ABSTRACT
The previous two chapters have revealed the processes by which critical authority was asserted vis-à-vis ascendant French film culture, the new waves, and sophisticated, less deferential cinephile audiences. Chapter 4, in particular, demonstrated how Filmkritik adopted a new methodology, style, and mode of address so that the journal could position itself in this global order and in relation to domestic filmmaking, as well as stay ahead of its readers, who increasingly had internalized the procedures of ideological-symptomatic critique.
