By Dudley Andrew, Anne Gillain

The 34 essays of this assortment by way of best overseas students re-evaluate Truffaut's influence on cinema as they find the original caliber of his thematic obsessions and his outstanding narrative techniques.  virtually 30 years after his dying, we're awarded with strikingly unique views on his history, affects, and importance.Bridges a niche in movie scholarship with a sequence of 34 unique essays by means of top movie students that determine the lasting influence of Truffaut’s work

  • Provides outstanding new readings of person movies, and new views on Truffaut’s heritage, affects, and importance
  • Offers a large selection of severe views starting from present reflections in movie theories to articles employing methodologies that experience lately been overlooked or thought of arguable
  • Includes overseas viewpoints from more than a few eu nations, and from Japan, New Zealand, and Brazil
  • Draws on Truffaut’s data on the BiFI (Bibliotheque du movie) in Paris
  • Includes a longer interview with French filmmaker Arnaud Desplechin pertaining to Truffaut’s moving stature in French movie tradition and his demeanour of notion 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 very good insanity (pages 173–183): Francis Vanoye
Chapter nine The Ecstatic Pan (pages 184–204): Phil Powrie
Chapter 10 The premature second and the proper Distance (pages 205–217): Adrian Martin
Chapter eleven each instructor wishes a Truant (pages 219–241): Dudley Andrew
Chapter 12 definite traits of Truffaut's movie feedback (pages 242–264): Richard Neupert
Chapter thirteen Truffaut–Hitchcock (pages 265–282): Jonathan Everett Haynes
Chapter 14 the ambiguity 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 gadgets (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 teenagers (pages 401–419): Angela Dalle Vacche
Chapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley Andrew
Chapter 23 Digging Up the previous (pages 434–447): Elizabeth Ezra
Chapter 24 The Elevator and the phone (pages 448–453): Michel Chion
Chapter 25 los angeles 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 function of periods 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 los angeles Chambre verte and the thrashing middle 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 los angeles Nuit americaine and Le Dernier Metro (pages 584–593): Marc Vernet

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Additional resources for A Companion to Francois Truffaut

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Here you can even start to feel a connection to Bresson, because each shot is pure; this is not realism, it’s not the capturing of reality, not recording reality. It’s all about making a film, which means to organize the space. q: The camera is never still. 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.

It’s almost a line which could be given to Jean-Paul Belmondo in La Sirène du Mississippi when he’s talking with Catherine Deneuve about parasites. Truffaut goes on: “You have the sense that they have been created for cinema and would not exist if cinema did not exist. That’s why I wanted to take an unknown actress for the main part of Tirez sur le pianiste. ”5 16 Anne Gillain and Dudley Andrew What Truffaut says here is right. A sudden freedom comes when you realize that the cinema is not young any longer, that young actresses already know all the film codes.

His final ride in the city turned out to be a good ride, since for once, as a kid, he can see Paris. And, it’s night, so you have the street carnival, and you have the images of the prostitutes, nudes. It’s something magical, with the neon, the street lamps; it’s something desirable in a way, like a dream. Is it awfully sad, or is it magic? “It’s both,” is Truffaut’s answer. Here you can even start to feel a connection to Bresson, because each shot is pure; this is not realism, it’s not the capturing of reality, not recording reality.

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