theories of language and communication are numerous and complex.
One source is Umberto Eco, A Theory of Semiotics (Bloomington and
London: Indiana University Press, 1976),pp.189-90.
25. Alain
Robbe-Grillet, Last Year at Marienbad, trans. Richard Howard (New York:
Grove Press, 1962), p. 90. The monologue in the film itself is somewhat
different.
26. For
the concept of play in the film-and a reading which is generally close to this
one-see Alan Thiher, The Cinematic Muse: Critical Studies in the History of
French Cinema (Columbia and London: University of Missouri Press, 1979),
pp. 166-79. Thiher also recognizes the subversive activity in modernist film.
27. Robbe-Grillet,
Marienbad, p. 12.
28. Alain
Resnais (New York: Oxford University Press, 1979), p. 8.
29. See
Peter Wollen, Signs and Meanings in the Cinema (Bloomington and London:
Indiana University Press, 1972), pp. 155-74; Bill Nichols, Ideology and the
Image (Bloomington: Indiana University Press, 1981), pp. 69-103.
30. Cf.
Thomson, Biographical Dictionary, pp. 566-67.
31. "The
Cinema of Marguerite Duras: Sound and Voice in a Closed Room," Film
Quarterly 33 (Fall, 1979), 25.
32. Bergman
on Bergman, pp. 29, 32.
33. Godard
on Godard, ed. Jean Narboni and Tom Milne, trans. Tom Milne (New York:
Viking Press, 1972), pp. 146-47.
34. Manny
Farber, Negative Space (New York: Praeger, 1971).
35. In
1957, Eric Rohmer and Claude Chabrol wrote a monograph on Hitchcock, one of the
first large-scale studies of an American filmmaker. Published in English as Hitchcock:
The First Forty Four Films, trans. Stanley Hochman (New York: Frederick
Ungar, 1979).
36. John
Hess's analysis, "La Politique des Auteurs," can be found in Jump
Cut, nos. 1 and 2 (May-June, July-August, 1974), 19-22, 20-22.
37. Truffaut,
"A Certain Tendency of the French Cinema," in Nichols, Movies and
Methods, p. 234.
38. Astruc,
"The Birth of a New Avant-Garde: La Cam9ra-Stylo," in The
New Wave, ed. Peter Graham (Garden City, N.Y.: Doubleday, 1968),p.22.
39. James
Monaco draws interesting parallels between Astruc's notions of
"writing" and those of Roland Barthes. See The New Wave (New
York: Oxford University Press, 1976), pp. 8-9.
40. Godard
on Godard, p. 175.
41. Ibid.,
p. 28. And see Monaco, New Wave, pp. 104-7.
42. Godard
on Godard, p. 39.
43. Ibid.,
p. 40.
44. Ibid.,
p. 173.
45. For
Claire's Knee, "I didn't look for locations to fit a story I had
written; I found the places first and it was only afterwards that I wrote the
film." Quoted by Rui Nogueira, "Eric Rohmer: Choice and Chance,"
Sight and Sound 40 (Summer, 1971), 122.
46. Joe
Miller and Barbara Bowman were helpful in this discussion of The Marquise of
0.
47. Robert
Phillip Kolker, "Angle and Reality: Godard and Gorin in America," Sight
and Sound 42 (Summer, 1973), 132. Jean-Marie Straub said that his film on
the life and music of Bach, The Chronicle of Anna Magdalena Bach, "was
his contribution to the fight of the North Vietnamese against the
Americans." Quoted in Richard Roud, Jean-Marie Straub (New York:
The Viking Press, 1972), p. 71.
48. E.
H. Gombrich, Art and Illusion: A Study of the Psychology of Pictorial
Representation (Princeton: Princeton University Press, 1969).
49. Critical
Essays, trans. Richard Howard (Evanston: Northwestern University Press,
1972), p. 74.
50. "Against
Georg Lukdcs," p. 50.
51. Brecht
on Theatre, trans. John Willett (New York: Hill and Wang, 1979), p.37.
52. "A
Short
Organum for the Theatre," in ibid., p. 193.
53. Screen
15 (Summer, 1974) contains a number of articles on Kuhle
Wampe. For the theater of Piscator and Brecht see Willett, Art and
Politics, pp. 149-58.
54. "Short
Organum," p. 201.
55. Film
Language, p. 100. For Godard's camera practice, cf. Burch, Theory of Film
Practice, pp. 119-21.
56. In Jean
Collet, Jean-Luc Godard, trans. Ciba Vaughan (New York: Crown
Publishers, 1970), pp. 146-48.
57. See ibid.,
pp. 34-35.
58. Roud, Straub,
p. 78.
59. See Jonathan
Rosenbaum, "Interruption as Style: Bufiuel's Le Charme discret de la
bourgeoisie," Sight and Sound 42 (Winter, 1972/73), 2-4, and
Armes, Ambiguous Image, p. 39.
60. Cf. Roud, Straub,
pp. 19-26.
61. For a more
detailed study of Bresson's recent films see Michael Dempsey, "Despair Abounding:
The Recent Films of Robert Bresson," Film Quarterly 34 (Fall, 1980),
2-15. The Devil Probably (1977), Bresson's most recent film as of
this writing, never got into distribution in the United States, presumably
because its producers, believing there existed a large market for such a work,
demanded too much money for it.
62. "Bressonisms,"
Sight and Sound 46 (Winter, 1976/77), 21. Bresson's complete text
is in Notes on Cinematography, trans. Jonathan Griffin (New York: Urizen
Books, 1977).
63. Thomas
Elsaesser, "The Postwar German Cinema," in Fassbinder, ed.
Tony Rayns (London: British Film Institute, 1980), p. 4.
64. Quoted in
ibid., p. 8.
65. Much has
been written on the financial arrangements that make the work of the new German
filmmakers possible. See the Elsaesser article cited above; Hans-Bernhard
Moeller, "New German Cinema and Its Precarious Subsidy and Finance
System," Quarterly Review of Film Studies 5 (Spring, 1980),
157-68; Richard Collins and Vincent Porter, "West German Television,"
Sight. and Sound 49 (Summer, 1980), 172-77; Jan Dawson, "A
Labyrinth of Subsidies," Sight and Sound 50 (Winter, 1980/81),
14-20.
66. The
political climate in West Germany is discussed by Jan Dawson, "The Sacred
Terror: Shadows of Terrorism in the New German Cinema," Sight and Sound
48 (Autumn, 1979), 242-45; Jack Zipes, "The Political
Dimensions of The Lost Honor of Katharina Blum," New German Critique, no.
12 (Fall, 1977), 75-84; Hans Magnus Enzensberger, "Civil
Liberties and Repression in Germany Today," trans. Sophie Wilkins, October,
no. 9 (Summer, 1979), 107-17.
67. David Wilt,
"Driving the Rough Road: The Outlaw Couple in American Film, 1937-1976,"
(M.A. thesis, University of Maryland, 1980), analyzes the image of
the road in American film.
68. Pierrot
Le Fou, trans. Peter Whitehead (New York: Simon and Schuster, 1969), pp.
28-33. 1 have slightly modified the translation.
69. Mike Bygrave
and Joan Goodman, "Meet Me in Las Vegas," American Film 7 (October,
1981), 41-42; Lynda Myles, "The Zoetrope Saga," Sight and
Sound 51 (Spring, 1982), 93.
70. "Short
Organum," p. 193.
71. See Richard
Dyer, "Reading Fassbinder's Sexual Politics," in Rayns, Fassbinder,
p. 58.
72. Quoted in J.
C. Franklin, "The Films of Fassbinder: Form and Formula," Quarterly
Review of Film Studies 5 (Spring, 1980), 169.
73. See
Christopher Orr, "Closure and Containment: Marylee Hadley in Written on
the Wind," Wide Angle, vol. 4, no. 2 (1980), 29-35.
74. Dyer,
"Fassbinder's Sexual Politics," pp. 62-63.
75. "That's
one of the greatest films in the world." Fassbinder in an interview with
John Hughes and Brooks Riley, "A New Realism," Film Comment 11
(November-December, 1975), 15.
76. The film is
full of radio news reports, which, like the broadcast of the soccer match,
provide a necessary historical background. The subtitled version does not
translate them. My thanks to Peter Beicken for pointing out the significance of
the soccer match.
77. Quoted by
Franklin, "Films of Fassbinder," 174. See also Judith Mayne,
"Fassbinder and Spectatorship," New German Critique, no. 12 (Fall,
1977), pp. 61-74; Paul Thomas, "Fassbinder: The Poetry of the
Inarticulate," Film Quarterly 30 (Winter, 1976-77), 2-17.
78. Michael
Dempsey, "Apocalypse Now," Sight and Sound 49 (Winter,
1979/80),6.
79. See William
F. Van Wert, "Hallowing the Ordinary, Embezzling the Everyday: Werner
Herzog's Documentary Practice," Quarterly Review of Film Studies 5
(Spring, 1980), 183-92.
80. Peter
Beicken pointed out the relationship of Herzog's landscapes to one German
romantic painter, Caspar David Friedrich (1774-1840). The notion of a
"neo-realistic expressionism" was offered by Maxmillian Schell at an
early point in the New German Cinema movement. See David L. Overbey, "From
Murnau to Munich: New German Cinema," Sight and Sound 43 (Spring,
1974), 101.
81.
Quoted in Alan Greenburg, Heart of Glass (Munich: Skellig, 1976), p.
122.
82. "Herzog
in Berlin," Film Comment 13 (September-October, 1977), 38.