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The Schoolmen ride again

Richard Mayne, 15 May 1980

Cinema: A Critical Dictionary: The Major Film-Makers 
edited by Richard Roud.
Secker, 1120 pp., £25, February 1980, 9780436428302
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The Dream that Kicks: The Prehistory and Early Years of Cinema in Britain 
by Michael Chanan.
Routledge, 356 pp., £12.50, January 1980, 0 7100 0319 6
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... rather like the nervous citizens in High Noon when the new film schoolmen come riding into town. Richard Roud is a sensible critic, formerly the Guardian’s film reviewer and now Director of the New York Film Festival. ‘I tend to be wary,’ he says, ‘of systematic criticism and of any form of critical terrorism. And therefore wary of the new kinds ...
... In a Sight and Sound interview with Richard Roud Bertolucci says he first had the idea for his film La Luna during a session with his psychoanalyst. ‘I suddenly realised that I had been talking about my father for seven or eight years – and now I wanted to talk about my mother.’ It seems to have taken them an unconscionable time to get around to discussing the person Freud calls a child’s ‘first seducer’, the authentic, original source of love and hunger, but Bertolucci certainly now attacks the subject with brio ...

In Fiery Letters

Mark Ford: F.T. Prince, 8 February 2018

Reading F.T. Prince 
by Will May.
Liverpool, 256 pp., £75, December 2016, 978 1 78138 333 9
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... situation of 1930s Germany, with the architect modelling the relationship of ‘Hans Pfitzner or Richard Strauss, or Furtwängler, or Paul Hindemith to a patron resembling Goebbels’. He suggests that Prince’s early poetic experiments were ‘influenced by the styles of political, economic and literary criticism as these were presented – or, as some ...

When the beam of light has gone

Peter Wollen: Godard Turns Over, 17 September 1998

The Films of Jean-Luc Godard 
by Wheeler Winston Dixon.
SUNY, 290 pp., £17.99, March 1997, 0 7914 3285 8
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Speaking about Godard 
by Kaja Silverman and Harun Farocki.
New York, 256 pp., $55, July 1998, 0 8147 8066 0
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... unashamed fan of minor Hollywood pictures. Breathless, as Godard readily admitted, was inspired by Richard Quine’s Pushover and could be seen as the direct sequel to Otto Preminger’s Bonjour tristesse. The central character of the film, the petty criminal played by Belmondo, modelled his self-image on that of Humphrey Bogart in Mark Robson’s The Harder ...

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