Cahiers du Cinema: 1973-1978: History, Ideology, Cultural by David Wilson

By David Wilson

Considering that its beginning in 1951, the French movie magazine Cahiers du Cin

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Additional resources for Cahiers du Cinema: 1973-1978: History, Ideology, Cultural Struggle

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22 INTKUUULTIUN but its 'reserves of imagination' - thus recontextualizing, via a mention of the mirror stage, the question of suture. The suturing process allows the spectator to project him/herself in the diegetic space through a process of identification with the 'Absent One' (see note 14). According to Daney, French cinema of the 1970s was foreclosing this process by 'skirting around' the dialectics of the absence. On the other side of this specular illusion there is the question of the 'majority', as mentioned by Kane.

The subtlety of Meddeb's approach is that he posits himself as an insider/outsider in the space created by the film, a space itself complex, fragmented by history, by the multiplicity of the gazes that construct it. Meddeb is an insider in the Moroccan urban space, here Tangier, and can therefore appreciate the authenticity of its rendering by a Moroccan film-maker: 'Adventure films have accustomed us to Tangier as a criminal city used as a backdrop for stories of drug trafficking or spying. ' Yet within Tangier itself there are spaces of otherness, in which neither Meddeb nor the film-maker nor the protagonist are 'home', but in which Western viewers of the film (or the reader of Cahiers) could recognize themselves, which allows Meddeb to engage in a witty dialogue with the aesthetic choices of his colleagues at Cahiers.

But what is glossed over in this process ... ',.. , break into the story. • .. _ { , , , ~ ~"'-. ;i"" • - + , ... ,.. • , , • , " , . , . • . , , , - • , ,, , ~ . , In other words, 'naturalism' eliminates the dialectic between on-screen and OfF~ : screen, and trivializes the processes of mise en scene itself, since the latter consisb ':, in articulating these two fields within a certain point of view. ,,... , ' . We'll see the impact this analysis has on a new reading of la politique auteurs. But in this series of fragmented, Barthes-like, polyphonic texts that analyse 'a particular trend in French cinema' Cahiers critics were more inter_ ested in attacking certain manifestations of French cinema than in promoting the films they liked.

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