PDF Download Jacques Demy Ebook

Total Page:16

File Type:pdf, Size:1020Kb

PDF Download Jacques Demy Ebook JACQUES DEMY PDF, EPUB, EBOOK Darren Waldron | 208 pages | 27 Feb 2017 | MANCHESTER UNIVERSITY PRESS | 9781526106995 | English | Manchester, United Kingdom Jacques Demy PDF Book American bad taste took me by storm, I loved it. The camera sets an artificial frame around the subject and distorts size, distance and spatial perspective; more than this, each viewer creates for himself a different version of the screen image, responding to, and perhaps literally seeing such things as color and depth in a totally different way from his neighbor. Edit page. Damien Chazelle, although a dedicated student of Jacques Demy who has done much to popularize his films, presents a radically different version of Los Angeles in La La Land. And he said is that enough? Following Demy's death in late of a cerebral hemorrhage, his widow Agnes Varda , a filmmaker in her own right, began making documentary tributes to her beloved and influential husband the most famous of which is the docudrama- Jacquot de Nantes. Yvonne in Les Demoiselles — and of these only Mme. Like two ships passing in the night, or in this case two cars passing each other, they do have one sexual encounter, and then go their separate ways. It is both quintessentially a Demy film, set in a cinematic universe of characters and relations of his own devising, and yet unlike other Demy films, it is a clear example of a Euro-America art film, a new Hollywood youth culture film — indeed a forerunner to most of them — that has little in common with that type. For Les Demoiselles I wanted above all to provide two hours of joy. The one concession it makes to fame is its references to Jean-Luc Godard. Both were determined to reshape the vocabulary of the movies. We hear in Les Demoiselles de Rochefort of a dancer called Lola — Lola being brutally hacked to pieces and the murderer turns out to be a nice old man seen earlier in the film. By Graham Petrie in the Winter — Issue The meaning of a book is given, in the first instance, not so much by its ideas as by a systematic and unexpected variation of the modes of language, of narrative, or of existing literary forms. List of famous people who died of hiv infection, listed alphabetically with photos when available. Eventually, Varda is happy with our snap. Rights and Permissions. The wallpaper of the living room of the flat Genevieve and her mother live in reverses this — broad green stripes interspersed with narrow pink ones. And yet she has mingled with the famous or soon-to-be-famous throughout her career. The horrors of slavery in America return in Antebellum, an audacious thriller that revives thorny questions of how to portray the past. How much of Jacques Demy's work have you seen? Interesting comparisons can be made between the two directors in their treatment of LA. Forgot your password? Jacques Demy Writer It just happened like this. Demy's style drew upon such diverse sources as classic Hollywood musicals, the documentary realism of his New Wave colleagues, fairy-tales, jazz, Japanese manga, and the opera. Reuse this content. And then we got together again and felt the delight of rediscovering the other after a little break. The Umbrellas of Cherbourg Director. What is before and after the snapshot intrigues me. Favorite Filmmakers. People in Demy films frequently compare anyone they meet to old friends and acquaintances, letting the interactions of any given moment take the place of the interactions they wish they were having. Article from the May-June issue. In Les Demoiselles de Rochefort you use very gentle, harmonizing colors; in Model Shop the colors are very violent. Categories: From the Archive. And we did it. The predictability with which the theme recurs helps to shape the repetitive patterns that build up the film. I just wanted her to know that I was going to try. They had two children — Rosalie and Mathieu. There, she says, they will find the beauty. Demy topped that success with the international hit Les Parapluies De Cherbourg aka The Umbrellas of Cherbourg , a low-key and beautifully stylized romantic musical by Michel Legrand who had scored Demy's shorter works in which all of the players sang their lines against a paradise of quaint buildings painted in pastels. More than words: the subtitler of Godard, Assayas, and others talks about the process in this accompaniment to our May-June Art and Craft article. Yvonne and Simon Dame live in the same town for years, each believing that the other is thousands of miles away; Maxence searches for the ideal incarnated in Delphine, but constantly misses her and meets only her sister Solange; Andy, looking for Solange, meets only Delphine and does not know of their relationship. Oral interpersonal communication does not disappear when new communication possibilities arise. Model Shop was a box office failure and quickly disappeared. The tender, sexual colors create not just an atmosphere, but a closed environment within which the mother and daughter move and into which they blend, and which the former wishes to keep totally under her control. Hollywood aim for authenticity, while not being documentaries. Cancel Save. At the end of the same film, the camera moves away from Guy as he runs out of the office of his filling-station into the snow-apparently after the departing Genevieve but really, as we see when the track continues, to meet the returning Madeleine and Francois. You must be tired, I say. Facebook Twitter RSS. Even in a film which ends unhappily, like Les Parapluies de Cherbourg , it is clearly implied that, however content Guy may be with Madeleine, it is Genevieve who will always be his real love and that Genevieve is fully aware of how much her betrayal has cost her. I think I have the spirit, the intelligence and dare I say the soul of a woman. How much of Jacques Demy's work have you seen? It is an intimate account of a pop singer who sees the world around her with a new vision while she waits for the results of a medical examination that will tell her if she is suffering from a terminal illness. Chazelle envisions his own spiritual and poetic side of Los Angeles that Demy previously gave viewers as George briefly looked out upon the city. Demy did not find the America of Gene Kelly and Vincent Minnelli, but a world closer to Easy Rider and an American counterculture that he rendered in his own inimical style in Model Shop. After the failure of the May revolution in Paris, LA seemed to offer Demy an almost utopian sense of possibility. Order by newest oldest recommendations. Facebook Twitter Pinterest. Demy makes no attempt to hide the artificiality of this structure; instead he emphasizes it by a careful paralleling of incidents and settings and a series of coincidental encounters and near-misses which bring together one group of characters and keep apart those whose recognition of one another would resolve too soon the symmetry of the plot. Andrew Slater, director of Echo in the Canyon , a documentary about the musical scene in Los Angeles from the mid to late ls, explicitly credits Model Shop as inspiration for his film, so much so that he included clips from the film in Echo in the Canyon to invoke s Los Angeles. Sign In. If you are authenticated and think you should have access to this title, please contact your librarian. The existential level of that experience is highlighted by means of the application of ethnological and phenomenological perspectives to extensive empirical material drawn from a Swedish context. We have been talking for two hours. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement using dance to protest against gendered violence, dabkeh in Palestine and dance as protest against human rights abuse in Israel, the Sun Dance within the Native American Crow tribe, the book focuses on the political power of dance and moments in which dance transgresses politics articulated in words. Jacques Demy Reviews Delete Cancel Save. So Mme. What happens to routines, trust, and self-confidence? He died on October 27, in Paris, France. Faces Places is out on Friday. He originally wanted to call the film Los Angeles, The sailor Frankie reminds Lola of Michel, her first love. Although he died in October , Demy's legacy as an iconic director for generations of admirers and filmmakers endures. She studied literature and psychology at the Sorbonne, then art history and photography. After the failure of the May revolution in Paris, LA seemed to offer Demy an almost utopian sense of possibility. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who appear or are referenced across titles. The film follows George as he attempts to raise enough money to save his beloved classic MG-TD Roadster from being repossessed. In , aged 59, Demy died of Aids-related complications. View Cart Check Out. Lola, whose real name is Cecile, hopes to earn enough money to purchase airfare back to Paris to be with her son. With the increasing interest in the work of Demy generally, Sony finally released the film on DVD in Tarantino refurbished Hollywood Boulevard by painting many storefronts, returning them to their former glory. The corner of the room has been set up for the photographs but Varda suggests taking them outside and convinces the photographer that they will benefit from the natural light.
Recommended publications
  • PDF) ISBN 978-0-9931996-4-6 (Epub)
    POST-CINEMA: THEORIZING 21ST-CENTURY FILM, edited by Shane Denson and Julia Leyda, is published online and in e-book formats by REFRAME Books (a REFRAME imprint): http://reframe.sussex.ac.uk/post- cinema. ISBN 978-0-9931996-2-2 (online) ISBN 978-0-9931996-3-9 (PDF) ISBN 978-0-9931996-4-6 (ePUB) Copyright chapters © 2016 Individual Authors and/or Original Publishers. Copyright collection © 2016 The Editors. Copyright e-formats, layouts & graphic design © 2016 REFRAME Books. The book is shared under a Creative Commons license: Attribution / Noncommercial / No Derivatives, International 4.0 (http://creativecommons.org/licenses/by-nc-nd/4.0/). Suggested citation: Shane Denson & Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film (Falmer: REFRAME Books, 2016). REFRAME Books Credits: Managing Editor, editorial work and online book design/production: Catherine Grant Book cover, book design, website header and publicity banner design: Tanya Kant (based on original artwork by Karin and Shane Denson) CONTACT: [email protected] REFRAME is an open access academic digital platform for the online practice, publication and curation of internationally produced research and scholarship. It is supported by the School of Media, Film and Music, University of Sussex, UK. Table of Contents Acknowledgements.......................................................................................vi Notes On Contributors.................................................................................xi Artwork…....................................................................................................xxii
    [Show full text]
  • CIN-1103 : Nouvelle Vague Et Nouveaux Cinémas Contenu Et
    Département de littérature, théâtre et cinéma Professeur : Jean-Pierre Sirois-Trahan Faculté des lettres et des sciences humaines Session : Hiver 2020 CIN-1103 : Nouvelle Vague et nouveaux cinémas Local du cours : CSL-1630 Horaire : Mercredi, 15h30-18h20 Projection : Mercredi, 18h30-21h20 (CSL-1630) Téléphone : 418-656-2131, p. 407074 Bureau : CSL-3447 Courriel : [email protected] Site personnel : https://ulaval.academia.edu/JeanPierreSiroisTrahan Contenu et objectifs du cours Dans l’histoire du cinéma mondial, la Nouvelle Vague (française) peut être considérée comme l’un des événements majeurs, de telle façon que l’on a pu dire qu’il y avait un avant et un après. Deuxième moment de la modernité au cinéma après le néoréalisme italien, son avènement au tournant des années soixante a profondément changé la donne esthétique de l’art cinématographique, et ce jusqu’à aujourd’hui. L’une des caractéristiques les plus essentielles de ce mouvement fut de considérer le cinéma, dans l’exercice même de sa praxis, de façon critique, cinéphile et réflexive. Groupée autour de la revue des Cahiers du Cinéma, cofondée par André Bazin, la Nouvelle Vague est souvent réduite à un groupe de critiques passés à la réalisation : Claude Chabrol, François Truffaut, Jean-Luc Godard, Jacques Rivette, Éric Rohmer, Pierre Kast, Jacques Doniol-Valcroze et Marilù Parolini (scénariste). Aussi, il ne faudrait pas oublier ceux que l’on nomma le « groupe Rive gauche » : Agnès Varda, Alain Resnais, Chris Marker, Jacques Demy, Jean-Daniel Pollet, Henri Colpi et Jacques Rozier. On peut aussi y rattacher un certain nombre d’outsiders importants, soit immédiatement précurseurs (Jean- Pierre Melville, Georges Franju, Jean Rouch et Alexandre Astruc), soit continuateurs à l’esthétique plus ou moins proche (Marguerite Duras, Jean-Marie Straub et Danièle Huillet, Paula Delsol, Maurice Pialat, Jean Eustache, Chantal Akerman, Philippe Garrel, Jacques Doillon, Catherine Breillat, Danièle Dubroux et André Téchiné).
    [Show full text]
  • Le Cinéma Trouve Son Bonheur En Pays De La Loire
    Ouest France - Pays de la Loire 18/02/2017 N° 22082 page 6 Le cinéma trouve son bonheur en Pays de la Loire La région offre un large choix de paysages qui séduit les réalisateurs de films. Ce n’est pas nouveau pour les longs-métrages. Mais, pour la première fois en 2016, deux séries TV ont été tournées ici. Faciliter le travail du réalisateur petits châteaux, encore meublés, Sang de la vigne, à Gorges et Saint- Comme d'autres régions, les Pays de reste attractive. C’est beaucoup Fiacre (Loire-Atlantique), déjà diffusé la Loire disposent d'un bureau d'ac plus accessible que les grands châ sur France 3, et Mon frère bien aimé, téléfilm avec Olivier Marchai et Mi cueil des tournages. Son rôle : faire teaux de la région Centre », men gagner du temps aux réalisateurs en tionne la responsable du bureau des chael Young, programmé le 1er mars sur France 2. leur proposant des sites et un réseau tournages. Mais depuis quelques de professionnels confirmés dans le années, les comédies familiales, ro En tournage cette année De nombreux projets de tournage domaine de l'image, du son, du cos mantiques ou dramatiques se dé sont engagés en 2017. D'abord tume, du maguillage, de la coiffure... roulent dans des décors contempo « Certains réalisateurs viennent rains et souvent en zone urbaine. quatre longs-métrages : Emil Mate- sic de Sylvain Labrosse, à Saint-Na avec une idée précise, d’autres zaire au printemps ; Mademoiselle nous interrogent. Notre mission est Bientôt sur les écrans de Joncquières d'Emmanuel Mouret, de faciliter leur tâche et que tout se Tournés dans la région en 2015 dans un château d'Anjou au second passe bien », explique Pauline Le et 2016, quatre longs-métrages semestre ; Si demain de Fabienne Floch, responsable du bureau des seront bientôt diffusés sur grand tournages.
    [Show full text]
  • H-France Review Volume 18 (2018) Page 1
    H-France Review Volume 18 (2018) Page 1 H-France Review Vol. 18 (March 2018), No. 48 David A. Gerstner and Julien Nahmias, Christophe Honoré: A Critical Introduction. Detroit: Wayne State University Press, 2015. 272 pp. Illustrations, 118 black and white photographs. $ 34.99 U.S. ISBN 9780814338636 Review by Florian Grandena, University of Ottawa. Often labelled as “a provocative auteur” (p. 3), novelist/playwright turned filmmaker Christophe Honoré has, over the last 15 years or so, produced a consistent and challenging body of cinematic work. His first film effort, the 2002 haunting and most definitely underrated 17 fois Cécile Cassart, was a sombre heart-felt drama on loss and mourning, which focused on the eponymous protagonist’s rejection of motherhood and her slow self-reconstruction outside the so-called traditional family. However, Honoré is not famous for this particular film; rather, and somewhat unsurprisingly, it is his “urban” feature films that have attracted the attention of domestic and international critics, as well as French audiences. His “Paris trilogy” (Dans Paris, 2006; Les Chansons d’amour, 2007; and La Belle personne, 2008) is indeed made up of three important auteur films--important in both Honoré’s distinctive career and more generally in early twenty-first century French cinema--and thus deserve all the attention that David A. Gerstner and Julien Nahmias give them in their excellent book. Rich and complex in their own ways, Dans Paris, Les Chansons d’amour and La Belle personne are productions that subtly hint at the director’s own experience of loss and mourning while making multiple references to the history of art and film (mainly the French New Wave and Jacques Demy).
    [Show full text]
  • François Truffaut's Jules and Jim and the French New Wave, Re-Viewed
    FILMHISTORIA Online Vol. 29, núms. 1-2 (2019) · ISSN: 2014-668X François Truffaut’s Jules and Jim and the French New Wave, Re-viewed ROBERT J. CARDULLO University of Michigan Abstract Truffaut’s early protagonists, like many of those produced by the New Wave, were rebels or misfits who felt stifled by conventional social definitions. His early cinematic style was as anxious to rip chords as his characters were. Unlike Godard, Truffaut went on in his career to commit himself, not to continued experiment in film form or radical critique of visual imagery, but to formal themes like art and life, film and fiction, and art and education. This article reconsiders a film that embodies such themes, in addition to featuring characters who feel stifled by conventional social definitions: Jules and Jim. Keywords: François Truffaut; French film; New Wave; Jules and Jim; Henri- Pierre Roché Resumen Los primeros protagonistas de Truffaut, como muchos de los producidos por la New Wave, eran rebeldes o inadaptados que se sentían agobiados por las convenciones sociales convencionales. Su estilo cinematográfico temprano estaba tan ansioso por romper moldes como sus personajes. A diferencia de Godard, Truffaut continuó en su carrera comprometiéndose, no a seguir experimentando en forma de película o crítica radical de las imágenes visuales, sino a temas formales como el arte y la vida, el cine y la ficción, y el arte y la educación. Este artículo reconsidera una película que encarna dichos temas, además de presentar personajes que se sienten ahogados: Jules y Jim. Palabras clave: François Truffaut, cine francés, New Wave; Jules and Jim, Henri-Pierre Roché.
    [Show full text]
  • General Education Course Proposal University of Mary Washington
    GENERAL EDUCATION COURSE PROPOSAL UNIVERSITY OF MARY WASHINGTON Use this form to submit EXISTING courses for review. If this course will be submitted for review in more than one category, submit a separate proposal for each category. COURSE NUMBER: FSEM 100F COURSE TITLE: THE FRENCH NEW WAVE: CINEMA AND SOCIETY SUBMITTED BY: Leonard R. Koos DATE: 1/28/08 This course proposal is submitted with the department’s approval. (Put a check in the box X to the right.) If part of a science sequence involving two departments, both departments approve. THIS COURSE IS PROPOSED FOR (check one). First-Year Seminar X Quantitative Reasoning Global Inquiry Human Experience and Society Experiential Learning Arts, Literature, and Performance: Process or Appreciation Natural Science (include both parts of the sequence) NOTE: See the report entitled “General Education Curriculum as Approved by the Faculty Senate,” dated November 7, 2007, for details about the general education categories and the criteria that will be used to evaluate courses proposed. The report is available at www.jtmorello.org/gened. RATIONALE: Using only the space provided in the box below, briefly state why this course should be approved as a general education course in the category specified above. Attach a course syllabus. Submit this form and attached syllabus electronically as one document to John Morello ([email protected]). All submissions must be in electronic form. My first-year seminar (The French New Wave: Cinema and Society), which has already been taught twice, uses the films of the French Wave as its primary “texts.” Secondary readings as well as Blackboard postings help prepare and organize our class discussions of individual films and directors.
    [Show full text]
  • The Queer Cinema of Jacques Demy
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/107760 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Queer Cinema of Jacques Demy Georgia Mulligan A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick September 2017 1 Table of contents Acknowledgements 5 Abstract 6 List of illustrations 7 Note about references 14 Introduction 15 Chapter 1: New critical approaches to the Demy problem 26 Authorship 28 Genre 32 Stardom 34 Emotion and style 37 Queer and feminist methodologies 40 Feminism against the canon 40 Queer studies 45 Chapter 2: Demy and the New Wave 52 What is the New Wave? 55 Demy disappears from the New Wave canon 59 Is Demy New Wave? 63 La Luxure 65 Lola 69 Emotional realism and subjective time 71 The wrong kind of cinephilia 75 Queering the New Wave gaze and the New Wave man 81 La Baie des Anges 86 2 Paratext and publicity 87 The heterosexual couple 90 Denauralising Jeanne Moreau 96 Conclusion 101 Chapter 3: Demy’s failed films 103 Model Shop 108 New Hollywood and queer
    [Show full text]
  • La Chanson De Lola
    PHOTO © AGNES VARDA Ciné-Tamaris, la Fondation Groupama Gan pour le Cinéma, la Fondation Technicolor pour le Patrimoine du Cinéma et Sophie Dulac Distribution présentent PLEURE QUI PEUT RIT QUI VEUT. Proverbe chinois CRY IF YOU CAN, LAUGH IF YOU WANT TO. Chinese proverb France / 1961 / 85 min / Noir et blanc-B&W / 2:35 / Mono/ Visa n°23662 Un film restauré par A film restored by www.sddistribution.fr VOIR LOLA J’ai vu et revu Lola toute ma vie mais c’est lors de l’étalonnage de cette version restaurée que je l’ai découvert. Comme tous les films que j’aime, je n’avais jamais réussi à le « décortiquer », à me concentrer sur la mise en scène pour tenter de comprendre d’ou vient ce charme fou qui émane des plans noir et blanc de Raoul Coutard… A chaque fois le récit me prenait, et je terminais le film en me disant que ça serait pour la fois d’après… Et puis j’ai revu le film de très près, avec l’équipe de Technicolor à Los Angeles, en repassant sur chaque scène pour affiner les réglages de l’image. Une vision différente, sous microscope. Pour ce qui est de la magie, je n’ai toujours pas compris ! Je crois qu’il faut renoncer à l’ex- pliquer, mais j’ai vu les successions de travellings - qu’on remarque à peine - sur les amoureux dans le passage Pommeraye, le choix des contrastes forts, dû au manque de moyens pour éclairer les intérieurs, le bricolage génial de la chanson de l’Eldorado tournée sans musique et savouré encore les répliques inouïes de la belle Lola : « Touche ! J’ai lavé mes cheveux… On dirait de la soie ! » Émouvant pour moi de replonger aujourd’hui dans le premier film de Jacques, qu’il voulait me donner avant sa mort, au moment où je viens moi-même de vivre l’aventure de la première réalisation… Mon rôle a été de contribuer à rendre le film visible dans les conditions de projection et de sonorisation d’aujourd’hui, sans trahir la « couleur » de l’époque.
    [Show full text]
  • The Modest Gesture of the Filmmaker: an Interview with Agnès Varda
    The Modest Gesture of the Filmmaker: An Interview with Agnès Varda Melissa Anderson / 2001 From Cineaste 26, no. 4 (Fall 2001). Reprinted by permission. Often hailed as the grandmother of the French New Wave, Agnès Varda has been making films for nearly fifty years. Her latest film, The Glean- ers and I (Les Glaneurs et la Glaneuse)—awarded the Melies Prize for Best French Film of 2000 by the French Union of Film Critics—documents those who scavenge and salvage to survive in both rural and urban areas of France. Varda spent several months traveling through France to meet these present-day gleaners, using a digital camera to record her encoun- ters. Varda’s warm, wry voice-over narration is heard throughout The Gleaners and I, making the “I” of the film’s title a vital, visible presence in the film. Varda captures—sometimes inadvertently—her own signs of aging, such as the graying of her hair and the age spots on her hands. Fittingly, she speaks of her role as filmmaker as one who gleans images and ideas. Fully realizing that her subjects have the power to instruct her on the subject of gleaning, Varda never condescends to or sentimental- izes her interviewees. The gleaners in the film—particularly François, a formidable young man who survives solely on what he finds in the gar- bage—are compelling individuals who speak candidly about their lives and economic situations. Varda’s is a serendipitous path, one which leads her to film a man who rummages through the detritus left over in a Paris market; later Varda discovers that this man has been teaching literacy for six years and interviews him in his classroom.
    [Show full text]
  • 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).
    [Show full text]
  • Entretien Avec Philippe De Broca Michel Coulombe
    Document généré le 25 sept. 2021 06:12 Ciné-Bulles Le cinéma d’auteur avant tout Entretien avec Philippe de Broca Michel Coulombe Volume 17, numéro 1, printemps 1998 URI : https://id.erudit.org/iderudit/34301ac Aller au sommaire du numéro Éditeur(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (imprimé) 1923-3221 (numérique) Découvrir la revue Citer cet article Coulombe, M. (1998). Entretien avec Philippe de Broca. Ciné-Bulles, 17(1), 4–9. Tous droits réservés © Association des cinémas parallèles du Québec, 1998 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Entretien avec Philippe de Broca «Autrefois, les gens allaient au cinéma, maintenant ils vont voir des films.» Philippe de Broca par Michel Coulombe u Québec, lorsqu'on pense à Philippe de Broca, on revoit Geneviève Bujold dans le A Roi de cœur et l'Incorrigible et on se rap­ pelle Louisiana, une production de Denis Héroux dont le cinéaste a repris la réalisation en catastro­ phe, remplaçant ainsi Jacques Demy. Aujourd'hui, celui qui a tourné nombre de films avec Jean-Paul Belmondo (l'Homme de Rio, le Magnifique) au temps où il régnait en maître sur le cinéma français avec les Delon et de Funès est de nouveau un homme comblé.
    [Show full text]
  • 1 COM 320, History of Film French New Wave
    1 COM 320, History of Film French New Wave (1959-c. 1970) Origins: -“Romantic image of the young director fighting to make personal films that defy the conventional industry”—Rebelling against what came before in France…although they did admire the works of Jean Vigo, Jean Renoir, and Jean Cocteau (all together, a mixture of poetic realism and surrealism) -Young, mostly male film fans self-educated at French Cinematheque in Paris (founded by Henri Langlois); all wrote for the journal Cahiers du Cinema (co-founded and edited by Andre Bazin) in their 20's--a very coherent group--Francois Truffaut, Jean-Luc Godard, Alain Resnais, Claude Chabrol, Eric Rohmer, Jacques Rivette -The Cahiers group set in place many of the important film theories--genre, auteur, realism -Also, the “Left Bank” French New Wave group included such filmmakers as (Alain Resnais), Chris Marker, Louis Malle, Jacques Demy and Agnes Varda -All knew each other and sometimes worked together, shared talent (e.g., actors, composers); e.g., Jean-Luc Godard, his wife Anna Karina, and composer Michel Legrand appear in Agnes Varda’s Cleo from 5 to 7 -The FNW group all loved genre and auteur films, and the Soviet Montage -All put their ideas about filmmaking into practice around ‘60 due to “prime de la qualite” (subsidy for quality)–begun by Centre National du Cinema in ‘53, with an added script-proposal process in ‘59 Substance: -“Film of the camera, not of the pen” -A wide variety of genres and approaches, almost always treated in a “revisionist” way -Urban scenes “captured with
    [Show full text]