Skip to Main Content
Have library access? Log in through your library
Jacques Rivette

Jacques Rivette

Mary M. Wiles
Copyright Date: 2012
Pages: 200
  • Cite this Item
  • Book Info
    Jacques Rivette
    Book Description:

    As a pioneer of the French New Wave, Jacques Rivette was one of a group of directors who permanently altered the world's perception of cinema by taking the camera out of the studios and into the streets. His films, including Paris nous appartient, Out 1: Noli me tangere, Celine et Julie vont en bateau--Phantom Ladies Over Paris, La belle noiseuse, Secret defense, and Va savoir are extraordinary combinations of intellectual depth, playfulness, and sensuous beauty._x000B__x000B_In this study of Rivette, Mary M. Wiles provides a thorough account of the director's career from the burgeoning French New Wave to the present day, focusing on the theatricality of Rivette's films and his explorations of the relationship between cinema and fine arts such as painting, literature, music, and dance. Wiles also explores the intellectual interests that shaped Rivette's approach to film, including Sartre's existentialism, Barthes's structuralism, and the radical theater of the 1960s. The volume concludes with Wiles's insightful interview with Rivette.

    eISBN: 978-0-252-09372-2
    Subjects: Film Studies

Table of Contents

Export Selected Citations Export to NoodleTools Export to RefWorks Export to EasyBib Export a RIS file (For EndNote, ProCite, Reference Manager, Zotero, Mendeley...) Export a Text file (For BibTex)
  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Preface and Acknowledgments
    (pp. ix-xvi)
  4. Moving Backstage: The Films of Jacques Rivette
    (pp. 1-138)

    In the spring of 1957, Jacques Rivette had just completed his first short 35 mm film, Le coup du berger (A Fool’s Mate; 1956), and was in the planning stages of his first feature, Paris nous appartient, while continuing to write incisive critical pieces for the Paris film journal Cahiers du cinéma. Not yet thirty years old, Rivette was already a veteran film critic and an aspiring director who had worked as an apprentice on the set of Jacques Becker’s Ali-Baba et les quarante voleurs (Ali-Baba and the Forty Thieves; 1954) and Jean Renoir’s French Cancan (1955). Rivette was born...

  5. An Interview with Jacques Rivette
    (pp. 139-150)
    Jacques Rivette

    Café de la Bastille, Paris, June 1999 (Translated by Yolanda Broad and Mary Wiles.)

    MW: How did you come to make films?

    JR: It was Cocteau, le coupable [the guilty one].¹ It was while reading Cocteau’s La belle et la bête [his journal written between 1945–1946 as he was filming La belle et la bête/Beauty and the Beast; 1946] that I got into it, wanted to do it, that I wanted to get together with people, not try to work by myself. Cocteau had the status of a well-known writer at that time, having had successes in the theater,...

  6. Filmography
    (pp. 151-162)
  7. Bibliography
    (pp. 163-170)
  8. Index
    (pp. 171-179)
  9. Back Matter
    (pp. 180-184)