By Dudley Andrew, Anne Gillain
The 34 essays of this assortment by means of prime foreign students re-examine Truffaut's effect on cinema as they find the original caliber of his thematic obsessions and his striking narrative techniques. virtually 30 years after his dying, we're provided with strikingly unique views on his history, impacts, and importance.Bridges a spot in movie scholarship with a sequence of 34 unique essays by way of best movie students that verify the lasting influence of Truffaut’s work
- Provides amazing new readings of person movies, and new views on Truffaut’s history, affects, and importance
- Offers a large number of severe views starting from present reflections in movie theories to articles utilizing methodologies that experience lately been missed or thought of debatable
- Includes foreign viewpoints from various ecu nations, and from Japan, New Zealand, and Brazil
- Draws on Truffaut’s information on the BiFI (Bibliotheque du movie) in Paris
- Includes a longer interview with French filmmaker Arnaud Desplechin relating Truffaut’s moving stature in French movie tradition and his demeanour of inspiration and paintings as a director
Chapter 1 Interview with Arnaud Desplechin, half I (pages 1–22): Anne Gillain and Dudley Andrew
Chapter 2 Truffaut and His “Doubles” (pages 23–70): Martin Lefebvre
Chapter three Aesthetic Affinities (pages 71–104): Anne Gillain
Chapter four Interview with Arnaud Desplechin, half II (pages 105–123): Anne Gillain and Dudley Andrew
Chapter five Flashes of Happiness (pages 125–136): Alain Bergala
Chapter 6 Truffaut and the Photographic (pages 137–152): Junji Hori
Chapter 7 The deadlock of Intimacy (pages 153–172): John Orr
Chapter eight a very good insanity (pages 173–183): Francis Vanoye
Chapter nine The Ecstatic Pan (pages 184–204): Phil Powrie
Chapter 10 The premature second and the right kind Distance (pages 205–217): Adrian Martin
Chapter eleven each instructor wishes a Truant (pages 219–241): Dudley Andrew
Chapter 12 convinced developments of Truffaut's movie feedback (pages 242–264): Richard Neupert
Chapter thirteen Truffaut–Hitchcock (pages 265–282): Jonathan Everett Haynes
Chapter 14 the anomaly of “Familiarity” (pages 283–299): Ludovic Cortade
Chapter 15 Cain and Abel (pages 300–316): Michel Marie
Chapter sixteen Friction, Failure, and hearth (pages 317–331): Timothy Corrigan
Chapter 17 growing to be Up with the French New Wave (pages 333–355): James Tweedie
Chapter 18 undesirable gadgets (pages 356–374): Sam Di Iorio
Chapter 19 among Renoir and Hitchcock (pages 375–387): Ginette Vincendeau
Chapter 20 Truffaut within the reflect of Japan (pages 388–400): Kan Nozaki
Chapter 21 Directing kids (pages 401–419): Angela Dalle Vacche
Chapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley Andrew
Chapter 23 Digging Up the earlier (pages 434–447): Elizabeth Ezra
Chapter 24 The Elevator and the phone (pages 448–453): Michel Chion
Chapter 25 l. a. Peau douce (pages 454–468): Tom Conley
Chapter 26 los angeles Peau douce (pages 469–488): Hilary Radner
Chapter 27 An Unsettling Passage (pages 489–506): Carlos Losilla
Chapter 28 The Structural position of durations in L'Argent de Poche (pages 507–516): Alain Bergala
Chapter 29 To Die or to like (pages 517–529): Luiza Jatoba
Chapter 30 movie as Literature (pages 530–545): Lucia Nagib
Chapter 31 The Elegist (pages 546–560): Philip Watts
Chapter 32 los angeles Chambre verte and the thrashing middle of Truffaut's Oeuvre (pages 561–570): Francoise Zamour
Chapter 33 Le Dernier Metro (pages 571–583): Jean?Michel Frodon
Chapter 34 Disillusionment and Magic in los angeles Nuit americaine and Le Dernier Metro (pages 584–593): Marc Vernet
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Extra info for A Companion to Francois Truffaut
D: The feelings which are explored are quite uncomfortable. This film comes from 1971, and I try to imagine what it was like not for girls of my age (I was eleven) but for the friends of my older sister. Truffaut gives you what it’s like when you are a woman having sex for the first time: “This is how it is,” he seems to say. I mean, it’s raw and crude: no bullshit, this is what it’s about. And the discussion after that, when one sister, Anne, is speaking about sex and saying, 18 Anne Gillain and Dudley Andrew “So I met that man, Diurka, and he is good for my art, he will help me.
It’s more like Bergman’s Summer with Monika . We always imagine that something like two-thirds of Monika takes place on the island, which is wrong, because it’s a three-part movie with three different genres. The beginning part is like a French film, with two young workers and the bad capitalist. They are bored with their parents and authority and capitalism … so, it’s a French film. Even the style – the lighting, etc. – is what you could call réalisme poétique (Carné, that sort of film).
As a filmmaker I say “acting,” but if I were a philosopher I would say it’s acknowledging the fact that this year, in 1974 at last, something like one of the worst injustices that France committed stopped. And this is signaled in the film both in the movie theater with the documentary about France, and in the voice-over on the radio. It says that it’s better when a father is allowed to see his wife and his kids rather than having them split on two sides of the Mediterranean. Interview with Arnaud Desplechin, Part I 9 q: Few viewers, even in France, would probably catch this allusion.
A Companion to Francois Truffaut by Dudley Andrew, Anne Gillain