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A Companion to Francois Truffaut by Dudley Andrew, Anne Gillain

By Dudley Andrew, Anne Gillain

The 34 essays of this assortment via prime foreign students think again Truffaut's influence on cinema as they find the original caliber of his thematic obsessions and his outstanding narrative techniques.  nearly 30 years after his loss of life, we're awarded with strikingly unique views on his historical past, affects, and importance.Bridges a niche in movie scholarship with a chain of 34 unique essays by means of best movie students that investigate the lasting influence of Truffaut’s work

  • Provides notable new readings of person movies, and new views on Truffaut’s history, affects, and importance
  • Offers a large selection of severe views starting from present reflections in movie theories to articles using methodologies that experience lately been overlooked or thought of arguable
  • Includes overseas viewpoints from a number of ecu nations, and from Japan, New Zealand, and Brazil
  • Draws on Truffaut’s records on the BiFI (Bibliotheque du movie) in Paris
  • Includes a longer interview with French filmmaker Arnaud Desplechin referring to Truffaut’s moving stature in French movie tradition and his demeanour of idea and paintings as a director

Chapter 1 Interview with Arnaud Desplechin, half I (pages 1–22): Anne Gillain and Dudley Andrew
Chapter 2 Truffaut and His “Doubles” (pages 23–70): Martin Lefebvre
Chapter three Aesthetic Affinities (pages 71–104): Anne Gillain
Chapter four Interview with Arnaud Desplechin, half II (pages 105–123): Anne Gillain and Dudley Andrew
Chapter five Flashes of Happiness (pages 125–136): Alain Bergala
Chapter 6 Truffaut and the Photographic (pages 137–152): Junji Hori
Chapter 7 The deadlock of Intimacy (pages 153–172): John Orr
Chapter eight a great insanity (pages 173–183): Francis Vanoye
Chapter nine The Ecstatic Pan (pages 184–204): Phil Powrie
Chapter 10 The premature second and the right kind Distance (pages 205–217): Adrian Martin
Chapter eleven each instructor wishes a Truant (pages 219–241): Dudley Andrew
Chapter 12 yes trends of Truffaut's movie feedback (pages 242–264): Richard Neupert
Chapter thirteen Truffaut–Hitchcock (pages 265–282): Jonathan Everett Haynes
Chapter 14 the anomaly of “Familiarity” (pages 283–299): Ludovic Cortade
Chapter 15 Cain and Abel (pages 300–316): Michel Marie
Chapter sixteen Friction, Failure, and hearth (pages 317–331): Timothy Corrigan
Chapter 17 becoming Up with the French New Wave (pages 333–355): James Tweedie
Chapter 18 undesirable items (pages 356–374): Sam Di Iorio
Chapter 19 among Renoir and Hitchcock (pages 375–387): Ginette Vincendeau
Chapter 20 Truffaut within the replicate of Japan (pages 388–400): Kan Nozaki
Chapter 21 Directing young ones (pages 401–419): Angela Dalle Vacche
Chapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley Andrew
Chapter 23 Digging Up the prior (pages 434–447): Elizabeth Ezra
Chapter 24 The Elevator and the phone (pages 448–453): Michel Chion
Chapter 25 l. a. Peau douce (pages 454–468): Tom Conley
Chapter 26 l. a. Peau douce (pages 469–488): Hilary Radner
Chapter 27 An Unsettling Passage (pages 489–506): Carlos Losilla
Chapter 28 The Structural position of durations in L'Argent de Poche (pages 507–516): Alain Bergala
Chapter 29 To Die or to like (pages 517–529): Luiza Jatoba
Chapter 30 movie as Literature (pages 530–545): Lucia Nagib
Chapter 31 The Elegist (pages 546–560): Philip Watts
Chapter 32 l. a. Chambre verte and the thrashing center of Truffaut's Oeuvre (pages 561–570): Francoise Zamour
Chapter 33 Le Dernier Metro (pages 571–583): Jean?Michel Frodon
Chapter 34 Disillusionment and Magic in l. a. Nuit americaine and Le Dernier Metro (pages 584–593): Marc Vernet

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Example text

D: Never. It’s always tracking. Just like the tracking in The Wrong Man [Hitchcock, 1956], when Henry Fonda goes inside the jail while outside there’s this same sort of tracking. This paddy wagon scene comes from a film lover; it’s a bit of Bresson. q: What do you think about the striking shot in the jail sequence of the policeman in silhouette at the end of the corridor? It’s rare for Truffaut to give you a kind of postcard shot. But It’s so very beautiful. d: It has to be frightening too. I guess that, while not wanting to describe the cops as bad cops, he shows you that, within the system, they are pigs.

13 Jules et Jim (François Truffaut, 1962, Les Films du Carrosse). 14 Les Dames du Bois de Boulogne (Robert Bresson, 1945, Les Films Raoul Ploquin). 15 Vivement dimanche! (François Truffaut, 1983, Les Films du Carrosse). 16 Les Dames du Bois de Boulogne (Robert Bresson, 1945, Les Films Raoul Ploquin). 17 Les 400 Coups (François Truffaut, 1959, Les Films du Carrosse). 18 La Peau douce (François Truffaut, 1964, Les Films du Carrosse). 19 Fahrenheit 451 (François Truffaut, 1966, Les Films du Carrosse).

D: The feelings which are explored are quite uncomfortable. This film comes from 1971, and I try to imagine what it was like not for girls of my age (I was eleven) but for the friends of my older sister. Truffaut gives you what it’s like when you are a woman having sex for the first time: “This is how it is,” he seems to say. I mean, it’s raw and crude: no bullshit, this is what it’s about. And the discussion after that, when one sister, Anne, is speaking about sex and saying, 18 Anne Gillain and Dudley Andrew “So I met that man, Diurka, and he is good for my art, he will help me.

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