Packet 9: Tossup 11

An essay by this theorist distinguishes between “those directors who put their faith in the image and those who put their faith in reality.” In a footnote musing that “maybe it does not really matter that Russian painting is second-rate provided she gives us first-rate cinema,” this theorist likened Sergei Eisenstein to Tintoretto. In an essay calling his favorite director a “Jansenist of cinema,” this theorist appreciated the rigor with which he adapted plays into films like Jezebel and The Little Foxes. This theorist cradles a cat on the cover of some editions of Hugh Gray’s (*) translation of his best-known book. This fan of (-5[1])William Wyler posited that cinema (10[1])overcomes (10[2])Western art’s (10[1])“mummy complex” to accomplish (10[1])realism (10[1])in the essay (10[1])“The Ontology of the (-5[1])Photographic Image.” This author (10[1])of What is Cinema? is the dedicatee of The 400 Blows, (10[2])which was directed (10[1])by his protégé François (10[1])Truffaut (“frawn-swah troo-FOH”). For 10 points, name this theorist who co-founded (10[1])Cahiers du Cinéma ■END■ (10[1]0[1])

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