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By James Naremore

In 1895, Louis Lumière supposedly acknowledged that cinema is "an invention with no future." James Naremore makes use of this mythical comment as a place to begin for a meditation at the so-called demise of cinema within the electronic age, and as a manner of introducing a wide-ranging sequence of his essays on videos earlier and current. those essays comprise discussions of authorship, edition, and appearing; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and studies of more moderen paintings by means of non-Hollywood administrators Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. vital issues recur: the kin among modernity, modernism, and postmodernism; the altering mediascape and dying of older applied sciences; and the necessity for powerful severe writing in an period while print journalism is waning and the arts are devalued. The e-book concludes with essays on 4 significant American movie critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.

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And André Bazin, too”) in order to challenge complacent assumptions about authorship and art. The particular avant-garde with which Godard’s review has affinities is surrealism. Although Positif had direct connections with the surrealists and sometimes attacked the critics at Cahiers, the two groups were in many ways similar. Both were fond of American films, particularly of B movies and film noir, and both sometimes used a lyrical, almost swooning language—as when Authorship, Auteurism, and Cultural Politics / 19 Godard tells us that A Time to Love and a Time to Die sets his cheeks afire.

I do not think time is wasted in writing about these novelists, all things being equal, and I do not think it would be wasted if hundreds of post-graduates were writing research theses on Jean Renoir, Max Ophuls or John Ford” (160–61). These arguments owed something to the culture-and-society debates of the previous century, but they also realigned or decentered the academic canon and encouraged a certain curiosity about how canons are formed in the first place. For that reason and others, auteurism as a movement began to self-destruct.

The New Wave was fostered by postmodernity, but it retained residual features of romanticism and critical modernism. However it might be described, the important point is that French success in the art theaters gave the auteurist writings of Godard, Truffaut, Rohmer, and Chabrol a special authority. By the early 1960s the movement had spread far beyond France. In England, it influenced the best critics of the period, including Robin Wood, Raymond Durgnat, Victor Perkins, Peter Wollen, David Thomson, and the group of writers associated with Movie.

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