Footlights

Critical Notebook 1970-1982

Add to my list

by Serge Daney

Type

Essays

Subject

General

Keywords

critics, France, Serge Daney

Publishing date

2023

Publisher

Semiotexte

Collection

Foreign Agents

Language

English

Relative size

Physical desc.

Paperback • 216 pages
6 x 9 inches (15.5 x 23 cm)

ISBN

978-1-63590-198-6

User Ratings

(0 vote)

X

Average rating:

0	rating	= We can do without
0	rating	= Good book
0	rating	= Excellent book
0	rating	= Unique / a reference

Your rating: -

Book Presentation:
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.

About the Author:
Serge Daney became the editor of Cahiers du Cinema in 1974. In 1981, he left Cahiers and wrote about visual culture for Libération, turning his attention to television and coverage of the Gulf War. He collaborated with Claire Denis on a documentary film, Jacques Rivette, le veilleur (1990). He died of AIDS-related causes in 1992.

Press Reviews:
"Daney was the most significant writer to emerge from the generational milieu that gave rise to the French New Wave... Our own era is eager to beautify or sensationalize suffering, but Daney offers a different vision, best exemplified by his active gaze. He insists that we take the image seriously as not just a productive way of looking at art, but as a way of better understanding our own place in life."
—Beatrice Loayza

"Daney’s prose, with its keen insights into individual films and the cinema as concept and practice, is original and transformative, a must-read for serious cinephiles and anyone else who believes in the ongoing tale of cinema."
—A. S. Hamrah

See the publisher website: Semiotexte