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Chabarthes

Chabarthes SeconD TiMe ArounD D. A. MILLER CHABARTHES I BY ACCIDENT Roland Barthes had a column too; it was called “Mythologies” and ran regularly in Les Lettres nouvelles during the mid1950s. In 1957, the columns were collected into a still-famous book by the same name, but Barthes continued to write “Mythologies” for a few years after the book’s publication. Recently, poking around in his Œuvres complètes, I discovered that one of these late columns was on Claude Chabrol’s first film, Le Beau Serge, which Barthes saw on its February 1959 Paris release and which I happened to be just rewatching in Criterion’s crisp new digital restoration. I immediately “liked”—could not resist—the double accident whereby, having stumbled on an encounter between a favorite critic and a favorite auteur, I found myself viewing Le Beau Serge “at the same time” as Barthes. I might have learned of Barthes’s column on Le Beau Serge almost thirty years ago when Jonathan Rosenbaum offered some brief extracts from it in Sight and Sound (winter 1982–83); but I did not, and having missed my first opportunity I was determined to seize my second with a vengeance. Since Barthes’s essay is not available in English, I http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

Chabarthes

Miller, D. A.
Film Quarterly , Volume 65 (2) – Dec 1, 2011
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
Subject
Departments
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/FQ.2011.65.2.16
Publisher site
See Article on Publisher Site

Abstract

SeconD TiMe ArounD D. A. MILLER CHABARTHES I BY ACCIDENT Roland Barthes had a column too; it was called “Mythologies” and ran regularly in Les Lettres nouvelles during the mid1950s. In 1957, the columns were collected into a still-famous book by the same name, but Barthes continued to write “Mythologies” for a few years after the book’s publication. Recently, poking around in his Œuvres complètes, I discovered that one of these late columns was on Claude Chabrol’s first film, Le Beau Serge, which Barthes saw on its February 1959 Paris release and which I happened to be just rewatching in Criterion’s crisp new digital restoration. I immediately “liked”—could not resist—the double accident whereby, having stumbled on an encounter between a favorite critic and a favorite auteur, I found myself viewing Le Beau Serge “at the same time” as Barthes. I might have learned of Barthes’s column on Le Beau Serge almost thirty years ago when Jonathan Rosenbaum offered some brief extracts from it in Sight and Sound (winter 1982–83); but I did not, and having missed my first opportunity I was determined to seize my second with a vengeance. Since Barthes’s essay is not available in English, I

Journal

Film Quarterly – University of California Press

Published: Dec 1, 2011

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