Teaching French with Songs
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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 -
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法è˜ç ´¢ç“¦Â·æœ é¯ ç¦ ç”µå½± 串行 (大全) The Man Who Loved https://zh.listvote.com/lists/film/movies/the-man-who-loved-women-1195396/actors Women The Soft Skin https://zh.listvote.com/lists/film/movies/the-soft-skin-1219569/actors Une Visite https://zh.listvote.com/lists/film/movies/une-visite-1304330/actors Such a Gorgeous Kid https://zh.listvote.com/lists/film/movies/such-a-gorgeous-kid-like-me-1305672/actors Like Me A Story of Water https://zh.listvote.com/lists/film/movies/a-story-of-water-1306407/actors Small Change https://zh.listvote.com/lists/film/movies/small-change-1765162/actors The Wild Child https://zh.listvote.com/lists/film/movies/the-wild-child-477707/actors Love at Twenty https://zh.listvote.com/lists/film/movies/love-at-twenty-568518/actors Confidentially Yours https://zh.listvote.com/lists/film/movies/confidentially-yours-759324/actors æœ€å¾Œåœ°ä¸‹éµ https://zh.listvote.com/lists/film/movies/%E6%9C%80%E5%BE%8C%E5%9C%B0%E4%B8%8B%E9%90%B5-1049604/actors 隔牆花 https://zh.listvote.com/lists/film/movies/%E9%9A%94%E7%89%86%E8%8A%B1-1117460/actors 騙婚記 https://zh.listvote.com/lists/film/movies/%E9%A8%99%E5%A9%9A%E8%A8%98-1168045/actors ç¶ å±‹ https://zh.listvote.com/lists/film/movies/%E7%B6%A0%E5%B1%8B-1171341/actors 奪命佳人 https://zh.listvote.com/lists/film/movies/%E5%A5%AA%E5%91%BD%E4%BD%B3%E4%BA%BA-1211737/actors 四百擊 https://zh.listvote.com/lists/film/movies/%E5%9B%9B%E7%99%BE%E6%93%8A-162331/actors 兩個英國女å‐ https://zh.listvote.com/lists/film/movies/%E5%85%A9%E5%80%8B%E8%8B%B1%E5%9C%8B%E5%A5%B3%E5%AD%A9%E8%88%87%E6%AD%90%E9%99%B8- -
Corruption' Committee, Together with a at This Year's Democratic Recognizing the Progress Convention, Said Last Nig
the DUKE'S DAILY NEWSPAPER chronicle Volume 68, Number 37 Durham, North Carolina Friday, October 20, 1972 Grad student loses post on committee By Martha Elson position was made by the ' 'I believe that my Bill Yeager, president of new chairman of the ex p e r i ence on this the Graduate Student committee, Clifford Perry, committee is a unique Association, has not been and approved by Alex qualification that no other reappointed to the Business McMahon, chairman of the student can match and and Finance Committee of Board of Trustees. would allow me to make a the Board of Trustees. In a Sanford's second letter greater contribution to the confusing sequence of was in response to a letter committee this year than I decisions, it appears that from Yeager protesting the have before." graduate school decision not to reappoint He added "there was no representation on the him. In his letter, Yeager mention of a policy of committee has been said he "expected to be at rotation of membership on eliminated for the present as Duke two more years and this committee" when the well. had planned to continue his (Continued on Page A-5) Yeager claimed earlier work on the committee." this week that his ideological differences with other members of the committee was largely Carolina host responsible for his exclusion from the committee for this Pulitzer Prize winner Arthur Schlesinger speaking on the prospects of the ^^VletIn a lettei r last spring, to McG rally McGovern campaign yesterday at Duke. (Photo by Mary Tietz) President Terry Sanford requested that Yeager By Bill White Arthur M. -
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. -
Director Focus François Truffaut
DIRECTOR FOCUS FRANÇOIS TRUFFAUT Director, Screenwriter, Producer, Actor and Film Critic, In a film career lasting over a quarter of a century, he remains an François Truffant (1932 – 1984) helped transform the icon of the French film industry, having worked on over 25 films, cinematic landscape as one of the founders of the including the semi-autobiographical Antoine Doinel series of French New Wave. films (beginning with The 400 Blows), French Occupation drama, The Last Metro and First World War love triangle Jules and Jim. FOR ALL ENQUIRIES REGARDING UMBRELLA’S THEATRICAL CATALOGUE umbrellaent.films @Umbrella_Films PLEASE CONTACT ACHALA DATAR – [email protected] | 03 9020 5134 DIRECTOR FOCUS FRANÇOIS TRUFFAUT DVD DVD DVD BD THE 400 BLOWS FINALLY SUNDAY JULES AND JIM Praised by film-makers and critics the world over, Truffaut’s final film before his untimely death in 1984, Hailed by critics as one of the greatest films of all time, Truffaut’s The 400 Blows launched the Nouvelle Finally Sunday brought he career full circle, revisiting Truffaut’s internationally award-winning film Jules and Jim Vogue and paved the way for some of cinema’s most the film noir style of his early movies. is set pre- and post- First World War, and tells the tale of important and influential directors. Based on The Long Saturday Night by Charles Williams, two young students, Jules (Oskar Werner), and Jim (Henri Twelve-year-old Antoine Doinel (Jean-Pierre Leaud) has Finally Sunday is one of Truffaut’s most purely cinematic Serre), both in love with the beautiful, capricious, Catherine troubles at home and at school. -
Two in the Wave
PRESENTS TWO IN THE WAVE Produced & Directed by Emmanuel Laurent Written & Narrated by Antoine De Baecque Press Contact: Rodrigo Brandão (212) 629-6880 ext 12 / [email protected] A Lorber Films Release from Kino Lorber, Inc. 333 WEST 39 STREET • SUITE 503 • NEW YORK, NY • 10018 SYNOPSIS The French New Wave crashed onto international shores when François Truffaut’s debut feature, The 400 Blows, premiered at Cannes in 1959, followed quickly by Jean-Luc Godard’s equally thrilling Breathless, based on a Truffaut story. The two filmmaking rebels, great friends and fellow graduates of the Cahiers du Cinema, for which both wrote extensively, hailed from different sides of the tracks: Truffaut, a poor reform school boy, and Godard, a Swiss haute- bourgeois. Both cast Jean-Pierre Léaud in many of their movies (for Truffaut, as his alter-ego, Antoine Doinel) and led the movement to save Henri Langlois’s job at the Cinemathèque Française in ’68. Two In The Wave poignantly melds revealing period footage of both men (and of Léaud, torn between father-figures) with scenes from some of their greatest films, as it moves inexorably toward their bitter falling-out. (Karen Cooper, Film Forum) CREDITS Directed and Produced by Emmanuel Laurent Written and Narrated by Antoine de Baecque Starring Islid Le Besco Cinematography by Etienne de Grammont & Nick de Pencier Editing by Marie-France Cuénot A Films à Trois Production Produced with the cooperation of Argos Film, Ciné Tamaris, Gaumont, Les Films Du Jeudi, MK2, Studio Canal, Warner Bros, INA, Gaumont Pathé Archives, RTBF France / 2009 / 93 minutes In French with English subtitles FESTIVALS Cannes International Film Festival Rotterdam International Film Festival Guadalajara International Film Festival Hong Kong International Film Festival Visions du Réel – Nyon Documentary Film Festival 333 WEST 39 STREET • SUITE 503 • NEW YORK, NY • 10018 ABOUT THE FILMMAKERS EMMANUEL LAURENT (DIRECTOR/PRODUCER) taught himself filmmaking by watching movies in the front row of the Cinémathèque and learning how to edit. -
February 26, 2019 (XXXVIII:5) Jean-Luc Godard: BREATHLESS/À BOUT DE SOUFFLE (1960, 90 Min.)
February 26, 2019 (XXXVIII:5) Jean-Luc Godard: BREATHLESS/À BOUT DE SOUFFLE (1960, 90 min.) DIRECTED BY Jean-Luc Godard WRITING François Truffaut and Claude Chabrol (original scenario), Jean-Luc Godard (screenplay) PRODUCER Georges de Beauregard MUSIC Martial Solal CINEMATOGRAPHY Raoul Coutard FILM EDITING Cécile Decugis CAST Jean Seberg...Patricia Franchini Jean-Paul Belmondo...Michel Poiccard / Laszlo Kovacs Daniel Boulanger...Police Inspector Vital Henri-Jacques Huet...Antonio Berrutti Roger Hanin...Carl Zubart Van Doude...Himself Claude Mansard...Claudius Mansard play of shot-reverse shot' used in many Hollywood productions” Liliane Dreyfus...Liliane / Minouche (as Liliane David) (NewWaveFilm.com). In the article, Godard “praised the use of Michel Fabre...Police Inspector #2 shot-reverse shot as crucial to conveying a character’s mental Jean-Pierre Melville...Parvulesco the Writer point of view and their inner life.” In 1956, after returning to Jean-Luc Godard...The Snitch Paris from Switzerland and making his first two films, Godard Richard Balducci...Tolmatchoff returned to find that Cahiers du cinema, led by Francois Truffaut, André S. Labarthe...Journalist at Orly had become the leading film publication in France. Godard François Moreuil...Journalist at Orly would once again join the fray of French film enthusiasts championing the techniques of Hollywood auteurs like JEAN-LUC GODARD (b. December 3, 1930 in Paris, France) Hitchcock and Hawks, contributing articles “on some of his once said “All great fiction films tend toward documentary, just favorite auteurs such as Otto Preminger and Nicholas Ray” and as all great documentaries tend toward fiction.” Godard began his continuing “his theoretical debate with André Bazin” who film career with a short, which he directed, wrote, edited, acted “continued to commend the long take for its approximation to in, and did cinematography for. -
The Films of François Truffaut David Walsh Reviews a Program of the Filmmaker's Works at the Detroit Film Theatre
World Socialist Web Site wsws.org The films of François Truffaut David Walsh reviews a program of the filmmaker's works at the Detroit Film Theatre 25 October 1999 As part of its autumn-winter schedule the Detroit Film Theatre at the he transformed aspects of his own unhappy childhood into fiction. In the Detroit Institute of Arts is presenting all 21 of French filmmaker François film a Parisian youth, Antoine Doinel, tries to get by in the face of his Truffaut's feature films, two of his shorts and a documentary about his life parents' neglect or indifference. Petty crime leads him into trouble with and career. The DFT program, part of a national tour of the Truffaut the law and a stay in a detention center. He escapes, and the joyous works, is entirely welcome and gives viewers the opportunity to evaluate moment when he rushes, arms open, toward the sea, savoring his freedom, the work of a significant postwar film director. is captured by Truffaut in a memorable freeze frame. Born in 1932, Truffaut first came to prominence in the mid-1950s as an There are some lovely moments in this film. It has the flavor and pathos iconoclastic film critic for Cahiers du Cinéma, the noted French film of life. Here, in beautiful black-and-white, is Paris in the 1950s, family journal. Around this publication, edited by André Bazin, gathered a life, adolescence, rebellion. And the grimness of lower middle class number of those—including Truffaut, Jean-Luc Godard, Claude Chabrol, existence and captivity in various forms. -
Movie Talk and Chinese Pirate Film Consumption from the Mid-1980S to 2005
International Journal of Communication 6 (2012), 501–529 1932–8036/20120501 Broadening the Scope of Cultural Preferences: Movie Talk and Chinese Pirate Film Consumption from the Mid-1980s to 2005 ANGELA XIAO WU Northwestern University How do structural market conditions affect people’s media consumption over time? This article examines the evolution of Chinese pirate film consumption from the mid-1980s to 2005 as a structurational process, highlights its different mechanisms (as compared to those of legitimate cultural markets), and teases out an unconventional path to broadening the scope of societal tastes in culture. The research reveals that, in a structural context consisting of a giant piracy market, lacking advertising or aggregated consumer information, consumers developed “movie talk” from the grassroots. The media environment comprised solely of movie talk guides people’s consumption of films toward a heterogeneous choice pattern. The noncentralized, unquantifiable, and performative features of movie talk that may contribute to such an effect are discussed herein. Introduction Literatures in both cultural sociology and communication endeavor to explain cultural preferences. Current research concerns mainly cross-sectional studies with individuals as the unit of analysis (Griswold, Janssen, & Van Rees, 1999; Webster, 2009). The majority of extant theories focus on linking cultural consumption patterns to individual consumers’ psychological predispositions (Katz, Blumler, & Gurevitch, 1974) or socioeconomic statuses (Bourdieu, 1984; Van Rees & Van Eijck, 2003). However, chronological changes in the consumption patterns are relatively underexplored (Tepper & Hargittai, 2009, pp. 227–228). For instance, longitudinal research of the formative role of structured I am grateful to Joseph Man Chan, Jennifer Light, Eszter Hargittai, James Webster, Wendy Griswold, Janice Radway, and Elizabeth Lenaghan for their generous and helpful comments. -
'Exorcising the Exorcist'
Like the optical effect, this glance askance of Claude's Jules and Jim also tells a story that reverses, like a is also repeated later. Muriel has sent Claude a portion photo negative, the plot of Two English Girls. In this of her diary in which she confesses to an episode of way Truffaut reminds us that the experience recollected lesbianism and masturbation earlier in her life; and as here was an artistic experience to begin with, his own. Claude finishes reading her words, he turns to the cam- When he made Bed and Board a few years ago, era with a guilty look. Even the diary is a device cal- Truffaut finally brought to a conclusion the cycle of culated to remind us that it is only a re-creation, a Antoine Doinel films that had begun with his first work, recollection of experience rather than the experience The 400 Blows from a new point of view more sym- itself, which we are witnessing. Muriel's diary is one of pathetic to the adult than the child. The English Girls several such narr~itions that are part of Truffaut's nar- might be said to remake Jules and Jim with a compar- rative. Two others---one spoken by Truffaut himself and able change of heart. In 1962 Truffaut's sympathies another originating in Claude's letters to his mother-- lay with the Jeanne Moreau character, who is the freest are also voice-over contributions to the plot. But a spirit in Yules and Jim. In Two English Girls, however, fourth narration that figures in the film, a moot one of it is with Claude, the sanest, most stable corner of the sorts, is perhaps the most significant. -
Directed by François Truffaut Written by François Truffaut Dialogue By
February 19, 2008 (XVI:6) Mervyn LeRoy Gold Diggers of 1933 19 François Truffaut, 400 Blows 1959 (99 min) 11((((117(117minmin.)minutes) Directed by François Truffaut Written by François Truffaut Dialogue by Marcel Moussy Produced by François Truffaut Original Music by Jean Constantin Cinematography by Henri Decaë Film Editing by Marie-Josèphe Yoyotte Thanks André Bazin, Jean-Claude Brialy, Fernand Deligny, Alex Joffé, Jacques Josse, Suzanne Lipinska, Claire Mafféi, Jeanne Moreau, Claude Véga, Claude Vermorel, Annette Wademant Jean-Pierre Léaud...Antoine Doinel Claire Maurier...Gilberte Doinel Albert Rémy...Julien Doinel Guy Decomble...'Petite Feuille', the French teacher Georges Flamant...Mr. Bigey Patrick Auffay...René Daniel Couturier...Les enfants François Nocher...Les enfants Richard Kanayan...Les enfants Renaud Fontanarosa...Les enfants Michel Girard...Les enfants Henry Moati...Les enfants Bernard Abbou...Les enfants Jean-François Bergouignan...Les enfants Michel Lesignor...Les enfants Luc Andrieux Robert Beauvais...Director of the school Bouchon Christian Brocard Yvonne Claudie...Mme Bigey Marius Laurey Claude Mansard...Examining Magistrate Jacques Monod...Commissioner Pierre Repp...The English Teacher Henri Virlojeux...Night watchman Jean-Claude Brialy...Man in Street Jeanne Moreau...Woman with dog Philippe de Broca...Man in Funfair Jacques Demy...Policeman Jean Douchet...The Lover Marianne Girard Simone Jolivet Laure Paillette François Truffaut...Man in Funfair Cannes Film Festival 1959 Won Best Director François Truffaut Truffaut—400 Blows—2 François Truffaut (6 February 1932, Paris—21 October from silent films. (That's a shot where the screen seems to screw 1984,Paris, brain tumor) entered the film world as a writer—first down to circle one detail, before going to black). -
Tom Sveen Susan Norget Film Promotion [email protected] [email protected] 212-685-6242 212-431-0090
CANNES FILM FESTIVAL OFFICIAL SELECTION BOOKING CONTACT PRESS CONTACT TOM SVEEN SUSAN NORGET FILM PROMOTION [email protected] [email protected] 212-685-6242 212-431-0090 2016 / 115 MINUTES / 2.35:1 / DCP / DOLBY DIGITAL 5.1 IN FRENCH WITH ENGLISH SUBTITLES 115 West 30th Street, Suite 800 New York, NY 10001-4061 Tel: (212) 685-6242 cast and crew WITH J EAN-PIERRE LÉAUD ..................................... LOUIS XIV P ATRICK D ’ASSUMÇAO .......................................... FAGON M ARC S USINI ................................................. BLOUIN I RÈNE S ILVAGNI .................................. MME DE M AINTENON B ERNARD B ELIN ........................................... MARESCHAL J ACQUES H ENRIC ........................................... LE T ELLIER SYNOPSIS SCREENPLAY : ALBERT SERRA, THIERRY LOUNAS Versailles, August 1715. Back from hunting, Louis IMAGE : JONATHAN RICQUEBOURG _ XIV magisterially interpreted by New Wave icon CAMERA : JULIEN HOGERT, ARTUR TORT and honorary Palme d’Or recipient Jean-Pierre SOUND : JORDI RIBAS, ANNE DUPOUY Léaud _ feels pain in his leg. A serious fever erupts, EDITING : ARIADNA RIBAS, ARTUR TORT, ALBERT SERRA which marks the beginning of the agony of the MUSIC : MARC VERDAGUER greatest King of France. Surrounded by a horde of VISUAL EFFECTS : ANDRÉ ROSADO, XAVIER PÉREZ PRODUCTION DESIGNER : SEBASTIAN VOGLER doctors and his closest counselors who come in COSTUMES : NINA AVRAMOVIC turns at his bedside sensing the impending power HAIRSTYLIST : ANTOINE MANCINI vacuum, the Sun King struggles