esis, leaving ample room for the hermeneutic style he most favours. His writing is at its best when it weaves its way gradually, parsing the literature, pausing to observe filmic features from multiple angles, often unveiling surprising insights—an evocative sketch of the Bazinian inspiration for the oft-overlooked Elle a passé tant d’heures sous les sunlights (Garrel, 1985), for instance, or a provocative re-reading of ‘subterranean’ debts to Rivette in Dans la maison (Ozon, 2014). At other times, the book’s overt embrace of ‘evaluative criticism’ as a mode of film history seems to redouble past oversights in the literature. The almost complete sidelining of popular genre cinema—while hardly surprising—seems a missed opportunity for an account that aims to assess the influence of a movement that has always exceeded the narrowly ‘legitimate’ titles favoured by so many academic studies (Morrey’s closing thoughts on the offbeat Godard biopic Le Redoubtable (Hazanavicius 2017) offers a welcome, if tantalizing, exception to this rule). By the end, though, the cumulative force of the author’s targeted ‘deep dives’ into individual films and their directors constitutes a compelling example of how smart analysis can both excavate and celebrate the ongoing vitality of a legacy that scarcely needs—but always heartily rewards—a reintroduction.

中文翻译：

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资本与意识形态

sis，为他最喜欢的解释学风格留出充足的空间。他的作品在逐渐编织、解析文学、停下来从多个角度观察电影特征、经常揭示令人惊讶的见解时处于最佳状态——这是对经常被忽视的 Elle a passé tant d'heures 的巴济尼亚灵感的令人回味的素描例如，sous les suns（加雷尔，1985 年），或在 Dans la maison（Ozon，2014 年）中对 Rivette 欠下的“地下”债务的挑衅性重读。在其他时候，这本书公开接受“评价性批评”作为电影史的一种模式似乎加倍了过去文学中的疏忽。流行类型电影几乎完全被边缘化——虽然并不令人惊讶——对于一个旨在评估一项运动的影响的帐户来说，这似乎是一个错失的机会，该运动的影响一直超出了众多学术研究所偏爱的狭隘“合法”标题（莫雷对另类的戈达尔传记片 Le Redoubtable（Hazanavicius 2017）提供了一个受欢迎的，如果诱人的，例外情况）。然而，到最后，作者对个别电影及其导演的有针对性的“深入研究”的累积力量构成了一个引人注目的例子，说明聪明的分析如何既可以挖掘和庆祝几乎不需要但总是衷心回报的遗产的持续活力——重新介绍。