This interview took place at the offices of Cahiers du cinema, Paris, February 29, 2008 Dudley Andrew: I am writing a book that traces something I call Cahiers from Roger Leenhardt through Bazin past the New Wave to Serge Daney and now on to you. I understand that Cahiers du cinema in all its periods had several directions, but I'm concerned to find out if Cahiers du cinema today feels a pressure from the past as it chooses what films to discuss, who will write about them and what subjects it will adopt. Here's a hint: what have been your thoughts about certain kinds of new media, cinema of animation, cinema of entertainment media, new kinds of spectacle, and new entertainment regimes? These are very important cultural phenomena and Cahiers du cinema should address them, I presume, but it seems that these appear to stand to the side of the Line that I take to be the backbone of the journal all these years. How do you take up these issues? From what stance do you approach them? Emmauel Burdeau: The question of working on the Cahiers has almost always been a question of inheritance. How does one work on a review that has known a Golden Age which no one will ever surpass-the '50s and the New Wave? That is not to be repeated. How to continue in a not so unfaithful way, that is the first step. The only step in a way. Both the first and the next step: both trying and failing to continue the Golden Age and the eras after, the eras just before you. It's of course a question of deciding on what an interpretation of Cahiers was-at the beginning or just yesterday-and therefore of what it must be today. So what is Cahiers? Is there indeed a kind of continuity? Perhaps there is, even if only a fictional one. Serge Daney-editor from 1974 to 1981, the master, obviously, some even call him a genius-has an idea that can summarize a part of what constitutes the continuity of Cahiers from '51 to today, above and beyond all the changes. It is in an interview that he did with the great Bill Krohn at the end of the '70s when Cahiers Week was being organized in New York. This interview was first published in . . . Thousand Eyes, I believe, and then, a couple of years ago, as an introduction for the first volume for POL, La Maison cinema et le monde. Daney says that in his opinion, throughout all its eras Cahiers was always interested in a type of cinema: the cinema that is haunted by the written. Haunted as though by a ghost. In French: HANTE PAR L'ECRIT, in capital letters. Among other things, it is a good way to suggest that the singularity of Cahiers du cinema, what radically distinguishes it from Positif, for instance, is not the mise-en-scene. It is rather the role of writing (ecriture). There is something in cinema that calls upon a very particular kind of critical writing that has little to do with literature or literary criticism or musical criticism. Film criticism is the way to answer and to understand that call. It is an echo of that call. In other words, the page translates the screen. Daney added that Cahiers had always defended filmmaker-writers such as Duras, Cocteau, Guitry, Pagnol. Besides, the New Wave was also a movement of somewhat failed writers, or so they pretended to call themselves. But all the filmmakers of the New Wave were in their own way great writers: Rohmer, Godard, and then Demy, Eustache . . . (by the way, that can explain why it is that often one might find the texts from Cahiers difficult to read). Insofar as concerns Cahiers, writing might be just as important as cinema. That is not to say that we consider ourselves writers, in the sense of genuine literary authors. Next there is another aspect that you evoked, the question of new media: Internet, video games, and so on. There again one can give a schematic answer. In February's issue, we placed on the cover Brian De Palma's film REDACTED, which is a film that seems to have been made through the Internet. …
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