Question: In what year was the magazine founded, which had Jean-Louis Comolli as its editor in chief from 1966 to 1978 ?   

full_context: Document 1: L'Obs: L’Obs ] , previously known as Le Nouvel Observateur (1964-2014), is a weekly French news magazine. Based in the 2nd arrondissement of Paris, it is the most prominent French general information magazine in terms of audience and circulation. Its current editor is .
Document 2: Jacques Rivette filmography: Jacques Rivette (] ; 1 March 1928 – 29 January 2016) was a French film director, screenwriter and film critic. He wrote and directed twenty feature films, including the two-part "Joan the Maiden", eight short films and a three-part television documentary. He also acted in small roles and participated in documentaries. After making his first short film, "Aux quatre coins", in his hometown of Rouen, Rivette moved to Paris in 1949 to pursue a career in filmmaking. While attending film screenings at Henri Langlois' Cinémathèque Française and other ciné-clubs he gradually befriended many future members of the French New Wave, including François Truffaut, Jean-Luc Godard, Éric Rohmer and Claude Chabrol. Rivette's association with this group of young cinephiles lead to the start of both his filmmaking career and his work in film criticism. In collaboration with his new friends, Rivette made two more short films and worked as a cinematographer and editor on films by Rohmer and Truffaut. He also worked in small roles and as an assistant director to Jean Renoir on "French Cancan" and Jacques Becker on "Ali Baba and the Forty Thieves". During this period he began writing film criticism for the magazine "Gazette du Cinéma" and later "Cahiers du Cinéma", and was one of the most respected writers by his peers.
Document 3: Cinéma du look: Cinéma du look (] ) was a French film movement of the 1980s, analysed, for the first time, by French critic Raphaël Bassan in "La Revue du Cinéma" issue n° 448, May 1989, in which he classified Luc Besson, Jean-Jacques Beineix and Leos Carax as directors of "le look". These directors were said to favor style over substance, spectacle over narrative. It referred to films that had a slick, gorgeous visual style and a focus on young, alienated characters who were said to represent the marginalized youth of François Mitterrand's France. Themes that run through many of their films include doomed love affairs, young people more affiliated to peer groups rather than families, a cynical view of the police, and the use of scenes in the Paris Métro to symbolise an alternative, underground society. The mixture of 'high' culture, such as the opera music of "Diva" and "Les Amants du Pont-Neuf," and pop culture, for example the references to Batman in "Subway", was another key feature.
Document 4: Cahiers du cinéma: Cahiers du Cinéma (] , "Notebooks on Cinema") is a French film magazine founded in 1951 by André Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. It developed from the earlier magazine "Revue du Cinéma" ("Review of the Cinema" established in 1928) involving members of two Paris film clubs—"Objectif 49" ("Objective 49") (Robert Bresson, Jean Cocteau and Alexandre Astruc, among others) and "Ciné-Club du Quartier Latin" ("Cinema Club of the Latin Quarter").
Document 5: Chronique d'un été: Chronique d'un été (Chronicle of a Summer) is a 1961 French documentary film shot during the summer of 1960 by sociologist Edgar Morin and anthropologist and filmmaker Jean Rouch, with the technical and aesthetic collaboration of Québécois director-cameraman Michel Brault.
Document 6: Cashiers du Cinemart: Cashiers du Cinemart is an American magazine and a webzine about independent film, published and edited by Mike White. The print version began in 1994 as a zine and evolved over the late 1990s into a more typical magazine format. The title is a reference to the French film magazine, "Cahiers du cinéma". It ceased print publication temporarily in 2008, but continues on the Internet and via print on demand issues. The "Cashiers du Cinemart" writers include Skizz Cyzyk, Leon Chase, Karen Lillis, Mike Malloy, David MacGregor, Andrew Grant, Mike Z, Terry Gilmer, Rich Osmond, Mike Thompson and more.
Document 7: War and Cinema: War and Cinema: The Logistics of Perception, a 1989 book by Paul Virilio, discusses the relationship between image and war technology. Drawing on a number of films and film directors, including Sergei Eisenstein, Francis Ford Coppola, D.W. Griffith, and Stanley Kubrick, Virilio presents an postmodern analysis of how the representational methods of photography and cinema have impacted modern and historical warfare.
Document 8: Martine Beugnet: Martine Beugnet is a French film theorist, and a Professor in Visual Studies at the Paris Diderot University. She has written primarily on corporeality and sensation in avant-garde and narrative cinema, and has had her work published in several film journals. She wrote her PhD thesis at the University of Edinburgh in 1999, on themes of sexuality and bodies in recent French cinema, citing filmmakers such as Claire Denis, Bertrand Blier, Jean-Jacques Beineix, Laetitia Masson, and Leos Carax. She later wrote an entire monograph on the work of Claire Denis, where she invoked the of French philosopher Gilles Deleuze. In 2005, she published a book on cinematic treatments of Marcel Proust, written in collaboration with Marion Schmid. Two years later, she wrote a book titled "Cinema and Sensation", where she further explored themes she had written about in her PhD thesis, again invoking Deleuze.
Document 9: Jean-Louis Comolli: Jean-Louis Comolli (born 30 July 1941) is a French writer, editor, and film director. He was editor in chief of "Cahiers du cinéma" from 1966 to 1978, during which period he wrote the influential essays "Machines of the Visible" (1971) and "Technique and Ideology: Camera, Perspective, Depth of Field" (1971-2), both of which have been translated in English anthologies of film and media studies. This work was important in the discussion on apparatus theory, an attempt to rethink cinema as a site for the production and maintenance of dominant state ideology in the wake of May 1968.
Document 10: Notes on the Cinematographer: Notes on the Cinematographer (French: Notes sur le cinématographe ) is a 1975 book by the French filmmaker Robert Bresson. It collects Bresson's reflections on cinema written as short aphorisms. J. M. G. Le Clézio wrote a preface for a new edition in 1988. The book was published in English in 1977, translated by Jonathan Griffin.
Document 11: Jean-Jacques Beineix: Jean-Jacques Beineix (] ; born 8 October 1946) is a French film director and generally seen as the best example of what came to be called the "cinéma du look". Critic Ginette Vincendeau defined the films made by Beineix and others as "youth-oriented films with high production values...The "look" of the "cinéma du look" refers to the films' high investment in non-naturalistic, self-conscious aesthetics, notably intense colours and lighting effects. Their spectacular (studio based) and technically brilliant "mise-en-scène" is usually put to the service of romantic plots." The "cinéma du look" included the films of Luc Besson and Léos Carax. Luc Besson, like Beineix, was much maligned by the critical establishment during the 1980s, while Carax was much admired. In late 2006, Beineix published a first volume of his autobiography, "Les Chantiers de la gloire" (in French only). The title alluded to the French title of Stanley Kubrick's film, "Les Sentiers de la gloire" ("Paths of Glory").
Document 12: Film Culture: Film Culture was an American film magazine started by Adolfas Mekas and his brother Jonas Mekas in 1954. The headquarters was in New York City. Best known for exploring the avant-garde cinema in depth, it also published articles on other aspects of cinema, including Hollywood films.
Document 13: Jean-Daniel Pollet: Jean-Daniel Pollet (] ; 1936–2004) was a French film director and screenwriter who was most active in the 1960s and 1970s. He was associated with two approaches to filmmaking: comedies which blended burlesque and melancholic elements, and poetic films based on texts by writers such as the French poet Francis Ponge.
Document 14: Raymond Cauchetier: Raymond Cauchetier (born January 10, 1920) is a French photographer, known for his work as the set photographer from 1959 to 1968 on many of the seminal films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in "Aperture" magazine declared that his photographs "are themselves central works of the New Wave."
Document 15: Comité de libération du cinéma français: Comité de libération du cinéma français was an organization of filmmakers in France created in 1943. The most well-known members are Jacques Becker, Pierre Blanchar, Louis Daquin, Jean Painlevé, and Jean-Paul Le Chanois. Members of this organization made projects for French cinema for after the War. During the German occupation of France in World War II they made films about the Maquis, such as one showing a Maquis camp in Vercors. During the uprising in Paris they filmed the documentary "Journal de la résistance : la Libération de Paris" (directed by André Zwobada). Parts of this movie were used in the newsreel "France Libre Actualités".
ground_truth: 1951