A Companion to Francois Truffaut by Dudley Andrew, Anne Gillain

By Dudley Andrew, Anne Gillain

The 34 essays of this assortment by means of best overseas students think again Truffaut's influence on cinema as they find the original caliber of his thematic obsessions and his outstanding narrative techniques.  virtually 30 years after his dying, we're awarded with strikingly unique views on his history, impacts, and importance.Bridges a niche in movie scholarship with a sequence of 34 unique essays by way of best movie students that check the lasting effect of Truffaut’s work

  • Provides notable new readings of person movies, and new views on Truffaut’s historical past, impacts, and importance
  • Offers a large collection of serious views starting from present reflections in movie theories to articles making use of methodologies that experience lately been missed or thought of debatable
  • Includes overseas viewpoints from more than a few ecu nations, and from Japan, New Zealand, and Brazil
  • Draws on Truffaut’s documents on the BiFI (Bibliotheque du movie) in Paris
  • Includes a longer interview with French filmmaker Arnaud Desplechin pertaining to Truffaut’s moving stature in French movie tradition and his demeanour of proposal and paintings as a director

Content:
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 an exceptional insanity (pages 173–183): Francis Vanoye
Chapter nine The Ecstatic Pan (pages 184–204): Phil Powrie
Chapter 10 The premature second and the proper Distance (pages 205–217): Adrian Martin
Chapter eleven each instructor wishes a Truant (pages 219–241): Dudley Andrew
Chapter 12 yes traits 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 fireplace (pages 317–331): Timothy Corrigan
Chapter 17 growing to be Up with the French New Wave (pages 333–355): James Tweedie
Chapter 18 undesirable items (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 teenagers (pages 401–419): Angela Dalle Vacche
Chapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley Andrew
Chapter 23 Digging Up the previous (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 l. a. Peau douce (pages 469–488): Hilary Radner
Chapter 27 An Unsettling Passage (pages 489–506): Carlos Losilla
Chapter 28 The Structural function 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 l. a. 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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A Companion to Francois Truffaut

The 34 essays of this assortment through best overseas students reconsider 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 loss of life, we're provided with strikingly unique views on his heritage, affects, and significance.

Additional info for A Companion to Francois Truffaut

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No, clever is the wrong word: it’s so moving. q: It’s all about trying to organize emotions in a sequence. d: Yeah, and to have a lot of different colors of emotion, and to jump from the emotion to the idea. It’s more than the kid crying in the paddy wagon because he will be taken far from Paris, or because of his father. It’s not just to make us cry it’s to make us think about it, to realize that the system shouldn’t be like this, or that the paddy wagon he’s riding in is also a carriage from a fairy tale.

Which is strange for me because actually, I don’t know René Clair, since he was not shown on TV when I was a kid. Truffaut was trying to tell some journalists – intellectuals and writers, not really film lovers – why pure mise-en-scène is so important. Truffaut said, “You know, in a René Clair movie,” and he quotes Clair against himself, which is to my mind a sin, to say bad things about a director when you are a director. But Truffaut comes from a different generation, and he attacks Clair because Clair left France for America, for his supposed love for American films.

When the ego of the director is the show that you are paying the ticket for, this is not at all the same thing that Truffaut was doing for a living, which was politique des auteurs, different from this American idea that the only thing valuable in a film would be the director. You don’t have this exactly in Truffaut. The film is there first for him. q: Could you comment on Truffaut’s definition of “auteur”? You have Hitchcock, Nicholas Ray, or in France, Renoir, Cocteau. d: And Guitry. It took me a while to understand his taste in auteurs, like his passion for Sacha Guitry, which is a very French thing that even I will never understand because he’s not part of my generation.

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