American Cinematographer - February 2017 - 75
tics, society and culture. The Nouvelle
Vague of Rohmer, Godard, Chabrol,
Rivette, and their peers at Cahiers du
Cinéma had laid waste to established
concepts of formalism and, along with
their "policy of authors," paved the way
for a renewed interest in cinematography as a singular art form. New cameras
and faster film stocks with better color
response meant more features were
being shot in color. "French cinema was
just waiting for a new generation of
cinematographers," says Rousselot.
It was also in the 1970s that
Rousselot started to grow his reputation as a feature-film cinematographer
with a distinctive and unorthodox
approach to the craft. "Diabolo Menthe
was a huge commercial success and got
me a bankable reputation," he recalls.
"On others, such as Paradiso and Pour
Clémence, I started playing with colors
in a way that was unusual at the time,
which led to my being asked by J.J.
Beineix to shoot Diva."
Filmed in 1981, Diva is a crime
thriller about a young Parisian motorcycle courier who secretly records the
performance of a famous American
opera singer, only to find himself a
target of criminal bootleggers, corrupt
police and murderous cartel henchmen.
Famous for its energy, inventiveness,
and a thrilling motorcycle chase through
the Paris Métro, Diva was later landmarked by film scholar Raphaël Bassan
in La Revue du Cinéma as the beginning
of the cinema du look movement, in
which young directors such as Beineix,
Luc Besson and Leos Carax put a
premium on style and spectacle.
Rousselot is reluctant to slap a
label on his work, and denies employing
a particular cinematographic style. His
loyalty is to the story, and "Diva was a
funny, unusual script, full of visual footnotes and gorged with ambition,"
Rousselot says. "[On set] we exaggerated everything - every color, every
move. The reception went way beyond
our expectations, and even though the
European critics reviled the film - its
look, everything - in the U.S. they
➣
loved it."
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American Cinematographer - February 2017
Table of Contents for the Digital Edition of American Cinematographer - February 2017
Contents
American Cinematographer - February 2017 - Cover1
American Cinematographer - February 2017 - Cover2
American Cinematographer - February 2017 - 1
American Cinematographer - February 2017 - 2
American Cinematographer - February 2017 - Contents
American Cinematographer - February 2017 - 4
American Cinematographer - February 2017 - 5
American Cinematographer - February 2017 - 6
American Cinematographer - February 2017 - 7
American Cinematographer - February 2017 - 8
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American Cinematographer - February 2017 - 36
American Cinematographer - February 2017 - A
American Cinematographer - February 2017 - B
American Cinematographer - February 2017 - 37
American Cinematographer - February 2017 - 38
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American Cinematographer - February 2017 - 40
American Cinematographer - February 2017 - 41
American Cinematographer - February 2017 - 42
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American Cinematographer - February 2017 - 53
American Cinematographer - February 2017 - I1
American Cinematographer - February 2017 - I2
American Cinematographer - February 2017 - I3
American Cinematographer - February 2017 - I4
American Cinematographer - February 2017 - I5
American Cinematographer - February 2017 - I6
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American Cinematographer - February 2017 - Cover3
American Cinematographer - February 2017 - Cover4
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