Download A Companion to Francois Truffaut by Dudley Andrew, Anne Gillain PDF

By Dudley Andrew, Anne Gillain

The 34 essays of this assortment through major overseas students re-examine Truffaut's impression on cinema as they find the original caliber of his thematic obsessions and his amazing narrative techniques.  virtually 30 years after his loss of life, we're awarded with strikingly unique views on his history, affects, and importance.Bridges a niche in movie scholarship with a sequence of 34 unique essays through prime movie students that investigate the lasting effect of Truffaut’s work

  • Provides outstanding new readings of person movies, and new views on Truffaut’s heritage, impacts, and importance
  • Offers a large selection of serious views starting from present reflections in movie theories to articles utilizing methodologies that experience lately been missed or thought of arguable
  • Includes overseas viewpoints from quite a number ecu international locations, 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 notion 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 an outstanding 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 ambiguity 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 turning out 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 young children (pages 401–419): Angela Dalle Vacche
Chapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley Andrew
Chapter 23 Digging Up the prior (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 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 center 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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Additional resources for A Companion to Francois Truffaut

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Amazing scene: every ten seconds, a new idea, I mean it keeps going like that. The craft here is just amazing. So in this film those little transgressions are supposed to deliver more cinematic thrills, not ruin the storytelling, and Truffaut was desperate when it didn’t work. ” q: Truffaut is so rambunctious in Tirez sur le pianiste. He jumps from comedy to melodrama in a single pan. Remember the little boy and the two gangsters in the gas station, where the boy drives the car? It’s hilarious, but then the camera pans and you see Charlie and Lena heading to the mountains in another car.

This paddy wagon scene comes from a film lover; it’s a bit of Bresson. q: What do you think about the striking shot in the jail sequence of the policeman in silhouette at the end of the corridor? It’s rare for Truffaut to give you a kind of postcard shot. But It’s so very beautiful. d: It has to be frightening too. I guess that, while not wanting to describe the cops as bad cops, he shows you that, within the system, they are pigs. Come on, the boy’s twelve, he’s being put in jail. So once at least Truffaut has to film the fact that this is absolute terror, and that inadmissible violence is being done to this kid.

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. I remember Truffaut speaking on TV, explaining his disdain for René Clair. 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.

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