Word: vu
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...Paris Vu Par's younger directors, Jean Douchet is most successful with a story about an American girl who, after trying to "find herself" through adventures with Paris and two boys, is forced in a final frontal head-on shot to confront herself...
...obtain backing for their projects. The first round of Cahiers critics became the first major group of filmmakers to start as critics became the first major group of filmmakers to start as critics, a background which has continually influenced their work. About four years ago, a film entitled Paris Vu Par (literally "Paris as seen by...") was organized. By including three "established" directors (Chabrol, Rouch, and Godard) along with three young directors (Douchet, Pollet, and Rohmer) and by shooting in 16mm rather than the more expensive 35mm, an economically feasible means was found to give the second generation Cahiers critics...
Unlike all the directors of Paris Vu Par, Straub has never developed a dynamic sense of the frame, one which puts people, settings, and objects in a framework where they interact. The critical consciousness of the French directors literally make their films what they are. For Straub it is not critical consciousness but self-consciousness. The difference between Paris Vu Par and not Reconciled is the difference between well applied film theory and hastily applied Ideas About Film
...facility at digesting official dossiers became legendary and led to his own decision-making shorthand style. "Vu" meant seen but waiting for better arguments. "Soit" meant so be it, but not the best solution. "Oui" meant O.K., but he still had reservations. Only the best dossiers got a "D'accord," meaning that the matter was settled. Pompidou began to enjoy politics with a gusto, and it showed even in his complaints. "I am bombarded with daily problems," he said one day. "I handle dossiers of a burning actuality. Everything is urgent at Matignon [the Premier's office]. But when...
...York, then the Sunday magazine of the New York Herald Tribune, commemmorated the event with something short of glorious exaltation. Instead, it published a two-art article by a young journalist with the pleasantly déjà-vu name of Tom Wolfe. The article was entitled "Tiny Mummies: The True Story of 43rd Street's Land of the Walking Dead." And, as they say back in the New Yorker's 43rd Street office, it became the talk of the town...