Cinema has always been -literary- in its desire to tell stories and in its need to borrow plots and narrative techniques from novels. But the French New Wave directors of the 1950s self-consciously rejected the idea that film was a mere extension of literature. With subversive techniques that exploded traditional methods of film narrative, they embraced fragmentation and alienation. Their cinema would be literature's rival, not its apprentice. In Screening the Text, T. Jefferson Kline argues that the New Wave's rebellious stance is far more complex and problematic than critics have...

Collected here are forty years of the thoughts of one of the most influential filmmakers of our time. Although the winner of nine Academy Awards for his The Last Emperor, Bernardo Bertolucci may ultimately be best remembered for his Last Tango in Paris, which Pauline Kael called the most erotic film ever made.

This volume gives a privileged view of Bertolucci's career from the days of his first radical experiments to the present, when he has become an elder statesman of world cinema. Half of these twenty-three interviews appear in English for the first time. The conversations resonate...

Collected here are forty years of the thoughts of one of the most influential filmmakers of our time. Although the winner of nine Academy Awards for his The Last Emperor, Bernardo Bertolucci may ultimately be best remembered for his Last Tango in Paris, which Pauline Kael called the most erotic film ever made.

This volume gives a privileged view of Bertolucci's career from the days of his first radical experiments to the present, when he has become an elder statesman of world cinema. Half of these twenty-three interviews appear in English for the first time. The...

Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the -Mother of the New Wave- but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the...

• Presents a compendium of original essays offering invaluable insights into the life and works of one of the most important and influential filmmakers in the history of cinema
• Features contributions from an international cast of major film theorists and critics
• Provides readers with both an...

Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the "Mother of the New Wave" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the...

Bertrand Tavernier (b. 1941) is widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s, in the wake of the New Wave. In just over forty years, he has directed twenty-two feature films in an eclectic range of genres, from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature--L'Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize--Tavernier has shown himself to be a public intellectual. Like his films, he is deeply engaged with the pressing issues facing...