François Truffaut
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Topaz (1969 Film) Actors List (Cast)
Topaz (1969 film) Actors List (Cast) John Forsythe https://www.listvote.com/lists/film/actors/john-forsythe-315217/movies Michel Subor https://www.listvote.com/lists/film/actors/michel-subor-561288/movies Sándor Szabó https://www.listvote.com/lists/film/actors/s%C3%A1ndor-szab%C3%B3-1293775/movies Ben Wright https://www.listvote.com/lists/film/actors/ben-wright-2895601/movies Tina Hedström https://www.listvote.com/lists/film/actors/tina-hedstr%C3%B6m-548189/movies Ann Doran https://www.listvote.com/lists/film/actors/ann-doran-450047/movies Abel Fernandez https://www.listvote.com/lists/film/actors/abel-fernandez-2821506/movies Carlos Rivas https://www.listvote.com/lists/film/actors/carlos-rivas-2939437/movies Lew Brown https://www.listvote.com/lists/film/actors/lew-brown-15462667/movies Philippe Noiret https://www.listvote.com/lists/film/actors/philippe-noiret-106482/movies Roberto Contreras https://www.listvote.com/lists/film/actors/roberto-contreras-691844/movies Alfred Hitchcock https://www.listvote.com/lists/film/actors/alfred-hitchcock-7374/movies Michel Piccoli https://www.listvote.com/lists/film/actors/michel-piccoli-295257/movies Dany Robin https://www.listvote.com/lists/film/actors/dany-robin-279382/movies Sonja Kolthoff https://www.listvote.com/lists/film/actors/sonja-kolthoff-4959435/movies Carlos Rivas https://www.listvote.com/lists/film/actors/carlos-rivas-2459757/movies Frederick Stafford https://www.listvote.com/lists/film/actors/frederick-stafford-670311/movies Gregory Gaye https://www.listvote.com/lists/film/actors/gregory-gaye-3116367/movies -
Pdf-Collections-.Pdf
1 Directors p.3 Thematic Collections p.21 Charles Chaplin • Abbas Kiarostami p.4/5 Highlights from Lobster Films p.22 François Truffaut • David Lynch p.6/7 The RKO Collection p.23 Robert Bresson • Krzysztof Kieslowski p.8/9 The Kennedy Films of Robert Drew p.24 D.W. Griffith • Sergei Eisenstein p.10/11 Yiddish Collection p.25 Olivier Assayas • Alain Resnais p.12/13 Themes p.26 Jia Zhangke • Gus Van Sant p.14/15 — Michael Haneke • Xavier Dolan p.16/17 Buster Keaton • Claude Chabrol p.18/19 Actors p.31 Directors CHARLES CHAPLIN THE COMPLETE COLLECTION AVAILABLE IN 2K “A sort of Adam, from whom we are all descended...there were two aspects of — his personality: the vagabond, but also the solitary aristocrat, the prophet, the The Kid • Modern Times • A King in New York • City Lights • The Circus priest and the poet” The Gold Rush • Monsieur Verdoux • The Great Dictator • Limelight FEDERICO FELLINI A Woman of Paris • The Chaplin Revue — Also available: short films from the First National and Keystone collections (in 2k and HD respectively) • Documentaries Charles Chaplin: the Legend of a Century (90’ & 2 x 45’) • Chaplin Today series (10 x 26’) • Charlie Chaplin’s ABC (34’) 4 ABBas KIAROSTAMI NEWLY RESTORED In 2K OR 4K “Kiarostami represents the highest level of artistry in the cinema” — MARTIN SCORSESE Like Someone in Love (in 2k) • Certified Copy (in 2k) • Taste of Cherry (soon in 4k) Shirin (in 2k) • The Wind Will Carry Us (soon in 4k) • Through the Olive Trees (soon in 4k) Ten & 10 on Ten (soon in 4k) • Five (soon in 2k) • ABC Africa (soon -
Dossier De Presse 10E Semaine Du
e ÉDITION1 0 2013 14-19 JANVIER À PARIS 20-27 JANVIER PARTOUT EN FRANCE BRUXELLES GENÈVE MONTRÉAL QUÉBEC TÉLÉVISION Murmurer Bruit au travail au Bruit Attention Fichier son Niveau sonore Niveau MALENTENDANCE PROJECTION Amplication musique de Instrument Baladeur 3D expression SONORISATION Calme Otorhinololaryngologiste HAUT-PARLEUR Chaos MESURE Réverbération La voix au théâtre au voix La Bruit de fond THÉÂTRE Zone d’écoute TECHNOLOGIES MUSICIEN SONOGRAMME DÉCIBEL TÉLÉPHONE Repère sonore Repère Studio d’enregistrement Studio AUDIOPROTHÈSE Environnement CRIER Santé auditive cinéma au sonores niveaux Les Santé Bruit et violence dans les lieux publics Auditeur Espace public CASQUE Expression musicale et pédagogie et musicale Expression ORCHESTRE Silence diffusion et Enregistrement Sciences DIFFUSION Troubles auditifs +Lð BRUIT CINÉMA Le son spatialisé VACARME INTERNET RELATION IMAGE ET SON Réflexion PAYSAGE SONORE Bébé Qualité sonore Entente expression OUÏE APPAREILLAGE S’entendre Surdité SONNERIE LaVOIX AMPLIFICATION SemaineECHO Ingénieur du son Enregistrement et diffusion Bien-être La pédagogie de l’écoute HOMME OREILLES Audition MUSIQUE ALARME ENTENDRE HARMONIE BRUIT ENFANT ŒUVRE Clavier maître Ecoute Interaction desdu tout-petits avec Son leur environnement sonore CHANTER SOCIÉTÉ NATURE Violence RISQUES AUDITIFS MICROPHONE S’ÉCOUTER Sweetspot RADIO SON SPATIALISÉ Acoustique et environnement sonore MIXAGE VOISINAGE Correction acoustique isolation absorption MALAUDITION Les métiers du son Symphonie TRAITEMENT ACOUSTIQUE localisation CHORALE -
Last Tango in Paris (1972) Dramas Bernardo Bertolucci
S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 . -
Paris Cinema.1.1
01 02 03 The New Wave Hotel 04 05 Roland-François Lack 06 07 08 09 The association of the French New Wave with the kind of movement through urban 10 space that has been called flânerie is a familiar one. A defamiliarising strategy in this 11 chapter, and in my research more broadly,1 is to examine and occupy the spaces in 12 which New Wave films come to rest, countering a general assumption that cinema is 13 always about movement. The hotel is a peculiarly cinematic stopping place because, it 14 has been argued, it is ‘always already in motion’, a ‘ceaseless flux of reservations, occu- 15 pations and vacancies’.2 By fixing exactly the locations of Paris hotels in New Wave films 16 and by looking closely at the contents of the rooms in those hotels, this chapter will try 17 to resist the appeal of such mobility and fix its gaze firmly on its object, unmoved. The 18 suggestion will be, finally, that the French New Wave is less a cinema of flânerie than 19 it is a cinema of stasis; is as much a cinema of interiors as it is a cinema of the street. 20 What, cinematically, is particular about the New Wave’s use of hotels? New Wave 21 hotels are places of passage, temporary stopping places that signify transience and, in 22 the end, mobility. In her study of cinematic flânerie, Suzanne Liandrat-Guigues defines 23 the cinematographic image as ‘passage’,3 and though she goes on to illustrate the point 24 through New Wave films that follow characters as they walk in streets, fixing on their 25 ‘singular mobility’, here we will be following the New Wave’s characters into spaces 26 where walking is restricted. -
1 Rapport D'activité 2010
Rapport d’activité 2010 RAPPORT D’ACTIVITÉ 2010 Rapport d’activité 2010 TABLE DES MATIERES Editorial ....................................................................................................................................................................... 3 I LES ACTIVITES PROPOSEES AU PUBLIC EN 2010..........................................................................................5 1 La programmation des films ................................................................................................................................ 6 2 Les expositions.................................................................................................................................................. 10 3 L’action culturelle............................................................................................................................................... 12 4 La Bibliothèque du film ...................................................................................................................................... 20 5 La Librairie et le restaurant................................................................................................................................ 22 6 Les invités de la Cinémathèque ........................................................................................................................ 23 II LES COLLECTIONS............................................................................................................................................25 1 Enrichissement -
Simply-Hitchcock-1587911892. Print
Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind. -
From Honoré De Balzac to Franc¸Ois Truffaut1
The European Legacy, Vol. 9, No. 2, pp. 173–193, 2004 The Human Comedy of Antoine Doinel: From Honore´deBalzac to Franc¸ois Truffaut1 ϳϳ ANER PREMINGER ϳϳ ABSTRACT The focus of this paper is the intertextual relationship between the work of Franc¸ois Truffaut and that of Honore´deBalzac. It explores Balzac’s influence on the shaping of Truffaut’s voice and argues that Balzac’s Human Comedy served Truffaut as a model for some of his cinematic innovations. This applies to Truffaut’s total oeuvre, but particularly to his series of autobiographical films, “The Adventures of Antoine Doinel”: The 400 Blows ( Les Quatre Cents Coups, 1959), Antoine and Colette, Love at Twenty (Antoine et Colette, L’Amour a` Vingt Ans, 1962), Stolen Kisses ( Baisers Vole´s, 1968), Bed and Board ( Domicile Conjugal, 1970), Love on the Run ( L’Amour en Fuite, 1979). In examining Truffaut’s “rewriting” of Balzac, I adopt—and adapt—the intertextual approach of Harold Bloom’s theory of the “anxiety of influence.” My paper applies Bloom’s concept of misreading to an examination of the relationship between Truffaut’s autobiographical films, and Balzac’s Human Comedy, both thematically and structurally. On 21 August 1850, the writer Victor Hugo read a eulogy over the grave of his colleague, the writer Honore´deBalzac. In this eulogy Hugo attempted to sum up Balzac’s contribution to literature in particular and to culture in general. Among other things, Hugo said the following: The name of Balzac will form part of the luminous mark that our period will leave upon the future. -
Antoine Doinel's Spleen: Truffaut Misreads Baudelaire
Working Paper 138/2014 Antoine Doinel’s Spleen: Truffaut Misreads Baudelaire Achinoam Ester Berger Published by the European Forum at the Hebrew University Jerusalem 9190501, Israel Tel: (972 2) 588-3286 Fax: (972 2) 588-1535 E-mail: [email protected] http://www.ef.huji.ac.il Working Paper 138/2014 Antoine Doinel’s Spleen: Truffaut Misreads Baudelaire Achinoam Ester Berger © European Forum at the Hebrew University, Jerusalem All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the European Forum at the Hebrew University of Jerusalem and the author of this paper. European Forum at the Hebrew University, Jerusalem 91905, Israel | http://www.ef.huji.ac.il Tel: (972 2)588-3286 | Fax: (972 2)588-1535 | [email protected] Abstract:1 This essay examines the intertextual dialogue between François Truffaut’s cycle of autobiographical films, known as the Doinel cycle, and Charles Baudelaire’s collection of poems The Flowers of Evil (Les Fleurs du mal), and collection of prose poems The Spleen of Paris (Le Spleen de Paris: Petits poèmes en prose). The focal point is the fourth Doinel film, Bed and Board (Domicile Conjugal, 1970), and the poem “Spleen IV” in The Flowers of Evil. By applying Aner Preminger’s (Preminger: 2006) cinematic adaptation of Harold Bloom’s “anxiety of influence” theory (Bloom: 1973) and “misreading” concept (Bloom: 1975), I argue that the explicit and implicit references to Baudelaire are not a homage, i.e. -
Antoine Doinel, Incarné Par Jean-Pierre
Doinel, mélomane truffaldien. « La réalité est toujours féerique », Jean Renoir cité par François Truffaut.1 1. Antoine et Colette (1962). Antoine Doinel, incarné par Jean-Pierre Léaud, est un personnage composite qui a accompagné Truffaut pendant une vingtaine d'années (1959-19792) : « ce personnage imaginaire, écrit le réalisateur, est la synthèse de deux personnes réelles, Jean-Pierre Léaud et moi »3. En 1962, après le succès, trois ans auparavant, des Quatre cents coups, le réalisateur choisit, par un concours de circonstances4, de renouer avec son personnage et de donner une suite aux aventures adolescentes d'Antoine Doinel : ce sera le court métrage Antoine et Colette. Le fugueur révolté de 13 ans est devenu un jeune homme indépendant, vivant dans une modeste chambre, place Clichy, grâce à un poste de magasinier dans une maison d'édition de disques, la maison Philips. Le sujet du film, ayant une résonance biographique pour Truffaut5, est l'histoire de l'amour werthérien d'Antoine (Jean-Pierre Léaud) pour Colette (Marie-France Pisier). Derrière ce voile sentimental, Truffaut va filmer en quelques 29 minutes, en noir et blanc et en cinémascope, dans un style elliptique, le portrait d'un amateur de musique, d'un jeune mélomane. En effet, Antoine Doinel, jeune salarié de 17 ans, est inscrit aux Jeunesses Musicales de France (JMF) et fréquente assidûment les salles parisiennes pour écouter concerts et conférences. Lors d'une de ces manifestations, où est donnée, salle Pleyel, la Symphonie fantastique, Antoine aperçoit pour la première fois Colette : il s'agit, comme l'a voulu et écrit le réalisateur, d'un « coup de foudre musical »6.