{"id":7896,"date":"2017-08-02T23:31:24","date_gmt":"2017-08-02T21:31:24","guid":{"rendered":"http:\/\/camernew.klienci.052b.com\/mistrzowie-ktorzy-odeszli-raoul-coutard-2\/"},"modified":"2017-08-28T08:35:48","modified_gmt":"2017-08-28T06:35:48","slug":"mistrzowie-ktorzy-odeszli-raoul-coutard-2","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/mistrzowie-ktorzy-odeszli-raoul-coutard-2\/","title":{"rendered":"REMEMBERING THE MASTERS: RAOUL COUTARD"},"content":{"rendered":"

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Since its inception the\u00a0International Film Festival of the Art of Cinematography CAMERIMAGE<\/strong>\u00a0has always focused on distinguishing those brilliant filmmakers who stayed in the shade of actors, directors or screenwriters – the cinematographers. We have shown their exceptional skills and visual sensitivity. We have acknowledged their input in the art of cinema. Together with them we observed the upcoming digital revolution.<\/div>\n
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The aim of\u00a0\u201cRemembering the Masters”<\/strong>\u00a0is to accentuate the craft of all those brilliant cinematographers who passed away, and to provoke a discussion about the cinematic possibilities given by the films which over the years set the standards for what we watch today.\u00a0\u201eRemembering the Masters\u201d<\/strong>\u00a0became a celebrated\u00a0Camerimage<\/strong>\u00a0section, both by the industry professionals and the participants who do not work in the world of film. Throughout the years we have presented masterpieces shot by\u00a0Jerzy Lipman<\/strong>,\u00a0John Alcott<\/strong>,\u00a0Zygmunt Samosiuk<\/strong>,\u00a0N\u00e9stor Almendros<\/strong>,\u00a0Gunnar Fischer<\/strong>,\u00a0Kurt Weber<\/strong>,\u00a0Haskell Wexler<\/strong>\u00a0and\u00a0Vilmos Zsigmond<\/strong>, among others.<\/div>\n
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This year we will screen five films shot by the late\u00a0Raoul Coutard<\/strong>,\u00a0<\/em>the masterful French cinematographer and one of the founding fathers of the French “New Wave.” At\u00a0Camerimage<\/strong>, you will be able to watch the following films on the big screen:<\/div>\n
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  • Breathless<\/em><\/span>, dir.\u00a0Jean-Luc Godard<\/strong>, 1960<\/li>\n
  • Lola<\/em><\/span>, dir.\u00a0Jacques Demy<\/strong>, 1961<\/li>\n
  • Jules and Jim<\/em><\/span>, dir.\u00a0Fran\u00e7ois Truffaut<\/strong>, 1962\u00a0<\/li>\n
  • Alphaville<\/em><\/span>, dir.\u00a0Jean-Luc Godard<\/strong>, 1965<\/li>\n
  • Crazy Pete<\/em><\/span>, dir.\u00a0Jean-Luc Godard<\/strong>, 1965<\/li>\n<\/ul>\n
    \u00a0<\/div>\n
    ———-<\/div>\n
    \u00a0<\/div>\n
    Raoul Coutard (1924-2016)<\/strong><\/div>\n
    \u00a0<\/div>\n
    Raoul Coutard<\/strong>\u00a0was one of the two cinematographers (the other being\u00a0Henri Deca\u00eb<\/strong>) that shaped the visual aspect of the New Wave in 1960s French cinema. In contrast to the dull theatricality of many French movies of the time, the New Wave proposed taking the camera lens closer to real life. To achieve that, its cinematographers took advantage of new technology: high-speed (B&W) film; light, hand-held cameras; etc. Previously a war reporter,\u00a0Coutard<\/strong>\u00a0was well-equipped to combine cinema with reality.<\/div>\n
    \u00a0<\/div>\n
    \"\"<\/div>\n
    Raoul Coutard<\/em><\/div>\n
    \u00a0<\/div>\n
    Among the almost 80 feature films that\u00a0Coutard<\/strong>\u00a0worked on from 1956 to 2001, 17 were directed by \u2018the pope of the New Wave\u2019,\u00a0Jean-Luc Godard<\/strong>; four \u2013 excluding a segment in\u00a0Love at Twenty<\/em><\/span>\u00a0(1961) \u2013 were directed by\u00a0Fran\u00e7ois Truffaut<\/strong>. Compared to the continuously experimenting \u2018pope\u2019,\u00a0Truffaut<\/strong>\u00a0seemed like a traditionalist to\u00a0Coutard<\/strong>. Due to their different approaches to filmmaking,\u00a0Coutard\u2019s<\/strong>\u00a0photography in\u00a0Godard\u2019s<\/strong>\u00a0films tends to be innovative, while\u00a0Truffaut<\/strong>\u00a0preferred more orthodox camera work.\u00a0Godard<\/strong>\u00a0and\u00a0Coutard<\/strong>\u00a0made a principle of shooting black-and-white films in the standard aspect ratio (1.37:1) and colour films, the first being the comedy-drama\u00a0A Woman Is a Woman<\/em><\/span>, in the widescreen CinemaScope format (2.35:1).<\/div>\n
    \u00a0<\/div>\n
    Raoul Coutard<\/strong>\u00a0was born on 16th<\/sup>\u00a0September 1924 in Paris. He wanted to be a chemist, but abandoned chemistry studies and switched to photography. He gained experience as a war photographer during the Indochina War (1946\u20131954) where he worked for\u00a0Life<\/em>\u00a0and\u00a0Paris Match<\/em>, among others.<\/div>\n
    \u00a0<\/div>\n
    He became a cinematographer due to a… misunderstanding. He was offered a job as a photographer for the movie\u00a0The Devil’s Pass<\/em>\u00a0(1958) by director\u00a0Pierre Schoendoerffer<\/strong>. It wasn\u2019t until he entered the set that he learnt he was supposed to shoot the film with a movie camera, something he\u2019d never done before! Still, he lived up to the task, even though he had to shoot in colour and in widescreen. His career milestone came with\u00a0Godard\u2019s<\/strong>\u00a0debut \u2013 the masterpiece of the French New Wave \u2013\u00a0Breathless<\/em><\/span>\u00a0(1960). It was there that\u00a0Coutard<\/strong>\u00a0for the first time made extensive use of the cinematographic method that became his trademark: shooting with a dynamically moving hand-held camera using natural lighting.<\/div>\n
    \u00a0<\/div>\n
    Coutard\u2019s<\/strong>\u00a0technique should not be confused with his style, however, as those well familiar with his work point out.\u00a0Coutard<\/strong>\u00a0was able to adapt the style of his photography to the screenplay and the tone of a movie. The gloomy image of the futuristic city in\u00a0Godard\u2019s<\/strong>\u00a0Alphaville<\/span>\u00a0<\/em>(1965) is very different from the idyllic scenery of the director’s\u00a0Pierrot le Fou<\/em>\u00a0<\/span>(1965), while the visual ethereality of\u00a0Jacques Demy\u2019s<\/strong>\u00a0Lola<\/em>\u00a0<\/span>(1961) stands in contrast to the journalist-like aggressiveness of\u00a0Z<\/em><\/span>\u00a0(1969) by\u00a0Costa-Gavras<\/strong>.<\/div>\n
    \u00a0<\/div>\n
    Coutard<\/strong>\u00a0went on to collaborate with\u00a0Godard<\/strong>\u00a0on\u00a0The Little Soldier<\/em>\u00a0<\/span>(1963),\u00a0The Carabineers<\/em><\/span>\u00a0(1963),\u00a0Contempt<\/em><\/span>\u00a0(1963),\u00a0A Married Woman<\/em><\/span>\u00a0(1964), and\u00a0Two or Three Things I Know About Her<\/em>\u00a0<\/span>(1967). Following\u00a0Weekend<\/em><\/span>\u00a0(1967), the two stopped working with each other, but reunited later for\u00a0Godard\u2019s<\/strong>\u00a0two famous films:\u00a0Passion<\/em><\/span>\u00a0(1982) and\u00a0First Name: Carmen<\/em><\/span>\u00a0(1983). Apart from the aforementioned short film\u00a0Love at Twenty<\/em><\/span>,\u00a0Coutard<\/strong>\u00a0assisted\u00a0Truffaut<\/strong>\u00a0in making\u00a0Shoot the Piano<\/em>\u00a0Player<\/em>\u00a0<\/span>(1960),\u00a0Jules and Jim<\/em><\/span>\u00a0(1962),\u00a0The Soft Skin<\/em><\/span>\u00a0(1964), and\u00a0The Bride Wore Black<\/em>\u00a0<\/span>(1968).<\/div>\n
    \u00a0<\/div>\n
    Other notable films featuring\u00a0Coutard\u2019s<\/strong>\u00a0cinematography include a documentary by\u00a0Jean Rouch<\/strong>\u00a0and\u00a0Edgar Morin<\/strong>\u00a0titled\u00a0Chronicle of a Summer<\/em><\/span>\u00a0(1961),\u00a0The 317th<\/sup>\u00a0Platoon<\/em>\u00a0<\/span>(1965) and\u00a0The Drummer Crab<\/em>\u00a0<\/span>(1977) by\u00a0Schoendoerffer<\/strong>,\u00a0The Sailor from Gibraltar<\/em>\u00a0<\/span>(1967) by\u00a0Tony Richardson<\/strong>,\u00a0Max, My Love<\/em><\/span>\u00a0(1986) by\u00a0Nagisa \u014cshima<\/strong>, and\u00a0Philippe Garrel\u2019s<\/strong>\u00a0Wild Innocence<\/em><\/span>\u00a0(2001). This last film, black-and-white and very New Wave in spirit, was\u00a0Coutard\u2019s<\/strong>\u00a0final work. His filmography also comprises more than 30 short films and documentaries. He received numerous awards, including a BAFTA nomination (The Sailor from Gibraltar<\/em><\/span>), a C\u00e9sar Award (The Drummer Crab<\/em><\/span>), a C\u00e9sar nomination and the Technical Grand Prize at the Cannes Film Festival (Passion<\/em><\/span>), the Technical Prize at the Venice Film Festival (First Name: Carmen<\/em><\/span>), the ASC International Award, and the Lifetime Achievement Award at the Manaki Brothers International Film Camera Festival in Bitola.<\/div>\n
    \u00a0<\/div>\n
    Coutard also engaged in directing. The most renowned of his three feature films \u2013\u00a0Hoa Binh<\/em><\/span>\u00a0(1970), about the Vietnam War \u2013 was nominated for the Academy Award\u00ae<\/sup>\u00a0for Best Foreign Language Film and won the prize for Best First Work at the Cannes Film Festival.\u00a0Raoul Coutard<\/strong>\u00a0died on 8 November 2016 in Labenne, France, aged 92.<\/div>\n
    \u00a0<\/div>\n
    Andrzej Bukowiecki<\/em><\/div>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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