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Cahiers du Cinéma is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951–1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema―American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scène as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal’s major contributors and theorists―Godard, Truffaut, Rohmer, Rivette, Chabrol―were to become some of France’s most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

Elevate your style with the Borbonese Cahier shoulder bag, a timeless piece featuring the iconic OP print fabric and leather finishes. This light and refined bag complements any outfit effortlessly. Dimensions: 23x 17x 8 cm (lxhxd). Material: OP fabric and leather. Closure: zip. Detachable and adjustable shoulder strap.

The ideal lightweight journal for day-to-day use! Cardboard cover and visible stitching 80 pages (40 sheets) of ruled, acid-free paper; last 16 sheets are perforated Flap pocket on inside back cover Your personalization printed on bottom of front cover Journals come packaged with a Moleskine branded ivory paper band and are individually shrink wrapped

Perfect lightweight journal for day-to-day use with cardboard cover and visible stitching. 80 pages (40 sheets) of ruled, acid-free paper Last 16 sheets are perforated Flap pocket on inside back cover PVC-free product Add your custom one-color personalization Journals come packaged with a Moleskine retail paper band

Japanese remastered LP pressing. 2018.

Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 2.25

État NEUF / NEW condition FFO6083 9782844260833 1

Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. 0.71

Ce cahier d exercices, très pratique et ludique, a été conçu spécialement pour les grands débutants en anglais. Près de 240 exercices à la progression étudiée et sous forme de jeux sont proposés, accompagnés de leurs corrigés. À la fin de chaque chapitre, vous pourrez également autoévaluer votre niveau de langue. Aucune dimension de la langue n a été oubliée : la grammaire, l orthographe, le vocabulaire, la conjugaison ou encore la prononciation.

Buy with confidence! Book is in new, never-used condition 0.79

Livre a L?etat de Neuf. Expedie Sous 3 Jours Ouvres. Numero de Suivi Communique Avant Envoi, Emballage Renforce. Ean:9782804164058

Buy with confidence! Book is in new, never-used condition 0.42

The Cahiers/Notebooks of Paul Valéry are a unique form of writing. They reveal Valéry as one of the most radical and creative minds of the twentieth century, encompassing a wide range of investigation into all spheres of human activity. His work explores the arts, the sciences, philosophy, history and politics, investigating linguistic, psychological and social issues, all linked to the central questions, relentlessly posed: what is the human mind and how does it work?, what is the potential of thought and what are its limits? But we encounter here too, Valéry the writer: exploratory, fragmentary texts undermine the boundaries between analysis and creativity, between theory and practice. Neither journal nor diary, eluding the traditional genres of writing, the Notebooks offer lyrical passages, writing of extreme beauty, prose poems of extraordinary descriptive power alongside theoretical considerations of poetics, ironic aphorisms and the most abstract kind of analysis. The concerns and the insights that occupied Valéry’s inner voyages over more than 50 years remain as relevant as ever for the contemporary reader: for the Self that is his principal subject is at once singular and universal.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 0.22

Cahiers du Cinema is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue. The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts racked the world of film criticism with their provocative views an international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scéne as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists Godard, Truffaut, Rohmer, Rivette, Chabrol were to become same of France's most important film directors and leaders of the New Wave. Translated under the supervision of the British Film Institute, the selections have far the most part never appeared in English until now. Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whale. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

Book is in NEW condition. 0.71

First published in 1990. Routledge is an imprint of Taylor & Francis, an informa company.

Unread book in perfect condition.

The Cahiers/Notebooks of Paul Valéry are a unique form of writing. They reveal Valéry as one of the most radical and creative minds of the twentieth century, encompassing a wide range of investigation into all spheres of human activity. His work explores the arts, the sciences, philosophy, history and politics, investigating linguistic, psychological and social issues, all linked to the central questions, relentlessly posed: ‘what is the human mind and how does it work?’, ‘what is the potential of thought and what are its limits?’ But we encounter here too, Valéry the writer: exploratory, fragmentary texts undermine the boundaries between analysis and creativity, between theory and practice. Neither journal nor diary, eluding the traditional genres of writing, the Notebooks offer lyrical passages, writing of extreme beauty, prose poems of extraordinary descriptive power alongside theoretical considerations of poetics, ironic aphorisms and the most abstract kind of analysis. The concerns and the insights that occupied Valéry’s inner voyages over more than 50 years remain as relevant as ever for the contemporary reader: for the Self that is his principal subject is at once singular and universal.

In the turbulent sixties, the provocative French film journal Cahiers du Cinema was at its most influential and controversial. The first successes of the New Wave by major Cahiers contributors such as Jean-Luc Godard, François Truffaut, Jacques Rivette, Eric Rohmer, and Claude Chabrol focused international attention on the revitalization of French cinema and its relation to film criticism; and in the early 1960s the journal's laudatory critiques of popular American movies were attaining the greatest notoriety. As the lively articles, interviews, and polemical discussions in this volume reveal, the 1960s saw the beginnings of significant new directions in filmmaking and film criticism changes in which the New Wave itself was a major factor. The auteur theory that the journal had championed in the 1950s began to be rethought and revalued. At the same time, along with a reassessment of American film, Cahiers began to embrace new, often oppositional forms of cinema and criticism, culminating in the political and aesthetic radicalism of the ensuing decade. The selections, translated under the supervision of the British Film Institute, are annotated by Hillier, and context is provided in his general introduction and part introductions. For an understanding of the important changes that took place in cinema and film criticism in the 1960s and beyond, this book is essential reading.