aurora

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tag gallagher's diagrams of cutting in mizoguchi films

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julio gonzález, head of a young woman, c. 1927-29

iron

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drawing by yasujirō ozu for the bulletin of the directors guild of japan, 1957

“evening cherry blossoms, and the hands that remove the tofu”

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oswald tschirtner, the first snow, 1989

ink

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oswald tschirtner, young hare after dürer, 1974

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[. . . B]y 'auteur' it never meant the creator responsible for every last detail of his film; if it did it would have admired more Carné, Clouzot, and Clément. Rather by 'auteur' the New Wave meant someone who responds personally to the very real constraints and controls, and with a style of his own gets through a game not of his own making nor one which he fully controls. Renoir is such a man, with the admirable freedom of someone who always does 'what he can' as opposed to the selfish constraints of someone who only does 'what he wants'.  [. . .] In admiring Renoir rather than Carné, an unpredictable freelance rather than a star worker, they put themselves in the place of filmmakers who'd be interested in accommodating themselves to the system rather than serving it. There is finally a kind of modesty in this approach and even today Godard never stops regretting the fact that producers don't exist anymore with whom he can share the adventure of filmmaking. What the New Wave didn't foresee on the other hand is precisely that the gradual break-up of the system would make producers disappear (and conversely overvalue directors) and that it would fall to them frequently to be their own bosses (Godard, Truffaut, Rohmer) in order to be able to continue working.

serge daney, from "the new wave - a genealogical approach" (1988)

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ellsworth kelly, four oranges, 1966

graphite on paper

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x

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