The Old French magazine film manual changes shareholders editorial board and resigns collectively

 The Old French magazine film manual changes shareholders editorial board and resigns collectively

In the resignation statement, the editors pointed out the reasons for leaving: the participation of producers has created a clear conflict of interest for magazines that make comments.. Any comments on these producers Films published in the manual will not be able to get rid of the suspicion of flattery.

In fact, its easy to see that the future of filmbook is worrisome just by knowing the identity of new shareholders: bankers, Paris city councillors, newspaper tycoons, founders of online dating sites, directors of film insurance companies, news channel founders, chairman of telecom companies, and eight filmmakers of French production companies with 40% of their resources u3002

On the day of taking over, Eric Lenova, one of the partners, once expressed the expectations of shareholders for the film Manual: we will consider establishing new partnerships with Cannes Film Festival, film training institutions and filmmakers. We will begin an important reflection. The magazine sells about 15000 copies a month, so we vowed to rediscover the meaning of the film manual and find a way to connect with the present era.

However, the moderation and fashion proposed by the shareholders are obviously not the significance of the existence of the film Handbook. This magazine is not a showcase of French films, but a magazine that analyzes and criticizes films freely. Gentleness and fashion will only make the film manual totally different.

The first cover of the film manual.

Andre Bazin, a famous film theorist, is often mistaken for the founder of the movie manual, but in fact, the magazine was founded in 1951 by critics Jacques donior wackhouse and lo DICA. Bazan joined in the second phase and served as editor in chief. What is the movie? u300bIt is regarded as the Bible by filmmakers, most of which are based on his comments in the film manual. Bazin has a direct impact on a number of young filmmakers, including the most important five critics: truffre, Godard, Hommer, Jacques Levitt, Claude Chabrol. Since then, these young people have directed their own films and become directors of the new wave of France that has influenced the world.

On a certain tendency of French films by truffre.

Film manual witnessed and participated in the history of French resistance and Revolution

It is worth noting that in the statement of this invitation, the editors quoted the article on a certain tendency of French films published in 1954 by Trevor. This article once criticized the so-called French high-quality films that cater to the taste of Hollywood at that time, believing that they are old-fashioned and have no innovation. This article, once sounded the new wave of France movie movement rebel bell.

In 1959, the new wave broke out. Trevor is regarded as the flag bearer of this important movement. His four hundred strikes has revolutionized the artistic concept of film. The experiment and struggle of the new generation of filmmakers announced the death of the old movie, which can be said to be a thorough cleansing of the movie concept of Europe and even the world. After the new wave in France, a great revolution broke out in the world film circle, and film movements with the title of new wave or new film emerged all over the world. Modern film in the sense of culture was born.

1968 was an important year in French history; the collective rebellion of the members of the film manual reached the highest point in history. At that time, a document issued by the French Ministry of culture dismissed langloire, then director of the French Film Archive, which aroused the anger of the cultural community. That night, the editorial department of the film manual became the headquarters of the protest, continuously conveying this outrageous message to film practitioners in other countries and asking for the solidarity of all parties. Children of the New Wave Film Archive has surrounded the archive, leading by Godard and truver, the leaders of the film Handbook. They broke through the line of defense, wrestled with the police, and both hung the lottery.

Longloire reinstated.

Under pressure, the French Cultural Bureau rescinded the recall order and langloire was reinstated. This incident is also considered to be one of the prelude to the may storm sweeping across France. Since then, the whole of France has fallen into the vortex of struggle and conflict. In a turbulent era, the film manual has also been involved in the process of history. Many years later, Bertolucci, a true fan of the film manual, brought this history to the screen and made the film Paris in a dream.

The film manual has experienced more than one crisis, and the spirit of freedom is eternal

When the film manual was handed over to new shareholders on February 3 this year, nine members of the editorial board had already felt the shudder of political pressure and conflict of interest. This fear is not the first or last time for the movie manual.

In 1960s, the complicated social thoughts made the internal members of the movie manual have huge ideological differences. In 1963, the moderate editor in chief, Hou Mai, left the film manual. At that time, the editorial department was full of realism and Marxism. Critics thought that Hou Mai was behind the times and would not accept the emerging modernism and structuralism.

Director Hou Mai.

Since then, the film manual has been transformed into a professional and academic one, publishing theoretical articles by Christian Metz and Roland Barthes. At the same time, the internal abuse war is also growing. In 1973, truver and Godard, the two new wave leaders, broke up completely. The movie manual was dragged to exhaustion, even unable to survive. That year, Seychelles Darnay, the youngest editor in chief in the history of the film manual, launched the director theory program to revisit directors who no longer associate with the film manual. To film, not politics has become a slogan to save the crisis.

In the 1980s, the film manual completely jumped out of the vision of French films and accepted films from all over the world with an open attitude. In 1981, the two volume special made in America caused a sensation in the American film industry. Since then, the magazine has begun to explore the films of Asian, African and Latin American countries, bringing a diversified perspective into the European film world. Chinese films, also at this time by the film manual attention, they launched in 1984, made in Hong Kong special issue. In 1986, the film manual interviewed Huang Jianxin and other Chinese fifth generation directors, which played a huge role in their international career.

In the 1990s, the film manual began to reprint the previous monthly magazines. For example, the manual of 1951-1964 was published on a year by year basis. Young readers could also read the reviews of truffre, Godard, Hommer and Bazin.

But in spite of this, the film manual, which adheres to a serious and obscure style, still fails to resist the invasion of the commercial tide. The movie magazines, represented by premiere and Empire, beat the movie manual completely by reporting Hollywood movies as news points.

Publication of the film Manual: Andre Tarkovsky by Antoine de Baker

In 1998, Le Monde bought the movie manual, which became a member of the newspaper group following the trend. But the unchangeable fact is that Le Monde has been using its own profits to make up for the loss of the film manual. Not only that, the development of the network after the new millennium has a huge impact on the traditional media. In 2007, the film manual had to sell English e-magazines to cater to the mainstream market in Europe and the United States, but the revenue was not ideal after all. In 2009, the world newspaper sold the film manual to the British perdo publishing group, and the film manual became a British magazine in terms of ownership.

In addition to the economic pressure, the editorial departments internal complacency has also isolated the film manual as an island. Antoine de Baker, a film historian, was editor in chief of the film manual from 1996 to 1998, and left because of disagreement. They are lack of curiosity, various ideological analysis, theoretical explanation and proper terms, and keep them in their cognitive status quo, he said

Movie manual top 10 movie posters in 2019.

Is the movie manual dim? The film magazine no longer publishes film books, but also gives up the independent film screening that once saved the underground cinema. Only one monthly magazine remains dignified, and now it is even empty. Can the editorial department save the crisis after blood exchange? Although the answer is not optimistic, all people who love movies have such a desire. The movie movement of new wave set off by movie manual has been hard to find, but the spirit of freedom is indelible.