Long ago in Paris, on a summer day in 1959, six young film critics, all associated with André Bazin's now-famous journal Les Cahiers du Cinéma, sat down to discuss their friend Alain Renais's first feature, Hiroshima mon amour. “I can understand,” Erich Rohmer suggested tentatively, “how one could like and admire Hiroshima and at the same time find it quite jarring in places.” “Morally or aesthetically?” asked Jacques Doniol-Valcroze. “It's the same thing,” Jean-Luc Godard interrupted. “Tracking shots are a question of morality.”