Timeline of Pivotal French Film Noir

Total Page:16

File Type:pdf, Size:1020Kb

Timeline of Pivotal French Film Noir Le Garçon Sauvage (Savage Triangle) Timeline Jean Delannoy Ascenseur Pour l’Echafaud´ La Nuit est Mon Royaume Les Diaboliques (Elevator to the Gallows) L’Accident of Pivotal (Night is My Kingdom) (Diabolique) Louis Malle Edmond T. Greville Georges Lacombe Henri-Georges Clouzot Une Manche et la Belle Chair de Poule French Film Noir Ombre et Lumière Le Dossier Noir (Kiss for a Killer) (Highway Pick Up) Henri Calef (The Black File) Henri Verneuil La Bête à l’Affût Julien Duvivier Le Diable au Corps La Passante André Cayatte Méfiez-Vous Fillettes Pierre Chenal Le Glaive et la Balance (Devil in the Flesh) Henri Calef Du Rififi Chez les Hommes (Young Girls Beware) Deux Homes dans Manhattan (The Sword and the Balance) Claude Autant-Lara Au-dela des Grilles (Rififi) Yves Allégret (Two Men in Manhattan) André Cayatte Les Maudits (The Walls of Malapaga) Bonnes a Tuer Jules Dassin Quand la Femme S’En Mêle Jean-Pierre Melville Mélodie en Sous-Sol René Clément René Clément (One Step to Eternity) La Lumière d’En Face (Send a Woman J'Irai Cracher Sur Vos Tombes (Any Number Can Win) Miroir Au P’tit Zouave Henri Decoin (The Light Across the Street) When the Devil Fails) (I Spit On Your Graves) Henri Verneuil Raymond Lamy Gilles Grangier Leur Dernière Nuit Georges Lacombe Yves Allégret Michel Gast Le Meurtrier Non Coupable Au Royaume des Cieux (Their Last Night) Razzia Sur la Chnouf Reproduction Interdite Pickpocket (Enough Rope) (W. Germany) (Not Guilty) (The Sinners) Georges Lacombe (Raid on the Drug Ring) (The Schemer) Robert Bresson Claude Autant-Lara Henri Decoin Julien Duvivier Quand tu Liras Cette Lettre Henri Decoin Gilles Grangier Les Scélérats Symphonie Pour un Massacre Panique (Panic) Les Eaux Troubles (When You Read This Letter) Bob le Flambeur Le Rouge est Mis (The Wretches) (Symphony for a Massacre) Julien Duvivier Henri Calef Jean-Pierre Melville (Bob the Gambler) (The Red Light Is On, Robert Hossein Jacques Deray Quai des Orfèvres Entre Onze Heures et Minuit Le Salaire de la Peur Jean-Pierre Melville or Speaking of Murder) Un Témoin dans la Ville (Jenny Lamour) (Between Eleven and Midnight) (Wages of Fear) Gilles Grangier (Witness in the City) Henri-Georges Clouzot Henri Decoin Henri-Georges Clouzot Tous Peuvent Me Tuer ´Edouard Molinaro Par un Beau Matin d’Eté Un Homme Marche dans la Ville Suivez cet Homme (Anyone Can Kill Me) Le Trou (The Hole) ´ Le Corbeau (The Raven) (Crime on a Summer Morning) (A Man Walks in the City) Georges Lampin Henri Decoin Jacques Becker Henri-Georges Clouzot Jacques Deray L’Homme de Londres Marcello Pagliero Thérèse Raquin Trois Jours à Vivre Les Yeux Sans Visage (The Temptress) Piège Pour Cendrillon (The Man From London) Manon (Three Days to Live) (Eyes Without a Face) Marcel Carne (A Trap for Cinderella) Henri Decoin Henri-Georges Clouzot Gilles Grangier Georges Franju Une Si Jolie Petite Plage La Vierge du Rhin Les Violents La Mort de Belle André Cayatte Le Dernier des Six (Such a Pretty Little Beach) (Rhine Virgin) (The Violent Ones) (The Passion of Slow Fire) Georges Lacombe Yves Allégret Gilles Grangier Henri Calef ´Edouard Molinaro 1961 1941 1951 1965 1959 1953 1955 1957 1949 1947 1943 1963 1942 1946 1948 1950 1952 1964 1954 1956 1958 1960 1962 La Fille du Diable Justice est Faite Un Condamné à La Chambre Ardente Henri Decoin (Justice is Done) Mort s’est´ Eschappé La Chatte (The Cat) (The Burning Court) La Foire Aux Chimères André Cayatte (A Man Escaped) Henri Decoin Chien de Pique Julien Duvivier (Devil and Angel) Manèges (The Cheat) Robert Bresson Le Désordre et la Nuit (Jack of Spades) Le Combat dans Lile Pierre Chenal Yves Allégret Crime et Chatiment (The Night Affair) Yves Allegrét (Fire and Ice) Macadam La Souricere (Crime and Punishment) Gilles Grangier Classe Tous Risques Alain Cavalier L’Insoumis (Back Streets of Paris) Henri Calef Georges Lampin Le Dos au Mur (The Big Risk) Le Doulos (The Unvanquished) Jacques Feyder, Casque d’Or Je Plaide Non Coupable (Back to the Wall) Claude Sautet (The Finger Man) Alain Cavalier Marcel Blistene Jacques Becker (Guilty?) (Britain) ´Edouard Molinaro Un Plein Soleil Jean-Pierre Melville La Mort d’Un Tueur Martin Roumagnac La Minute de Vérité Edmond T. Greville ´Echec au Porteur (Purple Noon) Du Rififi a Tokyo (Death of a Killer) (The Room Upstairs) Jean Delannoy Le Salauds Vont en Enfer (Not Delivered) René Clément Jacques Deray Robert Hossein Georges Lacombe Nous Sommes Tous les Assassins (The Wicked Go to Hell) Gilles Grangier La Vérité Le Monte-Charge Les Yeux Cernés Les Portes de la Nuit (Are We All Murderers?) Robert Hossein En Cas de Malheur Henri-Georges Clouzot (Paris Pick-Up) (Marked Eyes) (Gates of Night) André Cayatte L’Affaire Maurizius Le Sang à la Tête (Love is My Profession) Marcel Bluwal Robert Hossein Marcel Carne La P… Respectueuse Julien Duvivier (Blood to the Head) Claude Autant-Lara L’oeil du Malin Marcello Pagliero, Gilles Grangier Maigret Tend un Piège (The 3rd Lover) L’Assassin A Peur La Nuit Les Amants du Tage Charles Brabant (Lovers of Lisbon) Section des Disparus (Maigret Sets a Trap) Claude Chabrol Jean Delannoy Les Condamnés La Vérité sur Bébé Donge Henri Verneuil (Argentina) Jean Delannoy Le Septième Juré Les Inconnus dans la Maison Georges Lacombe (The Truth of Our Marriage) Avant le Déluge Pierre Chenal Le Piège (The Seventh Juror) (Strangers in the House) Dédée d’Anvers Henri Decoin (Before the Deluge) Voici le Temps (No Escape) (Italy) Georges Lautner Henri Decoin (Woman of Antwerp) André Cayatte des Assassins Charles Brabant Thérèse Macao, L’Enfer du Jeu Yves Allégret Les Intrigantes (Deadlier Rafles Sur la Ville Desqueyroux (Gambling Hell) Le Dessous des Cartes (The Plotters) Than the Male) (Sinners of Paris) Georges Franju Jean Delannoy André Cayatte Henri Decoin Julien Duvivier Pierre Chenal Touchez Pas au Grisbi La Tête Contre les Murs LEGEND (Grisbi) (Head Against the Wall) Jacques Becker Georges Franju Films being screened in “The French Had A Name For It” Toi, Le Venin Other films by Directors whose films are screening in the Festival (Blonde in a White Car) Other well-known and/or notable French films noir. Robert Hossein.
Recommended publications
  • Patricia Highsmith's Fiction to Cinema
    PATRICIA HIGHSMITH’S FICTION TO CINEMA MCA By Marc Rosenberg 2016 PATRICIA HIGHSMITH’S FICTION TO CINEMA By Marc Rosenberg Table of Contents Certificate of Original Authorship Abstract PART 1 Exegesis: Patricia Highsmith’s Fiction to Cinema Bibliography PART 2 Creative Component: Screenplay “Friendly Fire” CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Marc Rosenberg Date: June 7, 2016 PATRICIA HIGHSMITH’S FICTION TO CINEMA ABSTRACT How does the psychological uncertainty in Patricia Highsmith’s fiction benefit the cinematic adaptation of her work? Patricia Highsmith died in 1995 and her fiction has grown in popularity not only with readers, but with filmmakers. Since the director Alfred Hitchcock adapted Strangers on a Train in 1951, more than thirty of her novels have been made into films. The adaptation from one medium into another is an abstract process, particularly when novels are as psychologically dependent as Highsmith’s. In this paper, I examine the cinematic strategies experienced filmmakers have used to adapt Highsmith’s psychological content into a visual medium and discuss their level of success. The creative component of my application is the feature film screenplay, “Friendly Fire”, in which I make use of the same ‘psychological uncertainty’ found in Highsmith’s fiction.
    [Show full text]
  • Alienation and Dislocation Versus Homeliness and Norm in Patricia Highsmiths "Strangers on a Train" and "The Talented Mr Ripley"
    Joanna Stolarek Alienation and Dislocation versus Homeliness and Norm in Patricia Highsmiths "Strangers on a Train" and "The Talented Mr Ripley" Kultura Popularna nr 1 (55), 56-65 2018 56 kultura popularna 2018 Nr 1 (55) Joanna Stolarek Alienation and Dislocation versus Homeliness and Norm in Patricia Highsmith’s Strangers on a Train and The ­Talented Mr Ripley DOI: 10.5604/01.3001.0012.0572 Joanna Stolarek ALIENATION AND DISLOCATION 57 Patricia Highsmith (1921 – 1995), a notable American novelist and short story Dr Joanna Stolarek is th an Assistant Professor writer of the 20 century, known mostly for her mystery stories, defied at Siedlce University of simple categorisation in her violent, complex, psychologically stimulating Natural Sciences and Humanities in Poland. novels. Highsmith is mainly credited for her psychological thrillers, and She holds her PhD on a number of film adaptations based on her works were made and gained her Anglophone crime fiction much acclaim in the literary world. Having written 22 novels and 8 short- and BA on French stud- ies. She has authored story collections, the author won a variety of literary awards including those 5 monographs and over for Strangers on a Train and The Talented Mr Ripley. Despite her American 30 articles on British and American detective upbringing, first career paths and significant experience as a writer, reviewer fiction, late Victorian and literary critic in the USA, Highsmith’s works were particularly successful literature, modernist po- in Europe, especially since the late 1950s. Besides, throughout her life, the etry, and postmodernist American literature. Her American writer travelled to various places around the world, however, she post-doctoral projects never felt fully satisfied with one location.
    [Show full text]
  • MA Issues in Modern Culture Reading List 20-21.Pdf
    M.A. Issues in Modern Culture Reading List 2020–21 AUTHORS AUTUMN TERM 1. Gustave Flaubert Dr Scarlett Baron Gustave Flaubert, Madame Bovary [1857], trans. Margaret Mauldon (Oxford: Oxford University Press, 2008). Gustave Flaubert, ‘A Simple Heart’, in Three Tales [1877], trans. A.J. Krailsheimer (Oxford: Oxford University Press, 1991). Gustave Flaubert, Dictionary of Received Ideas [1913], in Bouvard and Pécuchet, with the Dictionary of Received Ideas, trans. A.J. Krailsheimer (Harmondsworth: Penguin, 1977). Further Reading: Gustave Flaubert, Selected Letters, trans. Geoffrey Wall (Harmondsworth: Penguin, 1997). Julian Barnes, Flaubert’s Parrot (London: Jonathan Cape, 1984) Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Paul Elek, 1974). Stephen Heath, Flaubert: Madame Bovary (Cambridge: Cambridge University Press, 1992). Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986). Francis Steegmuller, Flaubert in Egypt: A Sensibility on Tour [1972] (Harmondsworth: Penguin Classics, 1996). Geoffrey Wall, Flaubert: A Life (New York: Farrar, Straus and Giroux, 2001). Tim Unwin (ed.), The Cambridge Companion to Flaubert (Cambridge: Cambridge University Press, 2004). Jennifer Yee, The Colonial Comedy: Imperialism in the French Realist Novel (New York: Oxford University Press, 2016). 2. Henry James Professor Philip Horne Henry James, The Golden Bowl (1904), ed. Ruth Bernard Yeazell (Penguin Classics, 2009) This contains the ‘Preface’ to the (only very slightly different) New York Edition version of the novel (1909); the other Prefaces (collected in The Art of the Novel, ed. R.P. Blackmur, 1934; now U. of Chicago Press) Henry James, ‘The Lesson of Balzac’ (1905) Available at: https://archive.org/details/questionourspee01jamegoog/page/n9/mode/2up Secondary Reading: Nicola Bradbury, Henry James: The Later Novels (Oxford University Press, 1979).
    [Show full text]
  • A.U.I. Trustee Scholarships Are Established
    VOLUME 18, NUMBER 13 Published by the BNL Personnel Office JANUARY 20, 1965 BERA FILM SERIES PURPLE NOON A.U.I. TRUSTEE SCHOLARSHIPS ARE ESTABLISHED A scholarship program for the children of regular employees of Brookhaven National Laboratory and the National Radio Astronomy Observatory has been established by the Board of Trustees of Associated Universities, Inc. Dr. Maurice Goldhaber, Director, announced the creation of the A.U.I. Trustee Scholarships to all Brookhaven employees on January 18. Under the new program, up to ten scholarships each year will be made avail- able to the children of regular BNL employees. They will carry a stipend of up to $900 per year. For those who maintoin satisfactory progress in school, the scholor- ships will be renewoble for up to three additional years. Winners of the awards may attend any accredited college or university in the United States and may select any course of study leading to a bachelor’s degree. Thurs., Jan. 21 - lecture Hall - 8:30 p.m. The scholarships will be granted on o strictly competitive basis, independent Rene Clement (“Forbidden Games,” of financial need and the existence of other forms of aid to the student. Winners “Gervaise”) has here fashioned a highly will be selected on the basis of their secondary school academic records and gen- entertaining murder thriller, beautifully eral aptitude for college work as indicated by achievement and aptitude tests. photographed in color by Henri Decae The Laboratory will not be involved in the processing of applications or the (“400 Blows, ” “The Cousins,” “Sundays determination of scholarship winners.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Patricia Highsmith Books Pdf
    Patricia highsmith books pdf Continue Influential author of The Unknown Patricia Highsmith is still not exactly a household name, but her books have had a lasting impact on pop culture and literature for several decades. Anthony Minghella's 1999 film The Talented Mr. Ripley starring Matt Damon was based on Highsmith's novel of the same name. Many other directors, including Alfred Hitchcock, Renee Clement and Wim Wenders, adapted her work, and her characters were brought to life on screen by the likes of Dennis Hopper, John Malkovich and Cate Blanchett. Much of Highsmith's early work, which has now entered the mainstream, contains strange subtexts or strange coded characters, and she wrote a novel in the early 1950s that was significant at the time for showing a novel between two women with a happy, if complex, ending. This book, Carol, was originally published under a pseudonym, but in the final years of her career, Highsmith began to include more characters in books she wrote under her own name that were openly and unequivocally strange. Despite Highsmith's importance to LGBT literature and the literary world in general, immersing herself in her work means being subjected to the personal flaws she has brought to her. Accidental (and not so casual) racism has leaked into many of her books. This uncomfortable truth sits next to the fact that its fiction, albeit in a rather strange and devious way, is refreshingly anti-capitalist and more than willing to paint the police, the U.S. prison system, and the rich in a very unflattering light.
    [Show full text]
  • Spring Semester 2013
    Northwestern University School of Continuing Studies Spring Semester 2013 Monday, March 4 – Friday, June 7 Chicago and Evanston Study Groups 1 Monday Group # Chicago Study Groups At-A-Glance Start Time 3888 The Great American M usic People 10am 3889 Great Short Stories 10am 3890 Literary Masters 10am NEW 3891 Our Evolving Social Behavior 10am NEW 3892 Story of American Freedom 10am NEW 3893 British History Lite 1:30pm 3894 M onday at the M ovies (3 HRS) 1pm 3895 The New Yorker, Monday 1:30pm NEW 3896 The Unfolding of Language 1:30pm 3897 Women in Literature 1:30pm 3898 Writing Life Stories 1:30pm Tuesday 3899 The Creature from Jekyll Island, a Second Look at the Federal Reserve 10am 3900 Economic Viewpoints 10am 3901 The Geography of Modernism: Art, Literature, and Music between the Wars 10am NEW 3902 The Harlem Renaissance 10am NEW 3903 India—The Definitive History 10am 3904 Monarchs: Queens Who Made a Difference 10am NEW 3905 To Err is Human? 10am 3906 Curtain Up! 1:30pm NEW 3907 History: A Muslim Perspective 1:30pm International Perspectives: Iron Curtain – 3908 The Crushing of Eastern Europe, 1944-1956 1:30pm NEW 3909 Let’s Talk About the Movies – Lunchtime Bonus Group (5 SESSIONS) 12:15pm NEW 3910 Shutterbug —Fun with Digital Photography 1:30pm 3911 The Writing Group 1:30pm Wednesday NEW 3912 The American Century 10am 3913 Art in the Twenty-First Century 10am NEW 3914 Devil in the White City (12 SESSIONS) 10am 3915 Foreign Affairs 10am 3916 Like Suspense? Go Against the M aster Alfred Hitchcock 9:30am 3917 The New Yorker, Wednesday
    [Show full text]
  • National Gallery of Art Fall10 Film Washington, DC Landover, MD 20785
    4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART FALL10 FILM Washington, DC Landover, MD 20785 FIGURES IN A STRAUB AND LANDSCAPE: JULIEN HUILLET: THE NATURE AND DUVIVIER: WORK AND HARUN NARRATIVE THE GRAND REACHES OF FAROCKI: IN NORWAY ARTISAN CREATION ESSAYS When Angels Fall Manhattan cover calendar page calendar (Harun Farocki), page four page three page two page one Still of performance duo ZsaZa (Karolina Karwan) When Angels Fall (Henryk Kucharski) A Tale of HarvestA Tale The Last Command (Photofest), Force of Evil Details from FALL10 Images of the World and the Inscription of War (Henryk Kucharski), (Photofest) La Bandera (Norwegian Institute) Film Images of the (Photofest) (Photofest) Force of Evil World and the Inscription of War (Photofest), Tales of (Harun Farocki), Iris Barry and American Modernism Andrew Simpson on piano Sunday November 7 at 4:00 Art Films and Events Barry, founder of the film department at the Museum of Modern Art , was instrumental in first focusing the attention of American audiences on film as an art form. Born in Britain, she was also one of the first female film critics David Hockney: A Bigger Picture and a founder of the London Film Society. This program, part of the Gallery’s Washington premiere American Modernism symposium, re-creates one of the events that Barry Director Bruno Wollheim in person staged at the Wadsworth Athenaeum in Hartford in the 1930s. The program Saturday October 2 at 2:00 includes avant-garde shorts by Walter Ruttmann, Ivor Montagu, Viking Eggeling, Hans Richter, Charles Sheeler, and a Silly Symphony by Walt Disney.
    [Show full text]
  • Liste Des Lgendes Pour La Presse
    Patricia Highsmith Exhibition of the Swiss National Library 10 March – 10 September 2006 Captions Photographs: 1 Patricia Highsmith as a toddler, c. 1922 Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 2 Patricia Highsmith at age 21, shortly after leaving Barnard College Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 3 Patricia Highsmith in New York Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 4 Patricia Highsmith with her cat, c. 1957, © F. J. Goodman Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 5 Patricia Highsmith & Arthur Koestler on the day of the moon landing, Alpbach, 1969 Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern Drawings: 6 Hotels de tout confort et de modern conveniences Pen-and-ink drawing, with captions glued onto the paper Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 7 No title Wash pen-and-ink drawing From: Patricia Highsmith Zeichnungen © 1995 by Diogenes Verlag AG Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 8 Self-portrait, crayon on paper, © Diogenes Verlag AG Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 9 View from 21 rue du Bac, 1959 Watercolour on paper, © Diogenes Verlag AG Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern Manuscripts, object: 10 Typewriter decorated with stickers Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 11 Notebook (cahier) No. 30, 1968-69, with the first outlines of the second Ripley novel: Ripley Under Ground. Patricia Highsmith collection, Swiss National Library / Swiss Literary Archives, Bern 12 Cahier with the 1969 heading „2nd Ripley“.
    [Show full text]
  • Guide to Film Movements
    This was originally published by Empire ( here is their Best of 2020 list) but no longer available. A Guide to Film Movements . FRENCH IMPRESSIONISM (1918-1930) Key filmmakers: Abel Gance, Louis Delluc, Germaine Dulac, Marcel L'Herbier, Jean Epstein What is it? The French Impressionist filmmakers took their name from their painterly compatriots and applied it to a 1920s boom in silent film that jolted cinema in thrilling new directions. The devastation of World War I parlayed into films that delved into the darker corners of the human psyche and had a good rummage about while they were there. New techniques in non-linear editing, point-of-view storytelling and camera work abounded. Abel Gance’s Napoleon introduced the widescreen camera and even stuck a camera operator on rollerskates to get a shot, while Marcel L'Herbier experimented with stark new lighting styles. Directors like Gance, Germaine Dulac and Jean Epstein found valuable support from Pathé Fréres and Leon Gaumont, France’s main production houses, in a reaction to the stifling influx of American films. As Empire writer and cineguru David Parkinson points out in 100 Ideas That Changed Film, the group’s figurehead, Louis Delluc, was instrumental in the still-new art form being embraced as something apart, artistically and geographically. “French cinema must be cinema,” he stressed. “French cinema must be French.” And being French, it wasn’t afraid to get a little sexy if the circumstances demanded. Germaine Dulac’s The Seashell And The Clergyman, an early step towards surrealism, gets into the head of a lascivious priest gingering after a general’s wife in a way usually frowned on in religious circles.
    [Show full text]
  • Zkg2.Pdf (1.377Mb)
    DARK YEARS, DARK FILMS, LONG SHADOWS: THE OCCUPATION, NOIR, AND NATIONAL IDENTITY IN FRENCH FILM AND CRITICISM A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zachary Kendell Gooch January 2014 © 2014 Zachary Kendell Gooch DARK YEARS, DARK FILMS, LONG SHADOWS: THE OCCUPATION, NOIR, AND NATIONAL IDENTITY IN FRENCH FILM AND CRITICISM Zachary Kendell Gooch, Ph.D. Cornell University 2014 Although the term arises in French film criticism, “noir” has long been associated with American cinema and a certain, recognizable type of visual and thematic style. Through a return to the French critics of the late 1930s, 1940s, and 1950s this dissertation defamiliarizes and redefines noir’s value to film and French studies by demonstrating its negatively constitutive role in the negotiation of French national identity and the central place of the Occupation in any discussion of French noir. By locating noir within criticism and performing close readings of the critical archive, which includes figures as diverse as Georges Sadoul and André Bazin, Lucien Rebatet and François Truffaut, I argue that noir critical discourse is defined by a tension between the category’s ever-changing value and the efforts of those who deploy it to fix the meaning of the nation before, during, and after the Occupation through careful omissions of the historical, collective memory. Because noir is central to debates on how the nation should and, more precisely, should not be represented, I also resist conventional, generic approaches to advance that individual films noirs are secondary to noir critical discourse.
    [Show full text]
  • Julien Duvivier
    Panique l’œuvre abondante et internationale de Julien A Duvivier, la critique a souvent reproché son L’ADRC manque d’unité. Pourtant, en cinq décennies, ce présente touche-à-tout brillant et inspiré venu du théâtre, grand directeur d’acteurs, technicien virtuose et témoin cruel de son temps, s’est imposé comme un auteur majeur. Plusieurs de ses chefs-d’oeuvre sont aujourd’hui réédités dans de très belles ver- sions restaurées à (re)découvrir sur grand écran. La Belle Equipe Au bonheur des dames Panique Pépé le Moko Un carnet de Bal La Fin du jour La Bandera Voici le temps des assassins JULIEN DUVIVIER La Charrette fantôme RÉTROSPECTIVE VOICI LE TEMPS DES ASSASSINS LA BELLE ÉQUIPE LA FIN DU JOUR PANIQUE France, 1936, 1h44, France, 1939, 1h45, France, 1946, 1h31, France, 1956, 1h55, noir et blanc, visa 924 noir et blanc, visa 618 noir et blanc, visa 4742 noir et blanc, visa 17767 Réalisation : Julien Duvivier Réalisation : Julien Duvivier Réalisation : Julien Duvivier Réalisation : Julien Duvivier Scénario : Julien Duvivier, Assistant réalisation : Scénario : Julien Duvivier, Scénario : Julien Duvivier, Charles Spaak Pierre Duvivier Charles Spaak, d’après le Charles Dorat, Photo : Jules Krüger, Scénario : Julien Duvivier, roman Les Fiançailles de Maurice Bessy, Marc Fossard Charles Spaak Monsieur Hire de Julien Duvivier, Georges Simenon Charles Dorat, Musique : Maurice Yvain Photo : Christian Matras, Photo : Nicolas Hayer Pierre-Aristide Bréal Montage : Marthe Poncin Armand Thirard, Robert Juillard, Ernest Bourreaud Musique : Jean Wiener Photo : Armand Thirard Décors : Jacques Krauss Musique : Maurice Jaubert Montage : Marthe Poncin Musique : Jean Wiener Production : Ciné-Arys Cinq amis, ouvriers au chômage et révol- Montage : Marthe Poncin Un comédien fait son entrée dans un hos- Décors : Serge Piménoff Villejuif.
    [Show full text]