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Cahiers Jaunes

INTeRTITLeS PAUL THOMAS CAHIERS JAUNES Many moons ago, as a neophyte tutor in film studies at Harvard, I found myself preparing a course on Renoir. I remember repairing to the stacks in Widener Library to read what the critics in Cahiers du cinéma had said about Renoir. The critics in question were a generation quite unprecedented in the history of cinema—Godard, Truffaut, Rohmer, Chabrol, Rivette, referred to by both Emilie Bickerton in A Short History of “Cahiers du cinéma” and Richard Brody in Everything is Cinema: The Working Life of Jean-Luc Godard as “the Hitchcocko-Hawksians”—Young Turks who all envisaged themselves as future directors as well as cinéastes. While these may have been biding their time as critics at Cahiers, I can personally attest that they were not wasting it. (Godard wrote about film for ten years before being able to make Breathless.) What the Hitchcocko-Hawksian generation had to say about Renoir fairly leapt off the page. These are people who knew their Renoir inside out and backwards. (Truffaut boasted of having seen Rules of the Game twenty times.) To this day I fail to understand why many of these incandescent writings still remain uncollected and untranslated. What Bickerton http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

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