Lindsay Anderson: Sequence and the rise of auteurism in 1950s Britain por Erik Hedling

Captura de pantalla 2014-08-10 a la(s) 20.49.12British cinema of the 1950s: a celebration

“In one of the original art cinema manifestos, Alexandre Astruc’s famous caméra stylo essay of 1948, the writer pleaded for a cinema in which the camera is handled like a pen, that is, the author/film director employs his personal instrument, the pen/camera, to express a personal vision and create a work of art.3 Unsurprisingly, most of the would-be European authors were writers before entering cinema, eventually exchanging their pens for cameras. Antonioni was a highbrow film critic for the Italian journal Cinema during the war, Truffaut and his contemporaries all wrote sophisticated film criticism for Cahiers du Cinéma in the 1950s, in which Truffaut formulated the intellectual basis for auteurism, ‘La politique des auteurs’ in 1954, and Ingmar Bergman was an aspiring author of dramas, short stories and film scripts in Sweden in the early 1940s.4”  

“He is close to Alexandre Astruc’s idea of the camera-pen.14 Cinema, then, was an art form, and not a Griersonian institution of social propaganda, and it was particularly not supposed to be a commercial industry, producing popular entertainment for the masses. Anderson’ s favoured metaphors were ‘poetry’ and ‘poet’, used as a way of describing great cinematic art as well as the cinematic artist: he believed that the real poets of the cinema were to be found in countries such as France and America. In this, Anderson and Sequence differed dramatically from the bulk of British cinema criticism of the late 1940s and early 1950s in which the realism and narrative unity of British films was generally applauded.15 “

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