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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. -
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. -