François Truffaut

Paderborn: Wilhelm Fink Verlag 2019.

Through  filmic  modelling  of  the  adolescents’  perspective  and  experience,  along  with  the  topological  confgurations  of  the  plot, this study tries to understand the crucial role that Trufffaut and  Malle  play  in  cinematographic  depictions  of  adolescence  to this day.

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Abseits des Blicks der Erwachsenen und auf Augenhöhe des Heranwachsenden – damit sind François Truffaut und im Anschluss Louis Malle wegweisend für ein bis heute zentrales Thema des französischen Autorenkinos: die Adoleszenz.

Anhand der Filme beider Regisseure werden die filmgeschichtliche Entwicklung sowie die zentralen ästhetischen Verfahren dieses bisher kaum beachteten Schlüsselthemas des cinéma d'auteur sinnfällig. So beleuchtet die Arbeit insbesondere die diskursbegründende Rolle von Truffauts Debüt für eine moderne Darstellung Heranwachsender. Zugleich erarbeitet die Autorin eine „Topologie der Adoleszenz“: Räumliche Modellierungen in den Filmen werden hierbei einerseits auf die narrative Tradition des Entwicklungsromans sowie andererseits auf die seit dem 19. Jahrhundert bestehende „Anormalisierung“ dieser Altersphase zurückbezogen.

Dès ses premiers temps au cinéma, la Citroën DS est une voiture de notables, véhiculant déjà des artistes ou des personnages différents, décalés (comme ceux interprétés par Fernandel et Jean Gabin à la poursuite de leurs enfants dans L'Age ingrat (Gilles Grangier, 1963). La Peau douce est un bon résumé de cette première période assez traditionnelle de la représentation de la Citroën DS au cinéma. Pourtant, le film est discrètement ancré dans la nouvelle vague (trame linéaire, pas de flash-back ou forward, un seul jump-cut, d'ailleurs dans un plan sur la-dite DS).

He  comisariado el ciclo de cine Gandules 17 'Rebeldes y peligrosas'  para el Centro de Cultura Contemporánea de Barcelona. Entre los días 8 a 24 de agosto se han proyectado las películas 'No soy un ángel' (Wesley Ruggles, 1933)  'Johnny Guitar' (Nicholas Ray, 1954), 'La gran ciudad' (Mahanagar) Satyajit Ray, 1963), 'Instinto Básico' (Paul Verhoeven, 1992), 'Mommy'  (Xavier Dolan, 2014), 'Girlhood '(Bande de filles) (Céline Sciamma , 2014), 'La calle de la vergüenza' (Akasen Chitai) (Kenji Mizoguchi, 1956), 'La novia vestía de negro' (François Truffaut ,1968) y 'Nacidas para sufrir' (Miguel Albaladejo, 2009).
Una programación que tiene como eje la rebeldía y la peligrosidad, personajes femeninos que dinamitan los mandatos de género y sobre todo no asumen el rol de víctimas. Aquí tenéis la presentación al Ciclo así como las críticas de las películas.
Toda la info en: http://www.cccb.org/es/marco/ficha/gandules17-gas-natural-fenosa/226829

Dev'essere stato effettivamente pubblicato, su qualche guida per gli studenti dell'Università degli Studi di Milano, il programma del corso di "Estetica contemporanea" su filosofia e cinema previsto per l'anno accademico 2009-2010. A riguardarlo ora, quel programma appare un po' come la paradossale istantanea di un evento a venire che non è mai avvenuto. Il professore che aveva immaginato quel corso, sollecitato a risvegliare la sua antica passione per il cinema da studenti che la stavano allora intensamente sperimentando, non immaginava che, a Milano, quel corso non l'avrebbe mai tenuto. Nemmeno immaginava però che, l'anno dopo, parecchi di quei suoi studenti sarebbero stati seduti uno accanto all'altro in un'aula dell'Université Jean Moulin di Lione, dove nel frattempo si era trasferito, per partecipare alla giornata di studi che aveva organizzato sul tema previsto per il corso mai tenuto. Né immaginava che alcuni di quegli studenti si sarebbero fermati con lui lì a Lione, per far crescere insieme il percorso di ricerca avviato a Milano. E che altri, impossibilitati a farlo, non avrebbero mancato di cogliere le occasioni per condividerne almeno qualche tappa.

Abstract
THE FIGURE OF MlEDEA IN MEDIEVAL LITERATURE:
A THEMATIC METAMORPHOSIS

by

Joel N. Feimer

Adviser : Professor Frederick Goldin

The figure of Medea has undergone many thematic transformations since
its first appearance in the epic poems and dramas of ancient Greece.
In Hesiod, Medea is a type of fairy tale princess. In Euripides, she
is a vengeful woman whose wrath inspires the greatest of enormities,
the slaughter of her own children. Apollonius portrays a young Medea
struggling valiantly, but fruitlessly against a divinely inspired
passion. The Latin poets and philosophers depict Medea as titanic,
frightening, often a criminal . In Ovid ' s Metamorphoses, Medea degenerates
into a blind, destructive force. In the twelfth century Roman
de Troie , Medea undergoes a remarkable trans formation when she is
placed in the context of fin' amour. Here, she is a positive, life sustaining
figure motivated to perform helpful deeds by her noble passion.
In medieval literature, the fortunes of the figure of Medea
follow the writer's attitude toward secular love . When the medieval
poet approves of fin' amour, Medea is portrayed positively. However,
when secular passion is denigrated in favor of divine love, Medea
is characterized as a type of willful, destructive woman, at the
mercy of her unrestrained lust. In the French prose versions of
the Roman de Troie, Guido delle Colonne's Historia Destructionis
Troiae, and Boccaccio's De Mulieribus Claris , such a negative Medea
may be found . However, in Chaucer 's Legend of Good Women and Gower's
Confessio Amantis, Medea is portrayed as a saint of secular love for
her unstinting fidelity to Jason. At the hands of Chaucer and Gower,
Medea receives her most radical transformation, sanctification in
the context of fin ' arnour.

Significant categories and examples of differences between the original recorded interviews and the published version; investigation of reasons for the differences, including the overly long production history of the interviews, editors (Truffaut, Helen Scott), agents, the publishers (French and US versions); image vs. text; the perils of working from translations; the perils of attempting simultaneous translations for publication; the difficulty of getting Hitchcock's approval for Truffaut's text; the beauty of the idea and saving the evidence and traces.

The following paper is a comparative study of the French Nouvelle Vague and its subsequent influences on the cinema of New Hollywood during the 1970's based around the artistic and cultural ideologies of Postmodernism as expressed in the works of Frederic Jameson's Postermodernism in Consumer Society and Postmodernism, Or the Cultural Logic of Late Capitalism. I will be exploring the cultural and socio-political parallels between the evolution of the two movements and their reflections of new cinematic conventions and ideologies such as auteur theory and visual experimentation looking in particular at the films and culture of French Cinema from 1954 to 1968 and American cinema from 1967 to 1983. In this respect I will be drawing on comparative textual examples from Arthur Penn's Bonnie and Clyde (1967) Martin Scorsese's Mean Streets (1973) and Jean Luc Godard's A Bout de Souffle (1960) and exploring the common reciprocations in each piece of work comparing them in a broader ideological framework as productions and representations of an artistic culture and post modernist trend. I will also place an emphasis on the philosophies and ideologies expressed by key French film writers Alexandre Astruc in 1948 with his essay on the birth of the new Avante Garde: La Camera Stylo , and later in Cahiers du Cinema by the philosophies of Francois Truffaut and Andre Bazin and how these ideas were reflected in the films of the French New Wave and subsequently later in the films of New Hollywood. The main argument of the dissertation as such will  examine this cultural exchange and enduring cinematic legacy of both film cultures by exploring the recurring narrative and character motifs in both to deem whether they can be defined as deriving from Post modernist ideologies.

Les rapports de Chris Marker à la Nouvelle Vague seront complexes, car tout opposait ce proche de Bazin aux cinéastes des Cahiers du cinéma, tant sur le fond que sur la forme. Des liens entre Marker et Godard se constitueront au moment du cinéma militant de Mai 68 mais les malentendus vont demeurer...

PDF z całą książką.
Abstract:
Ophelism should be defined as a visual code. It emerged at the turn of 18th century, when images of young female body immersed in water and/or flowers begun to function as the representation of the mystery of femininity. Usually, 19th century Ophelism have been treated as examples of misogynist convictions, framing femininity as madness, untamed sexuality or unreasonable and passive nature. At the same time opposite meanings have been attributed to Ophelic images present in contemporary feminist art. The book "Ophelism. Romantic Reappropriations, Feminist Interventions" origins in an intuition that neither was 19th century Ophelism a homogenous, univocal phenomenon nor its 20th century embodiments should be seen in this way either. Providing case studies of works of literature, painting, opera, film, and performance, the author  discusses representations of female (at times, effeminate) body, where the motives of water and/or flowers unsettle traditional narratives, questioning gender dualism, opposition between nature and culture, hierarchical orders.
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Ofelizm nie jest pojęciem analogicznym do hamletyzmu. Oznacza rodzaj wizualnego języka, który wyłania się na przełomie XVIII i XIX wieku i rozwija niezależnie od teatralnych reprezentacji, za podstawę mając nie sceny z udziałem Ofelii, lecz przedstawienia jej śmierci. Przyjęło się uważać, że te wizerunki ciała młodej kobiety w otoczeniu kwiatów i/lub wody wcielają mizoginiczne wyobrażenia, które kobiecość  ujmują w kategoriach szaleństwa, nieujarzmionej seksualności, przynależności do sfery natury. Książka "Ofelizm. Romantyczne zawłaszczenia, feministyczne interwencje" wyrosła z przekonania, że w ofelizmie od początku istniało i nadal istnieje kilka nurtów. Tematem zamieszczonych w niej studiów są przedstawienia kobiecego (niekiedy ukobieconego) ciała, w których woda i kwiaty służą rozsadzeniu tradycyjnych narracji i zakwestionowaniu dualizmu płci, opozycji natury i kultury, porządku opartego na hierarchiach. Omówienia wybranych tekstów, obrazów i inscenizacji tworzą tu alternatywną historię ofelizmu, w której stawką jest pytanie o jego wywrotowy potencjał.

Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Luc Godard, François Truffaut, Alain Resnais, Claude Chabrol, Agnes Varda and others, critics and scholars alike have devoted unprecedented attention to the path breaking phenomenon of the French Nouvelle Vague. While
critics have been hard pressed to find commonality on the stratum of aesthetics, politics, theory, and approaches to production among the disparate directors that comprise the French New Wave, they all necessarily recognize its lasting importance and dramatic influence not only on subsequent French film but on cinemas across the world. This genealogy can certainly be debated, but it does have the strength of tradition behind it now. In this brief article, we will emphasize on several key elements in order to define a body of critical concepts that open an initial approach to the New Wave Cinema.

This article analyzes the bonds between cinema and psycanalysis, in special as for the use of the classic freudian concept of the "Oedipus complex"  in the cinematographic productions, and i particular, on the film "the man who loved the women", by François Truffault.  Reflecting on the theoretical transformations that follow the concept of Freud, the cinema is used as counterpoint to try to understand the process of vulgarization of the psicanalític knowledge to the level of the common sense.

Ficcionalizar-se no cinema contemporâneo. A ambígua fusão das histórias pessoais do autor com personagens inventados da ficção transportou o realizador para o centro da narrativa fílmica. Se no cinema hegemônico tradicional a figura do diretor se firmou ao orquestrar o filme na perspectiva de uma “função”, como a do autor que possui controle sobre a obra, depois das crises de autoria e da chegada do cinema de dispositivo esta operação se ressignificou. O diretor passou também a diretor-personagem, num “cinema do eu” cuja intimidade está disponível para o público. Imerso na cultura midiática, esse novo autor adotou formas de narrar que se aproximam do que a teoria literária contemporânea chama de autoficção. Para isso forjou estratégias que fogem à dicotomia verdadeiro e falso, abandonando pressupostos verossímeis e verazes da autobiografia, antes utilizada para classificar o “cinema do eu”. Nos anos 1950, vanguardas como a Nouvelle Vague tensionariam sutilmente a identidade do autor-personagem em filmes como Os incompreendidos (1959), de François Truffaut, a partir de um entrelugar, entre autobiografia e ficção. Exatamente meio século depois, o Canadá francês vê um jovem realizador emergir com Eu matei minha mãe (2009), num cinema cuja vida pessoal do diretorator-protagonista é problematizada em forma de espetáculo, como força-motriz da ficção. Para Xavier Dolan, o principal recurso é a exposição de si mesmo. Ao observar essas visíveis mudanças de paradigma, para onde caminharia o cinema ficcional íntimo? Seria a autoficção uma nova estratégia da narrativa cinematográfica?

Comparaison entre Les 400 coups et Le grand bleu. La mer, le héros mal dans sa peau... Parmi les vannes de liberté de tournage et de narration qu’ouvre Les 400 coups, l’une consiste à donner au cinéaste le loisir de faire des pauses narratives à la faveur desquelles le rêve cinégraphique des cinéastes impressionnistes français des années vingt va pouvoir se réaliser : faire un cinéma pur, délivré de l’obligation de raconter. 11’13” de plans déconnectés de l’enchaînement causal des péripéties y flirtent avec ce qu’on ose à peine qualifier, s’agissant de Truffaut, d’effet-clip. Or ce désir de communiquer une expérience “directe” est un trait caractéristique du cinéma post-moderne de l’immersion.

FERNAND DELIGNY found many ways of describing himself: primordial communist, nonviolent guerrilla, weaver of networks, cartographer of wandering lines. A visionary but marginalized gure oen associated with the alternative and anti-psychiatry movements that emerged in the decades aer World War II, Deligny (1913-1996) remains dicult to categorize-an enigmatic sage. Beginning in the 1950s, Deligny conducted a series of collectively run residential programs-he called them "attempts" (or tentatives, in French)-for children and adolescents with autism and other disabilities who would have otherwise spent their lives institutionalized in state-run psychiatric asylums. Aer settling outside of Monoblet in the shadow of the Cévennes Mountains in southern France, Deligny and his collaborators developed novel methods for living and working with young people determined to be "outside of speech" (hors de parole).

Ces dernières années, Jean Eustache a fait l'objet de plusieurs publications consacrées à l'ensemble de son oeuvre - Au travail avec Eustache de Luc Béraud (2017), Jean Eustache de Philippe Azoury (2017), Jean Eustache ou la traversée des apparences de Jérôme D'Estais (2015), Le dictionnaire Eustache dirigé par Antoine de Baecque (2015). Dans ces livres, La maman et la putain occupe toujours une place importante. Ce film, qui rencontra un succès d'estime en salles lors de sa sortie en 1973 et provoqua le scandale au festival de Cannes, reste, aujourd'hui encore, le plus célèbre de son réalisateur. La maman et la putain est emblématique de l'ensemble de la filmographie d'Eustache, mais l'est également du cinéma d'auteur post-Nouvelle Vague et même de la société française au lendemain de Mai 1968. Ce nouveau volume propose donc de se pencher spécifiquement sur une oeuvre qui s'est hissée, avec le temps, au rang de film culte. Dans une pluralité d'approches disciplinaires, ses contributeurs mettent en lumière de nombreux aspects de La maman et la putain : la représentation de Paris (Antoine de Baecque), l'autofiction (Rémi Fontanel) et l'expression de l'intime (Codruta Morari) jusqu'à un lyrisme qui flirte avec la parodie (Agnès Perrais), les représentations politiques (Stéphane Pichelin), féminines (Geneviève Sellier) et la relation que le film entretient avec le féminisme (Delphine Chedaleux), la mise en scène de la parole (Matthias Alaguillaume) et des « monologues » (Arnaud Duprat), la direction d'acteurs, qu'ils soient « professionnels » ou non (Michel Cieutat)... Au fil de ces différents chapitres, se révèle progressivement toute la richesse d'un des titres les plus importants du cinéma français des années soixante-dix.

Analisamos sequências de performances musicais diegéticas em três filmes do final dos anos 60 de Jean-Luc Godard (Weekend à francesa, 1967), François Truffaut (A noiva estava de preto, 1968) e Éric Rohmer (Minha noite com ela, 1969), considerando aspectos como: o modo de inserção de tais performances dentro da diegese do filme e o tipo de mise-en-scène.

Longtemps je me suis gardée de revoir les films de la Nouvelle Vague qui, pour évoquer sans détour quelque jeunesse intemporelle, risquaient d'éveiller en moi le souvenir de celle qui nous était restée dérobée. La nostalgie d'une jeunesse confisquée pour notre temps, face au spectacle de cette autre jeunesse, indéfectiblement libre dans cette jubilation supérieure, cette nostalgie ne pouvait qu'avoir été projetée sur l'écran d'une vision altérée par quelque surimpression du moment. Pourtant, si les films venaient à résister à cette surimpression, la question demeurait de savoir si quelque chose n'y disposait pas comme par anticipation : pourquoi les 400 coups m'avaient-ils semblés paradigmatiques d'une enfance rêvée, de l'insouciance qui s'ignore jusque dans son apogée, quand, à le revoir, la jubilation, si absolue, ne pouvait dissimuler la part sombre et comme son revers véritable ?

Resnais… Sinemada belleğin ustası… Tüm kaynaklarda belleğin sinemacısı olarak adı geçen Resnais daha çocukken sinemanın büyüsüne kapılarak, kamerayı eline ilk defa 14 yaşında almış ve 8 mm.'lik kamera ile amatör filmler çekmeye başlamıştır. Fransız Yeni Dalga akımının önemli yönetmenlerinden biri olarak gösterilse de tarzıyla bambaşka bir sinema ortaya koymuş bu akıma çok bağlı kalmamıştır. Bir süre oyunculuk üzerine çalışmış, kurgu öğrenmiş ve film şeritleri üzerinde oynayarak zamansal akışı değiştirebilme olanağına hayran kalmıştır. Bu hayranlık Alain Resnais'nin yapmış olduğu filmlerde büyük bir etkiye sahip olmuş ve filmlerinin temelini oluşturan zaman-bellek kavramının temeli olmuştur. Alain Resnais'yi daha iyi anlamak için Fransız Yeni Dalga akımından bahsedelim. Fransız Yeni Dalga "Yeni Dalga" (Nouvelle Vague) adına ilk kez Françoise Giroud'nun "L'Express" dergisinde yayımladığı bir yazıda rastlanır. Yeni Dalga'nın öncülerinden Truffaut da bu saptamayı doğrular: "Yeni Dalga ne bir akım, ne bir okul ne de bir gruptur, o öyle bir niceliktir ki, her yıl yeni yönetmenlerden ancak üç ya da dördüne kapısını açan bu mesleğe, son iki yılda ortaya çıkmış elli yeni adın dahil edilmesi için basın tarafından konmuş kollektif bir slogandır." Ancak 1958-1963 yıllarında ilk filmini yapan 170'e yakın Fransız yönetmeninin farklı yaklaşımları olsa da, sinematografik tutumuna bu tanım eş düşer. İzleyici sayısının düşmesine karşın, yönetmen sayısı bu evrede artmıştır. Ortada değişiklik arayışı içinde bir sinema alanı vardır. Marcel Carné, Julien Duvivier gibi şiirsel gerçekçilerin modası geçmiş, onlara hayran kuşağın filmleri de doyurucu olamamıştır. Ortada yeni bir kuşak, yeni bir ahlakı temsil eden gençler vardır. Claude Autant-Lara gibi yönetmenlerin ya da pahalı yapımların yerine, sinemayı aç kalma pahasına seven tutkulu yönetmenler, Rouch'dan, Vigo'dan etkiler taşıyan az bütçeli filmler dönemi başlamıştır. Büyük, ama riskli yapımların yerine gelmiştir bu filmler, üstelik

Everybody knows that Vertigo is one of Alfred Hitchcock’s cinematic masterpieces. However, only a few scholars have discussed the hidden correspondences between that film and the Surrealist poetics. The following text moves away from the gender interpretations omnipresent in the film’s bibliography since Laura Mulvey’s “Visual Pleasure and Narrative Cinema”. Instead, it will explore its visual elements, especially those associated with the art direction and the cinematography as well, in order to achieve a clear correspondence with the Surrealist "pensée en images", and with the concepts of “shock” and “optical unconscious” enunciated by Walter Benjamin in his seminal work “The Work of Art in the Age of Its Techonological Reproducibility”. The last section of this paper is dedicated to the analysis of locations and set design in the movie, whose combination of architectural milestones in San Francisco and banal locations are the visual realization of the Surrealist “marvelous in the everyday”.
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Nadie duda que Vértigo es una de las obras maestras en la producción de Alfred Hitchcock. Sin embargo, pocos autores se han detenido en analizar las correspondencias latentes entre dicha película y las poéticas surrealistas. El siguiente artículo se aleja de las interpretaciones de género omnipresentes en la bibliografía desde el artículo de Laura Mulvey “Placer visual y cine narrativo”, para indagar en los aspectos visuales del filme, especialmente en aquellos relacionados con la cinematografía y la dirección artística, a fin de establecer una clara correspondencia con el concepto de pensée en images postulado por el surrealismo visual y literario, así como en los conceptos de shock e inconsciente óptico formulados por Walter Benjamin en su obra fundacional “La obra de arte en la época de su reproductibilidad técnica”. Las localizaciones y el diseño de decorados conforman la última parte del siguiente análisis interpretativo, en el que se combinan la naturaleza de algunos de ellos como hitos urbanos y la banalidad de otros espacios para materializar lo “maravilloso cotidiano” surrealista.

50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague's aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze's thesis on the time-image and Serge Daney's assertion according to which the Nouvelle Vague contributed to the passage of the cinema of the ideal to the cinema of otherness, the following article places its protagonists filmmakers in front of the conviction that their cinema did not create a style, but it established a method. This method came through a particular gesture: when the filmmakers saw in cinema a movement of desire that fails to reach the desired object and the failure of which allows to think about the nature of the image. From this discussion emerges a logic of images halfway between representation and figuration. To address this, the article revisits the early works of François Truffaut, Jean-Luc Godard and Alain Resnais, and the cinema of Philippe Garrel as a representative of the first French generation after the Nouvelle Vague.

Cincuenta años después del nacimiento de la Nouvelle Vague, sus herencias recibidas en el cine contem-poráneo son inevitables. Figuras y motivos visuales; relatos, temas, rostros o lugares comunes; recursos estéticos y de lenguaje. Los ecos se manifiestan de diversos modos, cada filiación implica una relación distinta y por tanto una aproximación dispar para su análisis. Y sin embargo, tanto la academia como la crítica de cine siguen pensando en la Nouvelle Vague como un conjunto, un universo, una corriente o una tendencia estética. Pero, ¿existe una estética nouvellevaguesca? Y, si es así, ¿por qué abordar de nuevo su revisión histórica? A partir de las tesis de Deleuze sobre la imagen-tiempo y de la aseveración de Serge Daney según la cual la Nouvelle Vague contribuyó al paso de un cine del ideal a un cine de la alteridad, el artículo siguiente da respuesta a estas preguntas partiendo de la convicción que los cineastas franceses no crearon un estilo, sino que asentaron un método. Este método consistiría en poner en crisis una relación propia de la narración para hallar una nueva relación en términos de montaje y puesta en escena. En particular, el artículo sostiene que la Nouvelle Vague aboga por esta aproximación haciendo del filme el espacio que permite pensar la visibilidad de la imagen y su figurabilidad a partir de la búsqueda y la pérdida del objeto de deseo en el relato, de lo que resulta una lógica de las imágenes a medio camino entre la representación y la figuración. Para abordar el análisis, el artículo propone una revisión de las primeras obras de François Truffaut, Jean-Luc Godard y Alain Resnais, y el cine de Philippe Garrel como representante de la primera generación francesa después de la Nouvelle Vague.

Aunque la ciencia ficción suele asociarse al futuro por su carácter de anticipación, desde la década de 1960 varios cineastas han decidido incorporar imágenes del pasado. Con ellas, no solo han querido reforzar la verosimilitud de sus propuestas sino, principalmente, poner en tela de juicio el concepto lineal de la historia y del progreso potenciado desde la Ilustración. El objeto de este artículo será analizar el porqué de su aparición y, sobre todo, explicar el modo en que son representadas aquellas imágenes del pasado –incluso del pasado reciente– en la cien- cia ficción distópica propia de la cinematografía mainstream, especialmente desde finales de los años 70. Por ello, el campo de estudio abarca alguna de las producciones más emblemáticas de directores situados en la esfera capitalista anterior a la caída del muro de Berlín, dado que la liberación de esas imágenes reprimidas actúa, además, como un comentario acerca del sistema económico sobre el cual se sustentan.

REMAKE. LA SPOSA AMERICANA, UN ROMANZO VISSUTO DUE VOLTE Il gennaio del 1931 fu un mese che Mario Soldati passò in nave: il mercantile Ida della Cosulich Line, che lo riportava in Italia dopo il suo primo soggiorno americano. Quelle settimane in sospensione furono le più felici della sua vita. Il comandante, Mario Gladulich da Lussinpiccolo, aveva disegnato per lui sulla carta del cielo, con l'inchiostro di china nero e rosso, il Planisfero Celeste; e Soldati lo contemplava come un grafico luminoso della sua vita, aperta su un avvenire sconosciuto; sbarcava a Trieste, città destinata a essere un nodo tra due, anzi, tre donne (mai una donna per volta nell'orizzonte di Soldati).

This essay analyzes François Truffaut’s L’Enfant sauvage (The Wild Child, 1970) as an early representation of autism that metaphorizes the neurodiverse child as the colonial subject. The film takes place in 1798, only a decade after the French Revolution, and depicts the true events of the “wild boy of Aveyron,” a feral child found in the Southern French forest when he was twelve years old. Before the film’s production, Truffaut—who also plays the boy’s teacher, Dr. Jean-Marc Itard—collected articles and books on autism and viewed videos of autistic children to create his main character’s behavioral patterns. The film is thus an exceptionally early representation of autism in narrative film history. While several scholars have analyzed the film with this knowledge—and usually from an autobiographical point of view that uncritically celebrates the film’s auteur director—I merge the critical lenses of disability studies and postcolonial studies to examine it as a white savior film.

Drawing on archival research and considering L’Enfant sauvage’s narrative and production contexts, I explore how the film evokes what Snyder and Mitchell term the “Eugenic Atlantic”—the historical moment when racial and disability eugenics dovetailed at the end of the eighteenth century. The film not only maintains that the boy should be “civilized” in its representation of Itard as the narrative’s hero, but it also conflates disability and race via the following production and formal choices: the casting of a Romani boy (Jean-Pierre Cargol) despite Truffaut’s knowledge that the historical “wild child” was white; and the use of long and iris fade-out shots that work to distance the audience from identifying with the autistic child, most notably in scenes where he connects with nature as he stims (uses repetitive motions to self-stimulate). In its representation of autism-as-savagery only a year after May ’68—a key moment in postcolonial French history—L’Enfant sauvage reveals some of the ways in which colonialism and ableism are mutually imbricated historical methods of normalization that span centuries.

Fahrenheit 451", un libro sempre attuale L"autore e sceneggiatore cinematografico statunitense Ray Douglas Bradbury è scomparso nella sua villa di Los Angeles il 5 giugno di quest"anno. Nato a Waukegan, nello stato dell"Illinois, nell"agosto del 1920, si trasferisce in California durante il periodo della Grande depressione e si appassiona alla fantascienza, sino a diventare uno degli autori più importanti del genere. Il libro "Fahrenheit 451" -ascrivibile al genere della "fantascienza sociologica"esce nel 1953 in lingua originale e in edizione italiana nel "56 con il titolo "Gli anni della fenice". Il titolo originale si riferisce alla temperatura di autocombustione della carta, ossia 451 gradi Fahrenheit che equivale a 232,78°C, anche se in base al suo spessore -se si tratti per esempio di carta da giornale o da lettera -i tempi in cui essa brucia possono variare. Interessante questa scelta, che svela un punto focale della trama: nella società in cui è ambientata la storia, i libri sono vietati e vengono bruciati da vigili del fuoco con lanciafiamme dalla punta in rame. Come automi, essi sorvegliano continuamente i cittadini e sembrano godere dello spettacolo del rogo, dopo aver fatto irruzione nelle case.

"Last Metro" is the story of the prestigious Théâtre Montmartre putting on a production in late autumn of 1942. Lucas Steiner (Heinz Bennent), the German-Jewish director of the theater is forced to go underground. His wife Marion (Catherine Deneuve) takes over the management of the theater and has to survive an onslaught of anti-Semitic policies, material shortage and the looming threat of censorship....

"YARININ FİLMİ bana bir romandan daha kişisel geliyor; bir itiraf ya da
samimi bir günlük kadar kişisel ve otobiyografik olacak. Genç filmciler kendilerini birinci tekil şahıs olarak ifade edecekler ve başlarından geçenleri anlatacaklar — bu onların ilk aşkları olacak ya da sonuncusu; politik uyanışları; bir seyahatname; bir hastalık; askerlik hizmetleri; evlilikleri; en son tatillerinin öyküsü — ve bunun her zaman tadına varacağız, çünkü bu gerçek ve yeni olacak. ”

The focus of my research is the “secret perdu” or “lost secret” of François Truffaut’s cinema, to wit, the means by which Truffaut engaged with silent cinema and how it greatly influenced his oeuvre. This study is important since no other in existence focuses solely on this area of research and it provides an addition to the relatively small canon of academic literature on Truffaut in English. My research methods included: sourcing affirmative writing on Truffaut and silent cinema; isolating key words related to silent cinema, and further investigating their meaning to Truffaut and his work; and finally, watching a diverse range of visual material concerning Truffaut and silent cinema. My findings indicate that the success of Truffaut in his personal quest for “le secret perdu” was predicated on the help of a range of people who shared his passion for the silent era. Finally, it remains to be said that no single definition of le secret perdu exists, or, rather, if it ever did, it has gone to the grave with Truffaut. This leads me to suggest that we should be talking about secret(s) perdu(s) (plural), and that, ultimately, this subject remains open for further exploration.

Based on the 1953 Ray Bradbury novel of the same name. Guy Montag is a fireman who lives in a lonely, isolated society where books have been outlawed by a government fearing an independent-thinking public. It is the duty of firemen to burn any books on sight or said collections that have been reported by informants. People in this society, including Montag's wife, are drugged into compliance and get their information from wall-length television screens.

Îmi doream de mult să fac un interviu cu Magda Mihăilescu, critic de film al cărui scris îl admir de când am început să citesc presa culturală, dar, cum obiceiurile nu neapărat bune ale jurnalisticii pretind un pretext, am aşteptatcâţiva ani -apariţia cărţii despre Truffaut ("François Truffaut. Bărbatul care iubea filmele", prefaţă de Serge Toubiana, Curtea veche, 2009). Având, în sfârşit, pretextul, mi s-a părut totuşi insuficient să mă rezum la el. Cum Magda Mihăilescu este un autor discret, neîncadrându-se în moda confesivă a ultimilor ani (care dictează ca, pe baza a două-trei cronici, să afli te miri ce, dar în principiu cam totul, despre viaţa cronicarului), aveam curiozităţile mele. Am rugat-o de aceea pe Magda Mihăilescu să facem interviul în două părţi: în prima (publicată în numărul de faţă) să vorbim despre cum se putea forma cineva comme critic de film în deceniile postbelice, pornind de la experienţa personală; iar în a doua să vorbim despre carte, despre Truffaut, Noul Val ş.v.v.s.v. (şi veţi vedea săptămâna viitoare). (M.I.) Partea I Mihai Iovănel.: La critica de film se ajunge în două feluri: fie pe calea academică-universitară, fie pe cea a jurnalisticii. Dvs., din câte ştiu, aţi făcut o facultate numită atunci de... Magda Mihăilescu: ...Ziaristică. E nostim, am început Facultatea de Ziaristică şi am terminat Facultatea de Filozofie, secţia Ziaristică, pentru că după noi nu s-au mai primit candidaţi. Am fost ultima serie.

This article explores the dynamic relationship of François Truffaut’s adaptation of Ray Bradbury’s dystopian novel, Fahrenheit 451. Bradbury’s novel is known for its romanticization of books as a bastion of humanistic ideals, whereas television is depicted as a dehumanizing medium. However, Truffaut’s adaption revises this dichotomy through cinematic language that foregrounds books and television as fetish objects. Thus, Truffaut’s alteration to the original source material prompts us to consider a possible reexamination of the aforementioned dichotomy.

The research carried out in the present study comprises the media of literature and cinema, and it covers a timespan of about six decades, roughly starting from the beginning of the twentieth century. The two main foci of analysis are English literary Modernism, which developed in the 1920s, and the French nouvelle-vague cinema of the late 1950s and early 1960s. My corpus of primary works is composed by several texts and authors, yet special attention is dedicated to selected novels and short stories by Irish modernist James Joyce and to selected films by French director Francois Truffaut. By means of a comparative analysis of literary and cinematic texts, I identify the category of fluid anti-developmental narratives. This category is composed by narrative works whose protagonists are adolescents or young adults who are unable (or unwilling) to develop into what is commonly considered as mature adulthood, thus remaining stuck in a fluid condition of ‘never-resolving adolescence’. T...

Nieves Fernández Villalobos: "Un ardiente homenaje visual al mundo escrito. Fahrenheit 451 (1966) de François Truffaut" en en González Cubero, Josefina; Pérez Barreiro, Sara; Villalobos Alonso, Daniel (eds.): Interiores Domésticos y Urbanos. Fotograma 007.Fundación DOCOMOMO Ibérico. Valladolid, 2016. pp.51-55
ISBN: 978-84-617-5244-7

El artículo hace una lectura de la película de François Truffaut, La noche americana, en clave fenomenológica. Rastrea los orígenes intelectuales del cineasta reconociendo la importancia que tuvieron en su vida y en su cine las teorías del crítico André Bazin y elucubra sobre la posible influencia de otros teóricos como Merleau-Ponty. La noche americana, como cine que trata el cine, mantiene un equilibrio difícil con respecto a la credibilidad que necesariamente ha de tener cualquier obra cinematográfica. Para que una película tenga sentido para el espectador este equilibrio debe ser cuidado según la teoría psicoanalítica del cine sostenida por Christian Metz de la que también da cuenta el artículo.