Questions of montage and filmic space in L’Amour fou and Out 1 by Jacques Rivette

Abstract This article explores the practice and theory of two aspects of film form in the work of Jacques Rivette in the late 1960s and early 1970s: montage and filmic space. Under examination will be the two films he made during this period, L’Amour fou and Out 1, as well as two round tables for Cahiers du cinéma in 1969, in which Rivette was a participant, on montage and filmic space respectively (the latter was only published for the first time in 2016). The article will argue that Rivette is one of the major figures to have both theorised these issues in the cinema, and to have tested them in practice in his own filmmaking.