230 research outputs found
L’espace : table ronde autour de Jacques Rivette
No full textLe texte reproduit la transcription d’une table ronde de 1969 consacrée au sujet de « “L’espace” au cinéma », à laquelle participaient les rédacteurs des Cahiers du cinéma (Jacques Aumont, Pascal Bonitzer, Pascal Kané, Jean Narboni, Sylvie Pierre et Jacques Rivette), restée inédite, accompagnée d’une présentation donnant le contexte historique du document. Le dactylogramme a été retrouvé dans le Fonds Jacques Rivette (déposé à la Cinémathèque française), et atteste du rôle joué par Rivette au sein de la revue dans les années 1968-1969, bien après avoir démissionné de sa position de rédacteur en chef. Le débat sur l’espace cinématographique constitue un complément à celui sur « le montage » paru en mars 1969, et, en s’inspirant des théories de Barthes, Althusser et Lacan parmi d’autres, il comprend des points de discussion tels que la scène primitive, l’espace mythique du western, le couple fiction/lieu et le motif de la clôture dans le cinéma moderne. De plus, il nous fournit un document précieux sur le processus de travail intellectuel collectif pratiqué par les Cahiers pendant la période politisée de la revue.The text reproduces the transcription of a 1969 round-table dedicated to the issue of « Space » in the cinema, which featured the editors of Cahiers du cinéma (Jacques Aumont, Pascal Bonitzer, Pascal Kané, Jean Narboni, Sylvie Pierre et Jacques Rivette), but which is published here for the first time, accompanied by an introduction presenting the document’s historical context. The typescript was found in the Fonds Jacques Rivette (deposited with the Cinémathèque française), and attests to the role played by Rivette within the journal in the years 1968-1969, well after he had his left his position as editor-in-chief. The debate on cinematic space constitutes a complement to its counterpart on montage (which was published in Cahiers in March 1969), and, drawing inspiration from the theories of Barthes, Althusser and Lacan among others, it includes points of discussion such as the primal scene, the mythical space of the western, the fiction/place duality and the motif of closure in modern cinema. Moreover, it provides us with a valuable document of the process of collective intellectual labour practised by Cahiers during the journal’s politicised period
Jacques Rivette
No full textAs a pioneer of the French New Wave, Jacques Rivette was one of a group of directors who permanently altered the world's perception of cinema by taking the camera out of the studios and into the streets. His films, including Paris nous appartient, Out 1: Noli me tangere, Céline et Julie vont en bateau: Phantom Ladies Over Paris, La belle noiseuse, Secret défense, and Va savoir are extraordinary combinations of intellectual depth, playfulness, and sensuous beauty. This book provides a thorough account of the director's career from the burgeoning French New Wave to the present day, focusing on the theatricality of Rivette's films and his explorations of the relationship between cinema and fine arts such as painting, literature, music, and dance. The book also explores the intellectual interests that shaped Rivette's approach to film, including Sartre's existentialism, Barthes's structuralism, and the radical theater of the 1960s. The volume concludes with an insightful interview with Rivette.</p
Jacques Rivette / John Carpenter – insularidades comparadas
No full textInternational audienceAnalyse comparée du motif de l'insularité dans les films de Jacques Rivette et ceux de John Carpente
Jacques Rivette, Textes Critiques
No full textCette fin de décennie sera rivettienne ou ne sera pas. Edités par post-éditions, les Textes Critiques de Jacques Rivette, rassemblés et organisés avec une grande cohérence par Miguel Arras et Luc Chassel – ce dernier en signe également la présentation –, s’inscrivent en effet dans une série de parutions consacrées au cinéaste et critique. Ils suivent la réédition chez Carlotta de trois films, la parution chez Potemkine d’un coffret réunissant Céline et Julie vont en bateau (1974) et Le Pont d..
Ciudadano Moretti. Marc Recha e Isabel Coixet: dos espléndidas rarezas. Jacques Rivette
No full textLa madriguera (1998). Ciudadano Moretti. Marc Recha e Isabel Coixet: dos espléndidas rarezas. Jacques Rivette. Ediciones de intervención cultural S.L. https://riunet.upv.es/handle/10251/41720.Importación Masiva56561
Secrets and lies, or how (not) to write about Jacques Rivette
No full textIt has become a critical commonplace for writers on Jacques Rivette to lament - in addition to the difficulty of accessing some of his films - the paucity of critical writing on his work. Writing about Jacques Rivette is certainly scarce compared to the amount of criticism devoted to the leading lights of the New Wave, Godard and Truffaut, and even to the critical work on their less celebrated peers Claude Chabrol, Eric Rohmer and Agn s Varda. Where the first monograph on Godard was published in 1963, the first on Rivette did not appear until 2001. The current collection of articles aims to redress that balance, and contributors to this number are also responsible for the first English-language books on Rivette. It is also true, however, if less frequently pointed out, that much of the existing writing on Rivette, though sometimes evocative, is often singularly unhelpful to the scholar seeking to understand something of the director's work. Writing about Jacques Rivette, rather like the director's films, has a stubborn tendency to go round in circles: in other words, just as Rivette's films, such as Paris nous appartient (1961), Out 1 (1970) or Le Pont du Nord (1982), are often described as turning circles around an absent centre, whether physically, metaphorically or narratologically, so too Rivette criticism tends to build a self-referential discourse that contains the films within a kind of closed circuit of analysis, often without engaging much with their material or cinematographic reality. It is not within the scope of the present article to produce an exhaustive review of the literature on Jacques Rivette; nor does this article seek to provide the close reading of Rivette's films lacking in so much existing literature. Rather, I shall seek, in what follows, simply to tease out some of the most common tropes of Rivette criticism, necessarily focusing on a handful of the director's most prominent commentators: among others, these will include Helene Frappat, inevitably, but also Serge Daney's writing in Liberation, Marc Chevrie's in Cahiers du cinema, and the early championing, in the Anglophone world, of Jonathan Rosenbaum
Jacques Rivette, el arte de la ficción
No full textNo son pocas las ocasiones en las que una mirada pausada sobre una figura poco representativa dentro de un movimiento o colectivo –sea cinematográfico, literario o de cualquier otra manifestación artística- tiene la capacidad de arrojar una perspectiva interesante e inusitada sobre todo el conjunto. Matices y ángulos que, a la sombra que proyectan las figuras más visibles de ese movimiento, habían pasado inadvertidos. La ensayista y cineasta Ana Useros se enfrenta en este texto con la obra –cinematográfica y escrita- de Jacques Rivette, el espíritu libre de la Nouvelle Vague
La création en direct : L’Amour fou de Jacques Rivette (1968)
No full text« En art, le savoir-faire est manquement à l’essentialité. L’artiste qui n’est pas en disposition d’oublier son savoir-faire devient progressivement paralysie de lui-même. »Louis Calaferte, Perspectives. Afin de bien appréhender la façon dont Jacques Rivette filme l’acte de création dans L’Amour fou, il convient tout d’abord de retracer la genèse du film, d’évoquer la réflexion qu’il l’a accompagnée. En 1967, sur la proposition de Georges de Beauregard de réaliser un film en peu de temps et à..
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