Semiotext(e)
Footlights: Critical Notebook 19701982
Regular price
$17.95 USD
Regular price
Sale price
$17.95 USD
Unit price
per
Shipping calculated at checkout.
Couldn't load pickup availability
Title: Footlights: Critical Notebook 19701982
Author: Serge Daney
ISBN: 9781635901986
Publisher: Semiotext(e)
Published: 2023
Binding: Paperback
Language: English
Condition: New
New from the publisher
Music & Performing Arts 1555271
Publisher Description:
The early essays of the most influential French film critic of the post-68 period. The Footlights (1983) was the first book by Serge Daney, a film critic admired in his lifetime by Gilles Deleuze and Jean-Luc Godard and recognized since his premature death in 1992 as the most important French writer on film after André Bazin. The Footlights stands apart in Daney's body of work as the only collection of his essays he conceived of as a book, organizing his seminal pieces from Cahiers du Cinéma by theme and linking them with original texts that reflect in a personal voice on the doubts, battles, and illuminations of a generation of film lovers inspired by the explorations of Lacanian theory and roused by the collective aspirations of Maoist dogma. In pieces on fellow travelers Godard and Straub/Huillet, on films ranging from Pasolini's Saló to Spielberg's Jaws, and on the difference between film language and television discourse, Daney offers a definitive portrait of an era of radical hope and disappointment.
Author: Serge Daney
ISBN: 9781635901986
Publisher: Semiotext(e)
Published: 2023
Binding: Paperback
Language: English
Condition: New
New from the publisher
Music & Performing Arts 1555271
Publisher Description:
The early essays of the most influential French film critic of the post-68 period. The Footlights (1983) was the first book by Serge Daney, a film critic admired in his lifetime by Gilles Deleuze and Jean-Luc Godard and recognized since his premature death in 1992 as the most important French writer on film after André Bazin. The Footlights stands apart in Daney's body of work as the only collection of his essays he conceived of as a book, organizing his seminal pieces from Cahiers du Cinéma by theme and linking them with original texts that reflect in a personal voice on the doubts, battles, and illuminations of a generation of film lovers inspired by the explorations of Lacanian theory and roused by the collective aspirations of Maoist dogma. In pieces on fellow travelers Godard and Straub/Huillet, on films ranging from Pasolini's Saló to Spielberg's Jaws, and on the difference between film language and television discourse, Daney offers a definitive portrait of an era of radical hope and disappointment.
