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Cahiers du Cinéma

TARA G. GILLIGAN


Subject Literature

DOI: 10.1111/b.9781405168908.2010.x


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Spanning more than four decades and composed of well over 400 issues, Cahiers du Cinéma has earned its place as one of the most influential and controversial journals of film criticism. Even today, the journal owes much of its reputation to the early days of its existence when, at the height of its popularity, Cahiers du Cinéma had a circulation of 13,000. As George Lellis, one of many writers to devote a whole text to analyzing the journal, observes, “ Cahiers du Cinéma in the early 1980s is hardly the monolithic force it was in the late 1950s or early 1960s.” In 1951 Lo Duca, André Bazin, and Jacques Doniol-Valcroze jointly edited the first issue. Within a few years, a group of young film critics who were later to become major directors of French New Wave cinema – Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, François Truffaut – joined the magazine as regular contributors. In 1954 Truffaut submitted an essay, “Une certaine tendance du cinéma français,” in which he introduced his politique des auteurs , the theory widely held within the Cahiers circle that a film bears the mark of the director, the film's true author ( auteur) . The notion itself was not entirely new; years earlier, an article in Revue du Cinéma , a forerunner of Cahiers du Cinéma , expressed a similar idea. But with Truffaut's article, the idea exploded onto the Cahiers agenda. Entwined ... log in or subscribe to read full text

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