Abstract
This chapter discusses the appeal of Preston Sturges’s movies among post-WWII French film critics. Focusing on La Revue du cinema (founded in 1946), it tries to understand why, after being hailed in France as one of the major filmmakers emerging in Hollywood in the 1940’s, Preston Sturges was nevertheless overlooked by the “auteur theory,” which was soon to bloom in Cahiers du cinema (founded in 1951). This chapter also deals with the appreciation of Preston Sturges’s works by André Bazin, a towering figure in post-war French film criticism, and in publications like Cahiers du cinema and Positif, including the recent rediscovery of his films.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
