ABSTRACT
As the Young Mr. Lincoln article discussed in Chapter 3 has already shown, an integral part of Cahiers du cinéma’s core project in the post-1968 era involved the act of re-reading works of classical cinema using the new tools of Marxist and psychoanalytic theory to which the Cahiers critics had been exposed. This chapter looks at four such undertakings: a dossier on Dreyer and analyses of the American films Morocco (Josef von Sternberg), Sylvia Scarlett (George Cukor) and Intolerance (D.W. Griffith), before focusing on the journal’s increasingly jaundiced view of the latter output of Hollywood’s old guard, including Howard Hawks, Joseph Losey and Elia Kazan.
