By Chris Hillman
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Extra info for An Outline Of The Theory Of G-Sets
One thing is constant, however, and that is the individualistic, improvisatory, and ad hoc approach to ﬁlm production of Malle himself, which is certainly more typical of European production methods than American ones. Malle’s position as a freewheeling outsider in the American production system is thus mirrored by that of the protagonists in his ﬁlms. When it comes to his working methods as a director, Malle’s style is nonetheless closer to that of the European art-house auteur than to that of the Hollywood craftsman, and this produced some characteristic diﬃculties during his period in America.
A resolution drafted in the wake of the 1993 Symposium on ‘The Future of European Cinema after the GATT Talks’, states that ‘European ﬁlms must regain close contact with their audience’. Today, the latest Pan-European initiatives recommend a return to popular forms such as comedies, as a means of saving cinema. When asked, at the 1994 Felix award ceremony, about future developments at the European Film Academy, Aina Bellis, general secretary, replied that ‘in the future, the Academy might introduce new categories to reach a more popular line-up, by splitting-up the main categories and having a comedy and/or family entertainment category’.
8 The further box-oﬃce success of Les Amants consolidated his ﬁnancial autonomy, a factor which has allowed him considerable artistic autonomy; a freedom to choose which ﬁlms he would make which is not often granted to ﬁlm directors. In this respect he may be compared with Truﬀaut with his Films du Carrosse, and more recently, with Rohmer and his company, Les Films du Losange. This kind of small, independent, production company is typical of the European ﬁlm industry, even if few directors enjoy the artistic freedom of Malle or Truﬀaut; and it stands in direct contrast to the dominant all-powerful studio system of the USA.
An Outline Of The Theory Of G-Sets by Chris Hillman