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Journals Film Quarterly Volume 62 Issue 4

inTErTiTlES PAUL THOMAS FROM THE OTHER SHORE On page 103 of his admirable survey, Making Waves, Geoffrey Nowell-Smith quotes a distinction drawn by the perpetually underestimated Jacques Rivette: “There are films which . . . have a beginning, and an ending, which carry a story through from its initial premise until everything has been brought back into order, and there have been deaths, marriage or a revelation; there is Hawks, Hitchcock, Murnau, Ray, Griffith. And there are films quite unlike this, which recede into time like rivers into the sea; and which offer us only the most banal of closing images: rivers flowing, crowds, armies, shadows passing, curtains falling in perpetuity, a girl dancing to the end of time; there is Renoir and Rossellini.” As Nowell-Smith deftly and immediately points out, while in 1955, when Rivette wrote these rather wonderful words, “it would be hard to think of more than a handful of names to put alongside those of Renoir and Rossellini,” by the end of the 1960s “there were many filmmakers who could be put on that side of the divide, among them Rivette himself” (103). And this is a measure of the importance of the 1960s,

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From the Other Shore

Thomas, Paul
Film Quarterly , Volume 62 (4)
University of California Press – Jun 1, 2009

More Info
  • Publisher University of California Press
  • Copyright © 2009 by the Regents of the University of California.
  • Subject Departments; Intertitles
  • ISSN 0015-1386
  • eISSN 1533-8630
  • D.O.I. 10.1525/fq.2009.62.4.94
  • Publisher site Get PDF  

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