By Dudley Andrew, Anne Gillain
The 34 essays of this assortment through major foreign students re-evaluate Truffaut's impression on cinema as they find the original caliber of his thematic obsessions and his outstanding narrative techniques. nearly 30 years after his loss of life, we're offered with strikingly unique views on his historical past, impacts, and importance.Bridges a spot in movie scholarship with a sequence of 34 unique essays via top movie students that examine the lasting effect of Truffaut’s work
- Provides awesome new readings of person movies, and new views on Truffaut’s historical past, affects, and importance
- Offers a large collection of severe views starting from present reflections in movie theories to articles utilising methodologies that experience lately been overlooked or thought of debatable
- Includes overseas viewpoints from more than a few eu 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 touching on 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 great 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 sure 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 starting 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 replicate 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 earlier (pages 434–447): Elizabeth Ezra
Chapter 24 The Elevator and the phone (pages 448–453): Michel Chion
Chapter 25 los angeles 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 periods 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 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
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. 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.
They don’t get it. It’s strange. q: Actually it started with La Sirène du Mississippi which was a total flop and even more with Les Deux Anglaises et le continent. It was a critical and financial disaster. Interview with Arnaud Desplechin, Part I 17 d: Today, if there’s a film that you can’t contest, an absolute masterpiece in the history of cinema, it’s Les Deux Anglaises et le continent. Do we like it or not? That’s another question. I don’t like Antonioni (just as Truffaut didn’t like him), but I can see when he has made a masterpiece.
I understand it from time to time through some bit of film I come upon when watching older movies. ), Le Cinéma selon François Truffaut (Paris: Flammarion, 1988); trans. Alistair Fox, Francois Truffaut: The Lost Secret, (Bloomington: Indiana University Press, 2013). 2 Martin Scorsese, Michael Henry Wilson, Voyage de Martin Scorsese à travers le cinéma américain (Paris: Cahiers du Cinéma, 1997). English edition, Personal Journey with Martin Scorsese through American Movies (New York: Hyperion, 1997).