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No doubt Maigret was on holiday when Monsieur Bouvet disconcerted everyone by falling dead as he was examining old prints at a bookseller's stall beside the Seine. 'One of our readers' - a smart young American tourist - snapped the body and sold the picture to a newspaper. And then the fun began. For people recognized the dead man. Madame Jeanne, the concierge, knew very well that he was Rene Bouvet. But Mrs. Marsh swore he was her husband, Samuel. So the Commissioner of Paris Police HQ became involved and the venerable Monsieur Beaupere began inquiries on behalf of the families concerned. At length Lucas, one of Maigret's inspectors, was deputed to find out exactly who Bouvet was, and an uncommon tale it proved to be.
Maigret is a registered trademark of the Estate of Georges Simenon.
"André Bazin (1918–58) is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. Among those who came under his tutelage were four who would go on to become the most renowned directors of the postwar French cinema: François Truffaut, Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s contains, for the first time in English in one volume, much if not all of Bazin’s writings on American cinema: on directors such as Orson Welles, Charles Chaplin, Preston Sturges, Alfred Hitchcock, Howard Hawks, John Huston, Nicholas Ray, Erich von Stroheim, and Elia Kazan; and on films such as High Noon, Citizen Kane, Rear Window, Limelight, Scarface, Niagara, The Red Badge of Courage, Greed, and Sullivan’s Travels.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s also features a sizable scholarly apparatus, including a contextual introduction to Bazin’s life and work, a complete bibliography of Bazin’s writings on American cinema, and credits of the films discussed. This volume thus represents a major contribution to the still growing academic discipline of cinema studies, as well as a testament to the continuing influence of one of the world’s pre-eminent critical thinkers."
This work covers not only philosophy, but also all the other major disciplines, including literary theory, sociology, linguistics, political thought, theology, and more. The 240 analytical entries examine individuals such as Bergson, Durkheim, Mauss, Sartre, Beauvoir, Foucault, Levi-Strauss, Lacan, Kristeva, and Derrida; specific disciplines such as the arts, anthropology, historiography, psychology, and sociology; key beliefs and methodologies such as Catholicism, deconstruction, feminism, Marxism, and phenomenology; themes and concepts such as freedom, language, media, and sexuality; and istorical, political, social, and intellectual context. --From publisher's decription.
This is a 1990 collection of interviews and essays by the legendary filmmaker Jean Renoir.
Georges Simenon (1903-1989) was a phenomenally successful author of crime fiction. His 75 Maigret novels and 28 Maigret short stories were published between 1931 and 1972 to great international acclaim (he is the only non-anglophone crime writer to have achieved such renown). His Maigret stories are regarded by many as having established a new direction in crime fiction, emphasizing social and psychological portraiture rather than focussing on a puzzle to be solved or on "action." This book examines the importance of social class and social change in the Maigret stories, giving a particular emphasis to the early formative novels and the development of plot, characterization and setting. The author seeks to establish the extent to which Simenon's portrait of French society is historically accurate and the nature of the influence of the author's own class position and ideology on his fiction.
Set in the oppressively squalid streets of Paris, A Man's Head features Simenon's famed detective as he tracks a killer on the run, while the writer's sharp prose evokes the atmosphere of Parisian luxury hotels, seedy bars, and dark alleys.
This first book published on film noir established the genre--a classic, at last in translation.
Secret agents, gun runners, White Russians, and con men—they all play a part in Michael B. Miller's strikingly original study of interwar France. Based on extensive research in security files and a mass of printed sources, Shanghai on the Métro shows how a distinctive milieu of spies and spy literature emerged between the two world wars, reflecting the atmosphere and concerns of these years. Miller argues that French fascination with intrigue between the wars reveals a far more assured and playful national mood than historians have hitherto discerned in the final decades of the Third Republic. But the larger history set in motion by World War I and the subsequent reading of French history into global history are the true subjects of this work. Reconstituting through his own narratives the histories of interwar travel and adventure and the willful turning of contemporary affairs into a source of romance, Miller recovers the ambience and special qualities of the age that produced its intrigues and its tales of spies. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.