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of the twenty-first century, one can only hope that these female directors’ films will have the power to reverse sexual stereotypes and to fulfil the wish film director Nelly Kaplan expressed in 1976 : ‘Mais de grâce, que les films faits par des femmes soient construits pour intéresser – même en dérangeant, surtout en dérangeant – tout le monde! Il s’agit de raconter des histoires. Et a travers elles, de détróner ce qui est le poison le plus insidieux du cinéma: sa misogynie’ 6 (p. 14). There is very little doubt that Serreau
could have no fictional motivation, no justification. If you look at the films of the 1930s, they are marked (from film to film, director to director) not only by their conventionality but by the modesty of their conventions – few if any close-ups, no action or gesture or word that was not clearly motivated and understood, no truly objective shooting so that, in the movement from one shot to another, a dramatic reason or an exchange of looks or a continuity of points of view would be established (the shot/reverse-shot was a crucial instrument for maintaining the
became less averse to editing. Bertolucci’s concern was with blurring differences between fiction and reality. Bazin’s ‘realism’ linked to an uninterrupted space and time which he attributed to the cinema of Orson Welles and its supposed realism. In fact, few film directors have been as committed to artifice, theatre, make-believe and fakery as Welles. Welles was an anti-realist like Bertolucci. What Bertolucci and Welles brought into play was an apparent c ontradiction between film as a duplication of the real and film as artifice and theatre. The shot sequence and
the more remarkable when one notes that in recent years several previously successful French film directors have been more or less obliged to abandon the cinema, including Léos Carax, Jean-Jacques Beineix and Bertrand Blier.) Chabrol’s forty-year career is in some ways a history of recent French cinema and society: neorealism, the new wave, the trauma of the Algerian War, the political legacy of 1968, the rise of the consumer society
combine critical social realism with supernatural Gothic. Arthouse film director Lars von Trier's turn to the TV medium and the creation of a Gothic TV series about a haunted hospital proved to be surprisingly popular with TV viewers in Denmark and Sweden, as well as with critics. 3 Riget was also successfully presented as a four-hour film at national and international film festivals. In 1995, it won the national Bodil Awards for the best Danish film, best actor, best actress
articles; the fifth issue is dedicated to Hawks. Early Movie also published substantial interviews with directors, including: Minnelli, Varda, Preminger, Hawks, Hitchcock, Tashlin, Bresson, Leacock, Aldrich, Chabrol and King Vidor. In this period there are two round-table discussions, one on Fleischer’s Barabbas in the first issue, and a second on Movie criticism in the eighth. The first eleven issues also include a small number of general articles, such as ‘The British Cinema’ in the opening issue and ‘Films, Directors, Critics’ in the second. Among the subjects
’amour releasedin France in 1974 (see the filmography and below for more details). In 1975 she made her debut as a film director. She directed ashort fiction film, entitled Le Rendez-vous, for the second French public channel. From feminist activist documentary to mainstream comedies: genres and mixture of genres In an interview in February 1977, 2 Coline Serreau told the journalist who asked her whether she would continue to make documentaries that ‘j’ai envie de continuer la fiction aussi, et j’ai envie de continuer à jouer: pour
and film comedy, registers his contribution, as does Take Ten: Contemporary British Film Directors (1991). There, Peter Greenaway speaks of admiring Gilliam and fellow Python Terry Jones for their anarchy and irreverence, 4 while Derek Jarman puts ‘glorious Terry Gilliam’s Brazil ’ on a very short list of British 1970s and 1980s films he would keep. 5 By
and the changing role of masculinity in the second half of the twentieth century. This implicit alignment of Leconte with the projects of other directors suggests a second, and equally important, interpretation of ‘les autres’. ‘Les autres’, then, may designate as well the community of contemporary film directors of which Leconte is a part, even if his role in this community is ambiguous and often difficult to define. In
because the wartime and postwar surge in British film-making had largely spent itself. When he did direct again, it was clear that he had lost what ascendancy he had enjoyed in the 1940s; what he did for the rest of his life was to make the best of what came his way. Notes 1 Quoted by David Quinlan, The Illustrated Guide to Film Directors (London, B. T