Cahiers du Cinéma, vols. 1–4 (1951–78/1985–2000) & Special Issues in English (1966-67)

Cahiers du Cinéma [Notebooks on Cinema] is an influential French film magazine founded in 1951 by André Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. It developed from the earlier magazine Revue du Cinéma involving members of two Paris film clubs—Objectif 49 (Robert Bresson, Jean Cocteau and Alexandre Astruc, among others) and Ciné-Club du Quartier Latin. Initially edited by Éric Rohmer, it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol and François Truffaut. (from Wikipedia)

This set of four volumes presents selected texts from the years 1951-1978 in English translation.

Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave
An anthology from Cahiers du Cinéma, nos 1–102, April 1951 – December 1959
Edited by Jim Hillier
Publisher Harvard University Press, 1985
ISBN 0674090608
312 pages

Cahiers du Cinéma: 1960-1968: New Wave, New Cinema, Reevaluating Hollywood
An anthology from Cahiers du Cinéma, nos 103–207, January 1960 – December 1968
Edited by Jim Hillier
Publisher Harvard University Press, 1986
ISBN 0674090624
363 pages

Cahiers du Cinéma, Volume 3: 1969-1972: The Politics of Representation
An anthology from Cahiers du Cinéma, nos 210–239, March 1969 – June 1972
Edited by Nick Browne
Publisher Routledge, in association with the British Film Institute, 1990
ISBN 0415029872
352 pages

Cahiers du Cinema, Volume 4: 1973-1978: History, Ideology, Cultural Struggle
An anthology from Cahiers du Cinéma, nos 248–292, September 1973 – September 1978
Edited by David Wilson
With an Introduction by Bérénice Reynaud
Publisher Routledge, in association with the British Film Institute, 2000
ISBN 0415029880
323 pages

Publishers: Volume 1, Volume 2, Volume 3, Volume 4.

Volume 1 (1950s)
Volume 2 (1960-1968)
Volume 3 (1969-1972)
Volume 4 (1973-1978)

Cahiers du Cinema in English, ed. Andrew Sarris:
Number 1 (Jan 1966, 74 pp, 57 MB, via chef, added 2015-1-11),
Number 2 (Mar 1966, 82 pp, 65 MB, via chef, added 2015-1-12),
Number 3 (May 1966, 74 pp, 63 MB, via chef, added 2015-1-16),
Number 4 (Jul 1966, 66 pp, 57 MB, via chef, added 2015-1-16),
Number 5 (Sep 1966, 65 pp, 56 MB, via chef, added 2015-1-16),
Number 6 (Dec 1966, 66 pp, 57 MB, via chef, added 2015-1-16),
Number 7 (Jan 1967, 66 pp, 61 MB, via chef, added 2015-1-16),
Number 8 (Feb 1967, 68 pp, 44 MB, via LtJ),
Number 9 (Mar 1967, 65 pp, 59 MB, via chef, added 2015-1-17),
Number 10 (May 1967, 68 pp, 43 MB, via LtJ),
Number 11 (Sep 1967, 68 pp, 43 MB, via LtJ)
Number 12 (Dec 1967, 66 pp, 60 MB, via chef, added 2015-1-18)

See also: Daniel Fairfax: The Red Years of Cahiers du cinéma, 1968-1973 (2021).

Hans Günther, Sabine Hänsgen (eds.): Soviet Power and the Media (2006) [Russian]

Proceedings from the conference “The Political as Communicative Space in History” (Bielefeld, October 2003) devoted to the comparative analysis of the media in the Soviet Union of the 1920s and 1930s provide a pioneering media-theoretical exploration of the role of radio, film, photography and print in the engineering of the communist Soviet power.

Sovetskaya vlast’ i media [Советская власть и медиа]
Publisher Akademicheskiy proekt, St. Petersburg, 2006
Open Access
ISBN 5733103353, 9785733103358
621 pages

Reviews: Wolfgang Schlott (Die Welt der Slaven, 2007, DE, PDF), Alexander Prokhorov (Studies in Russian and Soviet Cinema, 2007), Alexander Ulanov (Novoe literaturnoe obozrenie, 2007, RU), Jana Klenhova (ArtMargins, 2008), Yuliya Liderman (Usloviya teatra, RU, 2010).

PDF (broken link fixed on 2014-1-28)
PDFs

Roswitha Mueller: Valie Export: Fragments of the Imagination (1994)

An early, groundbreaking radical performance artist, Valie Export created a philosophy of “Feminist Actionism” and in multimedia performances used the female body to critique male spectatorship. Roswitha Mueller examines Export’s performance and installation work; her photography; her avant-garde film experiments and her four feature films; and her critical writings and interviews. Valie Export’s primary object of study is the female human body, and as a multimedia artist, she has merged the discourses of the avant-garde and of feminism to reappropriate women’s gestures, postures, images, and rights. This comprehensive and extensively illustrated study also includes an interview with Export.

Publisher Indiana University Press, 1994
Women Artists in Film series
ISBN 0253209250, 9780253209252
246 pages

Review: Alison Butler (Screen, 1996).

PDF (no OCR)