Editing Claude Chabrol (section)

===Early years in Paris===
After [[World War II]], Chabrol moved to Paris to study [[pharmacology]]<ref name="Allmovie Biography">{{cite web|url=http://www.allmovie.com/cg/avg.dll?p=avg&sql=2:84594~T1 |title=Allmovie Biography |publisher=Allmovie.com |date=4 August 2011 |access-date=25 August 2011}}</ref> and literature at the [[University of Paris|Sorbonne]], where he received a [[Licentiate (degree)#France|licence en lettres]]. Some biographies also state that he briefly studied law and political science at the [[École Libre des Sciences Politiques]].<ref name=Wakeman /> While living in Paris Chabrol became involved with the postwar [[Cinephilia|cine club]] culture and frequented [[Henri Langlois]]'s [[Cinémathèque Française]] and the Ciné-Club du Quartier Latin, where he first met [[Éric Rohmer]], [[Jacques Rivette]], [[Jean-Luc Godard]], [[François Truffaut]] and other future ''[[Cahiers du Cinéma]]'' journalists and [[French New Wave]] filmmakers. After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant.<ref name=Wakeman /> Chabrol has said that while in the army he worked as a film projectionist.<ref name=Monaco253>Monaco, James. ''The New Wave''. New York: Oxford University Press. 1976. p. 253.</ref> After he was discharged from the army, he joined his friends as a staff writer for ''Cahiers du Cinéma'', who were challenging then-contemporary French films and championing the concept of [[Auteur theory]]. As a film critic, Chabrol advocated realism both morally and aesthetically, [[mise-en-scene]], and [[deep focus]] cinematography, which he wrote "brings the spectator in closer with the image" and encourages "both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress."<ref name=Wakeman /> He also wrote for ''Arts'' magazine during this period.<ref name=Monaco253 /> Among Chabrol's most famous articles were "Little Themes", a study of genre films, and "The Evolution of Detective Films".<ref>Monaco. pp. 255–256.</ref>

In 1955 Chabrol was briefly employed as a [[Publicist|publicity man]] at the French offices of [[20th Century Fox]], but was told that he was "the worst press officer they'd ever seen" and was replaced by Jean-Luc Godard, who they said was even worse. In 1956 he helped finance Jacques Rivette's short film ''[[Fool's Mate (1956 film)|Le coup du berger]]'', and later helped finance Rohmer's short ''[[Véronique et son cancre]]'' in 1958. Unlike all of his future New Wave contemporaries, Chabrol never made short film nor did he work as an assistant on other directors' work before making his feature film debut. In 1957 Chabrol and Eric Rohmer co-wrote ''Hitchcock'' (Paris: Éditions Universitaires, 1957), a study of the films made by director [[Alfred Hitchcock]] through the film ''[[The Wrong Man]]''.<ref name=Wakeman /> Chabrol had said that Rohmer deserves the majority of the credit for the book, while he mainly worked on the sections pertaining to Hitchcock's early American films, ''[[Rebecca (1940 film)|Rebecca]]'', ''[[Notorious (1946 film)|Notorious]]'', and ''[[Stage Fright (1950 film)|Stage Fright]]''.<ref name=Monaco253 /> Chabrol had interviewed Hitchcock with François Truffaut in 1954 on the set of ''[[To Catch a Thief]]'', where the two famously walked into a water tank after being starstruck by Hitchcock. Years later, when Chabrol and Truffaut had both become successful directors themselves, Hitchcock told Truffaut that he always thought of them when he saw "ice cubes in a glass of whiskey."<ref>Baecque, Antoine de and Toubiana, Serge. ''Truffaut: A Biography''. New York: Knopf. 1999. {{ISBN|978-0375400896}}. p. 195.</ref>