![]() ![]() The purpose of this paper is to consider the connections between the criticism of the five Cahiers critics (1), who would later form what has been termed the New Wave (Chabrol, Godard, Rivette, Rohmer, Truffaut), and their subsequent films, with particular emphasis on Godard and Truffaut. As we shall see, such connections easily transcend the more obvious one, often perceived: that the New Wave preached the "politique des auteurs," only later to practise it. Hardly ever is the allowed hindsight considered, which allows to understand how the criticism is crucially linked to the filmmaking. The films of the New Wave are studied with only occasional allusion to the criticism which preceded it. ![]() Most commentary prefers to make (or imply) a division of the two. But even here, as shall be shown, the elaborated critique is ultimately limited and cursory. There are exceptional cases where the criticism is read as a possible foreshadowing to the ensuing directorial careers. Critical commentary of the New Wave tends to take the transition from criticism to directing for granted. ![]()
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