Serge Daney
Serge Daney
#### Full Name and Common Aliases
Serge Daney was a French film critic, journalist, and cultural theorist. He is often referred to as "Le Dernier Cri" (The Last Scream), a nickname that reflects his provocative and uncompromising approach to criticism.
Birth and Death Dates
Daney was born on June 25, 1944, in Paris, France. He passed away on October 2, 1992, at the age of 48.
Nationality and Profession(s)
French film critic, journalist, cultural theorist
Early Life and Background
Serge Daney's early life was marked by a deep love for cinema, which was fostered by his family. His mother, a passionate cinephile, introduced him to the world of films from an early age. This exposure had a profound impact on Daney, shaping his future career as a film critic.
Daney studied philosophy at the Sorbonne in Paris, where he developed a keen interest in Marxist theory and its application to art and culture. After completing his studies, he began writing film reviews for various French publications, including _Cahiers du cinéma_ , which would become an influential outlet for his work.
Major Accomplishments
Daney's most significant contribution to the world of cinema was his innovative approach to film criticism. He rejected traditional methods of reviewing films, instead opting for a more personal and subjective style that emphasized the emotional and intellectual resonance of a film. This approach earned him both praise and criticism from his peers.
One of Daney's most notable accomplishments was his role as editor-in-chief of _Cinéthique_ , a French film magazine that published some of the most groundbreaking and provocative work of its time. Under his guidance, _Cinéthique_ became a platform for radical thinkers and critics to challenge conventional wisdom in film studies.
Notable Works or Actions
Daney's written output was vast and diverse, spanning numerous publications and languages. Some of his notable works include:
_Cahiers du cinéma_ : Daney wrote extensively for this influential French film magazine, producing some of the most incisive and thought-provoking criticism of its time.
_Cinéthique_ : As editor-in-chief, Daney oversaw the publication's transformation into a hub for innovative and radical thinking in film studies.
* _La Revue du cinéma_ : Daney contributed to this French film magazine, producing articles that showcased his unique blend of theoretical acumen and cinematic insight.
Impact and Legacy
Serge Daney's impact on film criticism was profound. His innovative approach to reviewing films paved the way for future generations of critics to explore new avenues of analysis and interpretation. His unwavering commitment to challenging conventional wisdom in film studies helped establish _Cinéthique_ as a leading platform for radical thinking.
Daney's legacy extends beyond his own work, influencing numerous writers and thinkers who have followed in his footsteps. His emphasis on the emotional and intellectual resonance of cinema has had a lasting impact on the way we engage with films and their meanings.
Why They Are Widely Quoted or Remembered
Serge Daney is widely quoted and remembered for his incisive and provocative criticism, which continues to inspire new generations of film enthusiasts. His unique blend of theoretical acumen and cinematic insight has made him a beloved figure in the world of cinema.
Quotes by Serge Daney
Inasmuch as it’s a culture, cinema is the only thing at our disposal with which we can recognize ourselves in today’s images. As an instrument it’s inevitably inadequate, but it’s the only one.
If you can’t believe a little in what you see on the screen, it’s not worth wasting your time on cinema.
According to U.S. strategy, if you never see the other, his destruction will be more acceptableso that when Iraqi soldiers surrendered, sooner than expected, it was as if they emerged from a dream, a flash-back, a lost epoch--an epoch when the enemy still had a body and was still "like us.
In an age of synthetic images and synthetic emotions, the chances of an accidental encounter with reality are remote indeed.
The personal appropriation of cliches is a condition for the spread of cultural tourism.
The media no longer ask those who know something to share that knowledge with the public. Instead they ask those who know nothing to represent the ignorance of the public and, in so doing, to legitimate it.
Inasmuch as it's a culture, cinema is the only thing at our disposal with which we can recognize ourselves in today's images. As an instrument it's inevitably inadequate, but it's the only one.
Television is a formidable thinking tool. You are like an analyst to whom society's subconscious would be offered wide open…
Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.