For the sake of exhaustivity...

Doing another of my regular Google searches on "Serge Daney", I found that the Bernadette Corporation art collective allegedly published translations of Daney in what seems to be a short-lived fashion magazine called MADE IN USA in the Issue 1 Fall/Winter 1999-2000. At least that's what the Bernadette Corporation website claims. They don't say which text they have translated.

If a member of this collective ever read this, please consider making these translations available online. If anyone owns a copy of the magazine, can you give us the reference of the text transalted?

The quest for english translations of Daney is becoming really mysterious... It's time for more translations!

Serge Daney talks to Wim Wenders

Listen to a replay of one of Serge Daney's radio broadcasts where he interviews Wim Wenders at the time of the release of "The wings of desire." It's in French but we don't have many chances to listen to Daney's voice so I thought I'd mention it here.

Here's the blurb describing the recording:

"Serge Daney talks to Wim WENDERS, the German filmmaker about his movie "The wings of desire" which got the award for Best Director at Cannes. The interview is live and the conversation is held in French.
Wim WENDERS tells Daney that he invented the angel characters so as to reach humans more easily. His message isn't about being naively sentimental but about promoting kindness: "talking about Evil is a waste of time - time we could have used to talk about goodness; it's like talking about Jean-Marie LE PEN, you're giving him a platform he doesn't deserve".
Wim WENDERS explains to Daney that he invented the disembodied angels to show humans how lucky they were to be alive as opposed to immortals faced with the boredom of eternity. He tells about why he finally accepted to shoot in Berlin, after he understood that up to then he had been making movies trying to avoid "having to face his own country". He evokes the great changes undergone in Berlin which at last is coming to terms with its role in German history. DANEY and WENDERS both comment on the evolution of cinema.
Serge DANEY ends the interview by referring to the "rear-mirror" effect of WENDERS' cinema - a cinema which moves forward while it keeps looking back at the dissolving past?"

Daney's review of Elephant Man

A big thank you to Cinema Scope for publishing my translation of Daney's 1981 review of Elephant Man. A good text which, when reading it in Daney collection of texts La maison cinéma et le monde, I thought was worth translating.

Thank you to POL editions as well for authorising the publication - although I felt they were not really eager to see many others.

By some coincidence, Cahiers du cinéma have published the French version of the text on their website (which now has an English version so I'm going to investigate if they want to publish translations of Daney).

The Monster is Afraid: The Elephant Man, David Lynch,
By Serge Daney
The text first appeared in Cahiers du cinéma, n° 322, Paris, 1981, and is reprinted in La maison cinéma et le monde, Volume 1 « Le temps des Cahiers 1962-1981 », Editions P.O.L, Paris, 2001, pp. 266-269.

Daney in Godard's Histoire(s) du cinéma DVD

Keep your fingers crossed! It looks like Godard's Histoire(s) du cinéma are finally going to be released on DVD (region 2).

Since it will have English subtitles and since the episode 2A (Seul le cinéma) contains an interview between Godard and Daney, this means another English translation of Daney.

We've heard this news before only to see the release eventually canceled. Nonetheless, Amazon France announces it for March 20th and Gaumont has it on its website. I want to believe! I still remember watching the first broadcast on French television in the late 80s.

Godard deemed Daney worthy of featuring in his Histoire(s). Can there be a more definite reason to start translating Daney more consistently?

Good luck for reading the subtitles though. I'd hate not to speak French for this one.

Review of Postcards from the cinema

I’ve just finished Postcards from the cinema. It really is a strange book, bringing the same mixed feelings I had when reading it in French 13 years ago. Daney talks intimately of his life as the absolute cinephile but almost does not do the one thing which made him famous: film and image criticism.

First, let’s celebrate: this is the first book by Serge Daney published in English. A small event in the film world. Better late than never you might say: Serge Daney died 15 years ago, and although he is still influential in France where the publication of his complete works has yet to be finished, elsewhere he is more talked about than read. So, credit where credit is due: a big thank you to Paul Grant (the translator whose interview was published on this blog in December) and Berg Publishers for this effort.

But it is a strange cunning of history that the first book by Daney that English-speakers will discover is the posthumously published auto-biography of a film critic they know little of and whose writings are mostly unavailable. Probably a sign that the proliferation of quotes and mentions have generated a stronger desire for finding out who this mysterious French film critic is than for the slow assessment of his work. But that still leaves the English-speaking cinephile with a question: Is this book so good that it’s worth reading even though you don’t know Daney? How interesting can be the life of someone who spent his time watching movies? Or, to say it differently, can you really be someone if you are a cinephile?

For Daney, the answer is yes of course. And what a life that was! For the rest of us, aspiring cinephiles, it sets the bar rather high. Have we had shocks as strong as his reading of Rivette’s article on the tracking shot in Kapo – a movie he didn’t even see? Have we explored what makes us watch so many movies as deeply as he has when realising he was searching for his father whose voice may be registered on a reel somewhere? Are we ready to claim that we were born and we will die with the only truly radical art: modern cinema? To see how much one can live through cinema, the book is absolutely fascinating. For Daney, cinema (and other images such as postcards or maps) determined everything: how he saw himself in the world, what politics he would adopt, which jobs he would get, where he would travel… And everything in his life seems to retrospectively make perfect sense: from his first years as a schoolboy to his travels or his tenure at Cahiers or Libération. You can definitely sense that the book was compiled together (Daney only wrote the first chapter, the rest is an interview partly amended by him) with a sense that these were his last words

My mixed feelings come from parts of the book which make me feel uncomfortable (the egotism of the one who knows he will die soon and the arrogance of the intellectual) and from my sense that this book doesn’t quite show Daney at his best. For all the fascination generated by this unique text, I find his short pieces of film or television criticism far better. There’s little trace here of the humour and the creativity of some of his writing. And some of the comments are disapointingly ordinary in comparison to the visionary aphorisms he used about the evolution of the image in the latter part of his career.

Nevertheless, the translation of any work by Daney is worth celebrating. Enjoy the book, test how true a cinephile your are, discover Daney and know that he is even better than that. So keep asking for more translations!



Note: Steve Erickson – the original promoter of Daney on the internet – will do a proper review of Postcards from the cinema in the Winter 2007 edition of Cineaste.

2006 blog usage

For your information as readers, here is the popularity of this blog in 2006 (the blog was created in November 2005).

I take the low usage reflects more the poor quality of this blog than the actual interest in Daney. I found many people ignore this existence of this blog but find it useful once they've discovered it. For 2007, I'll try to make sure its existence is at least known.

Key figures

* 136 visits per months on average, increasing towards the end of the year - 40% of which are returning visitors.













* 46% of visitors arrive to the blog via Google, while the rest arrives either directly (RSS feeds or bookmarks), via Steve Erickson's website or via the Daney entry on Wikipedia (which I sort of maintain).

* Half of the visitors come from North America (US primarily), a third from Europe, 15% from Latin America and only 5% from Asia.


I've just received my copy of Postcards from the cinema. Expect a review here soon. Read my interview of Paul Grant if you want to know more.

Paul Grant on Postcards From the Cinema

It seems that Berg have released Postcards from the Cinema, the English translation of Daney's posthumous book Persévérance. I've ordered my copy from Amazon UK yesterday!

To mark the occasion, I've asked Paul Grant, the translator, a few questions on how he became involved with the publication of the first Daney book in English.

Merry Xmas and Happy new year every one!


To which extent is Daney known in the English-speaking world? He is obviously read by some professional movie critics but who else knows him?
My sense is that there is a growing number of anglophone cinephiles both inside and outside the academic world who are at the very least anxious to know more about Daney and his work. It seems that his name has a continually developing aura that points to some sort of cultural status.

Jonathan Rosenbaum wrote that the main reason for the lack of translations of Daney was that he “is too academic for mainstream publishing and too literary for academic publishing”. Why do you think Daney is not more widely translated and published in English?
Oddly enough this is what the majority of my intro to the book is about. One of the possibilties, and I really need to stress that this pure speculation, is that the lack of systematization makes it difficult to generate a minor industry around him. Deleuze produces, for better or for worse, an immense amount of secondary work, and guarantees a modicum of revenue, he is in himself a minor academic industry. Daney, perhaps as Rosenbaum suggests, is too popular while being not popular enough. But for me the issue isn’t just about translation. If we look to France for examples, we find that even the most likelely candidates to speak about Daney productively are at some loss to do so. The seconday literature that has appeared in French is not necessarily genrative and usually takes the form of hommage and personal anecdote. There is however as of a few months ago a secondary work on Daney but it is unbelievably critical, and says preciely that we should abandon Daney.
Not to ramble too much but it does seem worth remarking that most of the Cahiers (excluding Bazin, Rohmer, Godard, etc) and Trafic critics remain relatively unknown. Comolli’s essay is of course published in pieces in a number of anthologies, Bellour has been translated and also shows up in anthologies. But what about Douchet, Bergala, Schefer, Phillipon, Brenez, Narboni, etc.? We see pieces, just as we see pieces of Daney, like you have been showing on your blog. I think the crisis is really more one of criticism in general, and there I’ll stop because that is simply too huge to address right now.

How did you discover Serge Daney?
His name was referenced by everyone I loved to read and watch, and I think it was the interview in Histoire(s) du cinéma, along with Ethan Spigland’s astonishment at his not being translated that sent me looking to find out more.

How did you come about translating this book and finding a publisher?
The translation end up a result of both working with you on the Tracking Shot, and having a Fulbright in Paris to do research on Daney. I was using sections of Perseverance for the research and suddenly had enough sections translated that I figured I would complete it. I do have to say that I’m not a professional translator and Bill Krohn’s caveat that only someone who translated Proust could translate Daney has loomed over me ever since Berg Publishers accepted to take on this project. Ultimately, the book was meant as a kind of gift for my cinephile friends who couldn’t read Daney in French, and so far everyone has been really pleased.
I approached Berg because they had just done the Godard-Ishaghpour book and were slated to publish the Rancière, so they seemed the logical choice to me. Tristan Palmer was very enthusiastic about the project and I enjoyed working with them.

How did you find the experience of translating Daney? What difficulties did you face? What advice would you give to future translators or translation attempts?
The translation was a pleasure. In the end though there were a few difficulties, things I couldn’t unwrap or get others to figure out either. It’s very obvious what sections these are in the book. But the biggest difficulty arose after the fact, right at the time that POL and Berg were working out the contracts. Berg suddenly sent me an email saying that there was a problem with the American rights, and I suddenly had this very teleological sense that Daney was destined not to be published in English. The issue was someone else had apparently submitted a manuscript of Perseverance to be published at the same time. The great irony was that they were both my manuscript, but Semiotext(e), and here it was as much my fault as theirs, was submitting it to be published. I had sent it to Sylvere early on and he seemed enthusiastic but never really got in touch with me. Apparently he had been going ahead with trying to publish it.
I’m not sure what to suggest for translation attempts, perhaps just get it published, and if it is bad, honestly, it can be retranslated, but I don’t think poor translation is a real hindrance at this point, the work just needs to be put out there.

This is the first Daney book translated in English. How do you think it will shape the recognition of Daney in the English-speaking world?
Its too difficult to say, I hope that the translation does it justice, and at the same time I think other work needs to come out because Perseverance is an interview, just like Itineraire d’un cine-fils, and the thing that must be born in mind is that when some one reflects on their own work that reflection is different than the work. In that sense Perseverance is really an introduction, and to fully evaluate the future of Daney more of the written work needs to be translated and published.

Do you have plans to translate other texts from Daney? What do you think needs to be done to advance the recognition of Daney’s writings?
There was talk with both Berg and Semiotext(e) about working on something in the future, some more Daney, but I imagine that they want to see how this first book sells. Right now I am working on a Jean Paulhan translation, as well as my own work on the cinéma militant of groups like cinéthique, cinelutte, etc. I would like to have the opportunity to work on L’exercice as well as Schefer’s L’homme ordinaire…

Daney book release date!

Berg Publishers UK confirmed today on the phone that Postcards from the cinema (Paul Grant's translation of Persévérance) will be released around January the 15th in the UK.

They also told me that they will release the hardback and the paperback formats at the same time which is odd considering the price difference (£45 and £15 respectively).

I'll publish a short interview with Paul on translating Daney at the same time.

Otherwise, if you know an online magazine willing to publish the translation of Daney's review of David Lynch's Elephant Man, it's seating ready on my hard drive. I just need to find a magazine able to do a final review and publish it.

Have a good Xmas.

French cinema

Daney settles scores with French cinema. Take your side: Qualité française or nouvelle vague?

It’s a part of France that I don’t accept. Artistically you can call it academic. It’s the least inventive part of cinema. You may say it’s excessive but I think you understand what I am saying. There are things that I found at my birth which I have never tolerated. I think that the French cinema of the Qualité Française is contemporary of a period that lasted from 1940 until late in the 50s, which is a period of suffocation: the collaboration. I am not saying that all the directors I don’t like were collaborators. It’s just very annoying that, as Autant-Lara was complaining, the heyday of French cinema is 1940-1945. It’s true that for Autant-Lara, it was a good thing. He made many movies and some were very good. And it’s true that this is the time when huge resources were given to Marcel Carné to make a very large and ambitious movie: Les enfants du Paradis. All these movies have one thing in common: they were shot in studios. France is occupied and, for me, the studios represent occupation in the field of cinema. (…) So it’s not at all “Hooray to the sublime resistance!” and “Down with the horrible cowards!” It’s just that the cinema of the France of Vichy looks like the France of Vichy and that France has had more glorious times in its history. It seems so obvious that I feel a bit ashamed to have to say this. (…) It’s a cinema of great craftsmen and with some beautiful things. But I have no taste for such cinema. I have no taste for the French cinema of the 1940s.

I am like Godard. I copy him and I say the same thing. In Les dames du Bois de Boulogne when Elina Labourdette is about to die and Paul Bernard tells her “stay!”, she replies “I stay, I fight”. Godard - who always interprets everything his own way - says this is the only word of resistance we have heard in all of the French cinema during the war. The way Elina Labourdette says “I fight”. She says it with a blank voice (we don't speak about Bressonian neutral voices yet) and it overwhelms me. And I feel that Bresson is inventing a new cinema. Bresson is not a leftist or a resistant and this has nothing to do with ideology. Bresson is inventing Les dames du Bois de Boulogne, which is one of the most extraordinary French movies ever made and which is something that for me renders all Antant-Lara’s work ridiculous. Because it is not of the same nature. There is something different. You can hear a certain sound in the voice.

For me it wasn’t this movie - because I saw Les dames du Bois de Boulogne much later when I was already an official movie critic - but it was Pickpocket, when I was fifteen. Pickpocket was made in 1958, released in 1959 (not that long after the 40s) and it changed me forever. This is very clear. You won’t find people who say they hesitate between Marriage de chiffon and Pickpocket. They are two different kinds. I am not saying this to make me believe that I would have been more virtuous or resistant. I honestly don’t know. But I am surprised that the French cinema continues to put out flags on a minor, rather decorative, and spineless moment of its history.

There were some very talented moviemakers like Autant-Lara, Clouzot or Clément. And in my opinion, something a bit sad happened to them. But they had the stupidity not to see what was happening. When the Nouvelle Vague arrived, they thought it was a revolt of turbulent children like in Zéro de conduite. They forgot that they had squatted French cinema with over-unionisation and a very ideological corporatism. They had prevented French cinema from renewing itself. So, for ten years, there were directors, like Franju, Melville, Leenhart, Rouch, Astruc, who were trying to shake things and who never had access to normal distribution networks. And all of these had somewhat aborted careers. It is only when the small group of Les Cahiers had a bit more energy that the times began to push for a change.

I never became reconciled with these moviemakers of the Qualité Française because when the situation escaped their control they were unable to adapt, to start over, to use smaller budgets… Some of them were still very creative. Clément for instance made Plein Soleil. It’s an old movie but it is a wonderful movie. It’s a movie that still has something today because of Alain Delon. Clément saw Alain Delon. Just as Vadim saw Bardot.

What’s happening in the years 1955 to 1960? Some moviemakers, not necessarily good ones, saw that something was happening in front of their eyes. For example Roger Vadim, a very bad director, sees Brigitte Bardot. And Brigitte Bardot is the most important thing that happens to French cinema in 1955. Many missed her, and that includes me. I was 10 years old but I could have been smarter. I found her stupid. Vadim sees Bardot and he films her, badly, and it is wonderful. He falls in love with her of course but he has the intelligence not to make an artist’s movie but a low-key movie - Et Dieu créa la femme - that is nothing in itself but where there is something formidable. The movie features respected actors as well as a rising star, Jean-Louis Trintignant, and Vadim records the amazement of these actors to play with this girl who breaks all the rules of acting and visibly invents a dialogue of her own. A profoundly stupid dialogue which is unforgettable. “What a nitwit this rabbit!” nobody from the Qualité Française could write something like that. And at the time Bardot is right because France is going to look like her.

Three years later, Marcel Carné, who is not that old and is extremely respected, announces that he is going to make a movie about youth. It was Les Tricheurs, a long forgotten movie. It was a gigantic event. Everybody was talking about it. It was released in 1958, made in 1957, two years before the Nouvelle Vague. And people were saying: “it’s horrible, Carné reveals a cynical world. Young people are no longer humans. They are monsters. They sleep together. Are they really our children?” And Carné was replying: “you don’t understand. They need love. We must talk to them.” There was this horrible debate in the very backward France of the 50s. A debate that sounds ridiculous today because the movie is absolutely insignificant. The movie is of no interest whatsoever except that it was talked about a lot at the time. And when I say “Carné didn’t see anything”, I am not saying his conception of the youth was a bit dated – after all, old people are not always wrong. But Carné had organised auditions. He auditioned Paul Belmondo, hesitated and didn’t select him. One year later Godard or Truffaut - I don’t know which one - saw Belmondo, and here you go. It’s like Bardot.

Transcript of the filmed interview Daney gave to Regis Debray in 1992 for French TV magazine Océaniques. my translation, 2005.
Full video is available in DVD as Itinéraire d’un ciné-fils, Montparnasse Editions, 2005

The politics of catastrophe movies 2

More from Daney's Cahiers articles on sci fi, horror and catastrophe movies.

Invasion of the Body Snatchers (Don Siegel)

(...) What is more surprising is that science fiction movies are precisely the ones where the feeling of strangeness is the least disturbing, where the idea of the Other would be familiar or ordinary. And these are often reactionary movies where man, far from going beyond himself - where he is so little -, ends up accepting, bitterly and convincingly, this human condition that some (totalitarian regimes let's say) want to deny him.

Cahiers du cinéma, issue 197, January 1968, my translation.


Night of the Living Dead

We haven't taken notice enough, in American cinema, of a tenacious and underground taste for the apocalypse. As if too much good conscience could only be carried through by bringing up the most definitive horrors - horrors which do not come without a certain pleasure, as clearly seen with DeMille (or with King in In Old Chicago or with Van Dyke in San Francisco), the filmmaker of the catastrophe and the accident, themes which gravity can impress and which productivity is not to be neglected since that on top of the photogenic destruction came the secondary benefits of revaluing the characters (at least those who survived) who, when reduced the state of rags, were more sublime and more human than ever. Great natural accidents but also ordeals largely-deserved by a futile humanity; it was so in DeMille’s movies and later in Hitchcock’s, or in these low budget Sci-Fi movies that were made suddenly possible towards 1950 by the idea of an atomic end, the abrupt mutations of a rebelling nature become absurd and monstrous, the ever so possible eradication of man, etc. (Five, Them!, Body Snatchers). And yet, there like elsewhere, the apocalypse disappointed, because men, stupid enough to deserve it, were also wise enough to stop it, opposing a united front from where – all differences having been erased – a feeling properly overwhelming of the human was coming to the light of day. Of the human as such, i.e. non-monstrous.

Cahiers du cinéma, issue 219, April 1970, my translation


Francis Ford Coppola, Apocalypse Now

(…) Ok, Apocalypse Now is an exceptional film. But it is also an average post-Viet Nam American movie. Recently American cinema keeps going around the theme of the presence of the Other in ourselves. Other as in “Alien”, the title of the biggest success of the summer in the US. "Ourselves", of course and one more time, is the American considering himself as a general equivalent of the human species. Except that to “be” an American is never that obvious or that simple (I pass on the melting-pot and other myths) and it seems that one is always ready to do anything to be more American (see Kazan). Ideologically, the idea of all these films (Alien, The Exorcist, The Deer Hunter, even Close Encounter of the Third Kind) is to make the Americans even more Americans by making them exorcise an Other (evil usually) which haunts or inhabits them. The novelty of these movies, their strength too, is that they have decided to stop being stingy on the (technological) means to show us the other, the alien, in ourselves. Until now it was often B movies which used to tackle this theme (in the 50s and through anti-communism) but with no resources, forced to resort to weak effects and script subtleties (the Tournerian off-camera) which could amaze only very naive or very sophisticated spectators (cinephiles). The decision to show what cannot be shown is recent. And there are different versions. With Cimino, it is the Asian who is responsible for having woken up the beast the sleeps inside us: we therefore kill him and shame him for having woken up the beast – a known melody. With Ridley Scott (Alien) it is the protean monster literally emerging from the human body and occupying the spacecraft like a cancer with terrifying unpredictable metastases.

Cahiers du cinéma, issue 304, October 1979, my translation

The politics of catastrophe movies 1

Being busy with my new baby boy, I’ve found a new advantage to Daney's articles: I can read exactly two of them while putting my baby to sleep. Since I do this every three hours at night, I've been reading quite a bit of Daney lately, especially his early writings.

And since I’ve noticed a pattern in Daney’s remarks towards catastrophe or horror movies, here is a selection of quickly translated quotes from his 70s articles in Cahiers du cinéma. Interesting if not always original; rather typical of how Daney stayed loyal to pure cinephilia during the left-wing tendencies of the time.

Grey Matter – Jaws by S. Spielberg

(…) This “Booh! Scare me!” is therefore heavily related to a “How to reassure them?” and to a “What is the price to pay?” A misplaced desire (the young people smoking by the beach that the fiction will promptly get rid off) will be replaced by a more social desire, the desire to end the horror, the desire to return to normality. This is the function of catastrophe-movies. It is not the only one though, for what is given to desire is the norm. And in this way, this cinema, at its limit, is fascist.

What can scare more than three hundred thousands spectators in one week? And what can reassure them? The mise en scène of violence which, as Alain Bergala rightly points out “guarantees the precise conditions of the spectator’s pleasure and his subsequent adhesion to any form of counter-violence.”

This is the same old shout of “I only want to see one head in the rank!” Nothing must stain: one body (military or social), full, sleek, homogenous. A body that can be compared to a circle closing on itself – except in one place where there is a gap. This place is where the shark comes forward: the shark is what Lacan calls the obturator, the a object. Who is the shark? Nothing more than the actualisation – from a hallucination – that there is something rotten inside which attracts the fish.

(…) A normative imaginary, which must be staged, simply. It means shooting (events, extras) from two – and only two – points of views: the hunter’s and the hunted’s. There is no other point of view (spatial, moral, political), no other place for the camera, and therefore for the spectator, than this double position. We talk lightly of “identification” in cinema if we haven’t seen that in these types of movies, it is identification to the hunted/hunter couple, with speculative oscillation, bypassing of knowledge and point of view, loss of any reference, getting under the other’s grey skin, and in a word: everything that leads to a total irresponsibility. Flapping between these two points of views, the camera is with the swimming child for whom the shark is only a dark rectangle, and it is with the shark is in the next frame, for whom the child’s leg is only what stands out from the surface of the water.

in La Rampe, 1983, my translation

Various Daney news

While we're all waiting for the publication of Paul Grant's translation of Persévérance (Postcards from the cinema, to be released in December), there are a few other events worth noting eventhough they are all in French.

Daney on video
The French video website Vodeo sells the two best filmed interviews of Daney: the 3 hours documentary Itinéraire d'un ciné fils on DVD (which was already available from Amazon) and Pascal Kané's Le cinéphile et le village which can be downloaded online for a fee.

Daney radio programme
The French National Audio-Visual Insitute (whose mission is to preserve and make available the audiovisual archives in France) has made available a number of recordings of Daney's Sunday evening radio program. You can access them via their Video On Demand website by typing "Microfilms" in the search tool.

From September 1985 to July 1990, Daney hosted a weekly radio broadcast called Microfilms on French public radio station France Culture. These are discussions between Daney and others involved with cinema (actors, filmmakers, technicians, critics).

Here's a first list of the programs available online at the moment. They can be purchased individually for 5 euros.
- Philippe Garrel
- Jori Ivens
- Robert Kramer
- Maurice Piallat
- Barbet Schroeder
- Jean Rouch
- Raoul Ruiz
- Jacques Rivette
- Jacques Demy
- Claude Chabrol
- Manuel De Oliveira
- Marin Karmitz
- Raymond Depardon
- Francois Dupeyron
- Jean-Luc Godard
- Raoul Sangla (TV film director)
- Jacques Doillon
- Wim Wenders
- Jean-Marie Straub
- André Techiné
- Etienne Chatillez
- Michel Piccoli
- Georges Franju
- Eric Rohmer
- Jean-Christophe Averty (a French video artist pioneeer)
- About John Cassavettes
- Jean-Claude Brisseau
- Michel Chion
- Cinema through the eyes of a blind person
- Elisabeth Roudinesco (a French Psychanalist) on Batman
- Philippe Queau
- Gérard Frot - Coutaz (filmmaker) and Micheline Presle (actress)


The increasing amount of video and audio material available about Daney is a challenge to our translation efforts. Video interviews can be subtitled (and english subtitled versions of Jacques Rivette Le Veilleur and Itinéraire d'un ciné-fils exists already) but I don't see how the radio programmes could become available in English without some massive transcription effort.

Let's hope that the popularity of Daney in film and audio format combined with the release of Postcards help make an even stronger case the case for the translations of all the other essential written material.

Reversibility of the camera

Found in a recent browse of Google book search, this short but interesting quote of Daney's comments on the ethics of documentaries in his review of Antonioni's 1974 documentary of China Chung Kouo:

The reversibility of camera in Television Drama: Realism, Modernism, and British Culture, John Caughie, Oxford University Press, 2000, p. 112

I copy the quote below:

"In the scene in The Passenger in which the old African chieftain grabs the camera and films Jack Nicholson, one can see quite clearly what is at issue: the sudden possibility of a reversibility, of the camera passing without a word from hand to hand to the great confusion of the scene and the actors. This, in China, was simply impossible.

(...) those for whom there exists no reversibility, no chance of becoming themselves "filmeurs", no possibility of participating in the image which is made of them, no hold on the image. Mad people, children, primitives, the excluded, filmed without hope (for them) of a reply, filmed 'for their own good' or for the sake of science or scandal: exoticism, philanthropy, horror."

In the article, Daney actually identifies three types of situation when someone is filmed. I translate the full extract below:

"1. The filming happens within the framework of the industry of cinema. It is then symbolically covered by the type of contract (wage, one-off fee, benefits participation, unpaid) agreed between the production and the actors. In the name of this contract, the filmmaker will be able to demand a certain acting or performance.
2. The filming happens within the loose framework of a documentary, of a socio or ethno-logical essay, or of an investigation. Most often, actors do not have the capacity, total or relative, of controlling, technically or intellectually, the operations to which they lend their bodies and voices. We then enter the domain of morals and risk: to film those for whom there exists no reversibility, no chance of becoming themselves "filmeurs", no possibility of participating in the image which is made of them, no hold on the image. Mad people, children, primitives, the excluded, filmed without hope (for them) of a reply, filmed 'for their own good' or for the sake of science or scandal: exoticism, philanthropy, horror.
3. There is a third type of situation (the one that interests us here): when the filming is done by a filmmaker or a crew who have decided to put their camera and their know-how at the service of. Of a people, of a cause, of a fight. In these conditions, the non-reversibility has other causes (under-development, lack of equipment, need for foreign help) , but generates new kinds of problems."

The original article is "La remise en scène (Ivens, Antonioni, la Chine)" in Cahiers du cinéma, number 268, July 1976, reprinted in La rampe - Cahiers critique 1970-1982, Ed. Cahiers du cinéma-Gallimard, 1983.

Stavros Tornes - Karkalou

Many thanks to Andy Rector for pointing this translation of a short (and truncated) abstract of Daney's comments on Greek filmaker Stavros Tornes. A small but good example of Daney's interest in world cinema and his love for travels.

Thessaloniki 1984 - Greek cinema is awaiting its law
Originally published in Libération, October 16th, 1984 and republished in La maison cinéma et la monde, vol. 2 "Les années Libé 1981-1985", pp. 747-750.

Daney introduces his report on the Thessaloniki film festival this way:

"Last straight line. Waiting for the new cinema bill (very much inspired from the French example) to be voted, the whole world of Greek cinema got together for the 25th Salonica film festival - very excited. On the cinema side, nothing to report, execept the excellent Karkalou by Stavros Tornes."

Daney on the World Cup

I cannot resist publishing (without authorisation - I hope to be forgiven) this short text by Daney on the 1982 'Mundial':

Mundial 1982 – Slow motion

In front of the small image, the TV spectator has a handicap. Or a privilege (depending on his degree of perversity). At certain moments in the game, he subconsciously asks himself a question which until now, only concerned cartoon lovers: is the 'injured' player going to get back up again? Regularly, a body, doubled up with pain, is left on the field. Everything is possible. Real pain (and we expect the game to be stopped, we look for the medics, we are upset with the camera for moving casually to other things). Exaggerated pain (the player gets back up again, drags himself for one meter, limps for two and sprints for three). Put on pain (as soon as he is off screen, certain of having failed to move the referee to pity, he gets up and runs like a gazelle). It is a game between the players and the referee of course. And it is too bad that the camera doesn’t know how to film it well. Nevertheless: for a few seconds, there is what makes cinema happy, its powerful force: indecisive shots, enigmatic pictures, bodies under threat.

This text from Libération, 19 and 20 June 1982, features in Serge Daney, La maison cinéma et le monde (P.O.L., 2002), translation by Laurent Kretzschmar.

Daney's quote on Alain Tanner

I just spotted this quote by Daney on Alain Tanner's No Man's Land:

“I looked at the landscapes of No Man’s Land and was not disorientated. I felt at home. I had seen it all before in an earlier life punctuated by the nine other films of Alain Tanner (…) I even knew what it consisted of: frontier posts with a French and a Swiss side, slowmoving bicycles and tidy little cafés, ruminating cows and drawling accents, roads into the mountains and paths leading nowhere; I knew the characters, too, having seen them come and go: they were flawed and bad in ’68, then armchair idealists, then, in ’85, embittered, dissatisfied hippies, that’s all.” Then, having expressed his deep sense of familiarity with the world of the film, the critic voices a doubt: “It struck me that all the things that – thanks to Tanner and other Swiss filmmakers (Reusser, Soutter, Murer) – I had come to see as familiar, all this mildly clean, mildly sinister, mildly beautiful Swiss cinema, with its cows and its traffickers, its calculated slowness and vague storytelling, might be on the way out.”

Reference: Serge Daney, Libération, 30 August 1985, quoted in Ciné-journal, volume 2, Petite bibliothèque des Cahiers du cinéma, Paris, 1998.

From Movies To Moving

The blog o signo do dragão has the translation of this seminal text by Serge Daney. A must-read.

From movies to moving
Serge Daney, translated by Brian Holmes and published in documentadocuments2, 1996 - first published in French in La Recherche photographique, no 7, 1989.

Another (excellent) translation of this text is available from the July-August 2002 edition of Film Comment. The title is "From projector to parade" and the translator is Chris Darke.

Postcards from the cinema

An entry has appeared on the UK website of Amazon and on the website of Berg Publishers confirming the upcoming publication of a translation of Persévérance . The translation is by Paul Grant and the release date is set for December 2006.

Postcards From The Cinema, Serge Daney, trans. Paul Grant, Berg Publishers, 2006, 160 p.

This book will contain a revised translation of Daney's last text - The tracking shot in Kapo - and a long interview conducted over three days between Serge Daney and Serge Toubiana in 1991.

It was first published by POL Editions in 1994.

Montage Obligatory

Rouge has just published a translation of Daney's 1991 piece on the television coverage of the Gulf War which made him give up writing about television. It's one if his last articles for Libération before he left the newspaper to found Trafic.

Montage Ogligatory, Rouge, #8, 2006

Original article is "Montage Obligé - La guerre, le Golfe et le petit écran" published in Libération in April 1991 and reprinted in Serge Daney’s Devant la recrudescence des vols de sacs à main, cinéma, television, information, Aléas 1991, reprinted 1997.

Upcoming new translation of Persévérance

Paul Grant has kindly been in touch and has confirmed that he is finishing the translation of Persévérance. It includes a revised translation of the Kapo article and the full translation of the dialogue between Daney and Toubiana which make up this book.

No date for publication yet but I will announce it as soon as it is available.

Jonathan Rosenbaum has already mentioned these "plans to publish an English-language Perseverance" in a paper for the New Left Review, July-August 2005.

The screen of fantasy (Bazin and animals)

"The Screen of Fantasy (Bazin and Animals)" (now available on Steve Erickson's website) is translated by Mark Cohen in Ivone Margulies ed., Rites of Realism: Essays on Corporeal Cinema, Durham: Duke University Press, 2002

Original text is "L'écran du fantasme", page 30, Cahiers du cinéma, issue 236-237, March-April 1972.

You can also read the English translation if you play with Google Book Search.

From projector to parade

Chris Darke has translated this excellent text and has also written a good general introduction to Daney.

From projector to parade, Film Comment, July-August 2002

Originally published as "Du défilement au défilé" in La recherche photographique in 1989.

I've asked Film Comment to make this translation available for free as part of their "online exclusives" but they told me they don't have the rights to do so and I had to request this from Cahiers/Le Monde. Strange and too bad. I have yet to approach Le Monde group to ask them about the policies about Daney translations.

Nanni Moretti piece?

I've received a note from Steve Erickson mentioning a piece from an art anthology about Nanni Moretti and images of motion in his films. Does anyone have a precise reference for this text or, even better, electronic copies?

Quotes and bits

Some will say that this attempt to find Daney in English is getting desperate but here's a collection of bits and pieces:

This Chicago reader article by Jonathan Rosenbaum on Jacques Tati's Jour de fête contains a short translation of Daney on Tati from La rampe.

This book on Contemporary Australian Television contains a translation of an extract of Daney's “Le sport et la télévision”, Cahiers du cinema, #292, pp. 38-43. You can read it using Google book search. It's on page 64.

Movies and Methods: Vol. II, edited by Bill Nichols, University of California Press, 1985 has a different translation of an extract of the Salador text. You can read it with Google book search, page 46.

Television Drama: Realism, Modernism, and British Culture, by John Caughie, Oxford University Press, 2000, has a translation of an extract of "La remise en scène" published in Cahiers du cinéma, #268, July 1976. Use Google Book search. It's on page 112.

Jonathan Rosenbaum's review of La maison cinéma et le monde in the New Left Review has translations of an extract of a 1982 Libération piece, ‘Like Old Couples, Movies and TV have Wound up Looking Alike’ and of an extract of ‘Obligatory Montage: The War, the Gulf, and the Small Screen’, Daney's piece on the TV coverage of the Gulf War pusblished in Libération in 1991.

Interviews

An interview of Daney by Bill Krohn is available on Steve Erickson's site:

"Les Cahiers du cinéma 1968-1977: Interview with Serge Daney", The Thousand Eyes, no. 2, 1977, p. 31.

And here are a few interviews conducted by Daney:

Taking Chances - Interview with Lea McCarey by Serge Daney and Jean-Louis Noames (Louis Skorecki)

Daney interview “Godard Makes [Hi]stories” in Raymond Bellour and Mary Lea Bandy eds., Jean-Luc Godard son+image 1974-1991, New York: Museum of Modern Art, 1992.

Daney's texts in English editions of Cahiers du cinéma

Several English language editions of Cahiers du cinéma contain translation of Daney.

Daney starts writing in Cahiers in 1964 and regularly does so until 1981 when he leaves Cahiers for the newly created daily newspaper Libération. He is the acting editor of Cahiers from 1974 to 1979.

Volumes III and IV of the Cahiers du cinema books contain texts by Daney. The volumes I and II don't.

Cahiers du Cinema - Volume III: 1969-1972: The Politics of Representation, edited by Nick Browne, Harvard University Press, 1989

• "La vie est à nous, a militant film", co-written with Pascal Bonitzer, Jean-Louis Comolli, Jean Narboni and Jean-Pierre Oudart, pp. 68-88, originally published in Cahiers du cinéma, issue 218, March 1970.
• "Work, Reading, Pleasure", pp. 115-136. I think this is just another name for the "On Salador" text which is on Steve Erickson's site. It was the title of a section of Cahiers du cinéma #222 which had two texts: Salador by Daney and another one by Oudart.
• "The name of the Author (on the 'place' in Death in Venice)", co-written with Jean-Pierre Oudart, pp. 306-324, originally published as "Le nom-de-l'auteur" in Cahiers du cinéma, issue 234, February 1972.

Cahiers du Cinema - Volume IV: 1973-1978: History, Ideology, Cultural Struggle, edited by: David Wilson, Routledge, March 2000

• "The critical function", pp. 56-71, probably the translation of two articles untitled "La fonction critique" published in the numbers 248, 249, 250 and 253 in of Cahiers du cinéma in 1973 and 1974. You can read it entirely using Amazon Inside this book search function. Type "Function" as keyword and turn the pages from 56 to 71.
• "Theorize/Terrorize (Godardian Pedagogy)", pp. 116-123, originally published as "Le thérrorisé (pédagogie godardienne)" in Cahiers du cinéma, issue 262, 1976.
• "The Aquarium (Milestone)" a review of Robert Kramer's movie, pp. 152-156, translated by David Wilson, originally published as "L'Aquarium" in Cahiers du cinéma, issue 264, 1976.
• "One more bear (Dersu Uzala)": a review of Kurosawa's movie, pp. 289-295, originally published as "Un ours en plus" in Cahiers du cinéma, issue 174, 1977.

CAHIERS DU CINEMA IN ENGLISH - an attempt to bring a translated version of Cahiers - also has texts by Daney. The ones I know of are:

• Chimes At Midnight (Orson Welles) - Translated by Bridget Lyons. Originally published as “Wells au pouvoir” in Cahiers du cinéma, issue 181, August 1966, page 26-28.
• The Great Race (Blake Edwards), published in English in CAHIERS DU CINEMA IN ENGLISH #3, Trans. Jane Pease, Rose Kaplin, Nell Cox, 1966, pp. 26-27. Originally published as “Les corps étrangers” in Cahiers du cinéma, issue 175, February 1966, pages 62-63.
• The Family Jewels (Jerry Lewis), published in CAHIERS DU CINEMA IN ENGLISH #4. riginally published as “Un rien sur fond de musique douce” in Cahiers du cinéma, issue 175, February 1966, pages 36-37

Gilles Deleuze - Letter to Serge Daney: Optimism, Pessimism, and Travel

Updated post as I just found out that you can read the full text by using Amazon "Inside This Book" search function. Just search for the key word Daney and turn the pages (from 68 to 79).

This is an essential text by Gilles Deleuze on Serge Daney:

"Letter to Serge Daney: Optimism, Pessimism, and Travel", Negotiations 1972-1990, New York: Columbia University Press, 1995, translated by Martin Joughin, pp.68-79.

Original text is Deleuze's preface to "Optimisme, pessimisme et voyage: Lettre à Serge Daney" for Serge Daney, Ciné journal 1981-1986, Cahiers du cinéma, 1986.

Itinéraire d'un ciné-fils with English subtitles

Paul Grant reports that a copy of Pierre-André Boutang & Dominique Rabourdin's 1992 documentary/interview with Daney is available with English subtitles. This was screened in 2003 by the Harvard Film Archive as part of a Daney festival.

Original is available in DVD in French from Montparnasse editions.

Documenta texts

Several translations seem to appear in Documenta catalogs:

- "Baby seeking bathwater" in Documenta Documents 1, Kassel, 1996, pp. 22-31. Original text is "Bébé cherche eau du bain" published in Libération in 1991.

- Documenta Documents 2 claims to contain "Diverse articles by the French film theoretician and social critic Serge Daney deal with the image in advertising, with the moving image in film as well as with paradigmatic films by Godard and Rossellini." I don't have the detail of these. One of the articles could be "From movies to moving".

- Documenta X contains the translation of "Before and after the image" that is available on Steve Erickson's website.

Steve Erickson's website

Steve Erickson, a New York film critic, lists on his website many English translations of Daney's writings. This was (and still is) the original effort to make Daney available on the Internet. All credit to him for starting this effort and triggering many subsequent similar efforts (such as this blog).

Below is a list of the articles that can be found on Steve's website (and not available elsewhere) with the equivalent French reference:

• "On Salador"- Originally published as “Sur Salador” in Cahiers du cinéma, issue 222, July 1970, page 39, unknown translator
• "Godardian Pedagogy" - Translated by Bill Krohn and Charles Cameron Ball, originally published as "Le thérrorisé (pédagogie godardienne)" in Cahiers du cinéma, issue 262, January 1976, pages 32-42.
• "Beyond A Reasonable Doubt" - Translated by Steve Erickson, originally published "L'invraisemblable vérité" in Libération on July 18, 1981
• "Stalker" - Translated by Frank Matcha with Steve Erickson, originally published in Libération on November 20th, 1981
• "Coup De Torchon" - Translated by Steve Erickson, with assistance from Philippe St-Germain, originally published in Libération on November 6, 1981
• "The Thread (An Obituary Of Jean Eustache)" - Originally published "Le fil (mort de Jean Eustache)" in Libération on November 16, 1981, translated by Steve Erickson
• "Too Early/Too Late"- Translated by Jonathan Rosenbaum, published in English in a catalogue for a Straub/Huillet retrospective at the Public Theater in New York, originally published as "Trop tôt / trop tard" in Libération on February 20-21, 1982
• "From The Large To The Small Screen" - Originally published as "Du grand au petit écran" in Libération on November 16, 1987
• "Television And Its Shadow" - Originally published as "La télévision et son ombre" in Libération on November 13, 1987
• "Back To The Future" - Originally published as "Retour vers le futur" in Libération on December 24, 1987
• "Waiting For The Snow" - Originally published as "En attendant la neige" in Libération on December 24, 1987
• "The Godard Paradox" - taken from the book Forever Godard, Black Dog Publishing, 2003, originally written in 1986
• "CEDDO" - a review of Ousmane Sembene's movie originally published in Cahiers du cinéma, issue 304, October 1979, page 51-53 and republished in La rampe.