By Dudley Andrew, Anne Gillain

ISBN-10: 1118321596

ISBN-13: 9781118321591

ISBN-10: 1405198478

ISBN-13: 9781405198479

The 34 essays of this assortment by means of best overseas students re-evaluate Truffaut's effect on cinema as they find the original caliber of his thematic obsessions and his amazing narrative techniques.  virtually 30 years after his dying, we're offered with strikingly unique views on his historical past, affects, and importance.Bridges a niche in movie scholarship with a sequence of 34 unique essays through major movie students that check 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 collection of severe 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 a number ecu international locations, and from Japan, New Zealand, and Brazil
  • Draws on Truffaut’s data 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 concept 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 excellent 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 yes trends 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 hearth (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 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 youngsters (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 los angeles 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 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 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 l. a. Nuit americaine and Le Dernier Metro (pages 584–593): Marc Vernet

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Extra resources for A Companion to Francois Truffaut

Sample text

The film of tomorrow will resemble the person who shot it and the number of spectators will be proportional to the number of friends the director has. ”9 Truffaut wrote this in May 1957, as he was preparing Les Mistons, imagining his future as a filmmaker. Davenne may remind us of Truffaut the critic who collects his favorite people, but like a filmmaker, Davenne also builds a set and arranges props. 10 Of L’Enfant sauvage (1970), Jean Collet wrote, Doctor Itard’s role as regards the child is analogous to that of a metteur en scène.

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.

Yet it’s the only film where you feel this major social event, even if it’s just acting. 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.

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A Companion to Francois Truffaut by Dudley Andrew, Anne Gillain

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