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Colin Crisp re-evaluates the stylistic evolution of the classic French cinema, and represents the New Wave film-makers as its natural heirs rather than the mould-breakers they perceived themselves to be.
Cinema may be called a bastard art in both meanings of the word: because it is usually defined as a hybrid art form, obviously, but also, and perhaps more importantly, because it has been able to become formally as well as generically innovative mostly through adulterous relationships, thus making illegitimacy its grounding principle by preferring a blurred lineage to a legible succession. Trying to find what film is referred to in a sequence, therefore, amounts to establishing a clear family tree, which takes no account of the illegitimate unions, natural children and forgotten ancestors that are nevertheless part and parcel of film history. If that quest should still be conducted, its object, it seems, should not be one sole point of reference. The aim of this book is to create the opportunity of studying, and perhaps of rehabilitating, those shadowy corners of cinematographic creation and film memory, and to provide film studies, but also literature and Arts studies altogether, with a newly productive way of using such familiar notions as difference, quotation, reference, blending, hybridity, miscegenation or crossbreeding.
First in a series designed to situate and explain the films of French directors. A concise, accessible and original reading of Truffaut's films. A timely evaluation of the films of a popular director whose work features on most A-level French syllabuses and on the majority of University French Studies programmes both in the UK and the USA .
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
This first book published on film noir established the genre--a classic, at last in translation.
This volume explores the overlooked category of screenwriters in French cinema, from the coming of sound to the digital age. Using key figures as case studies, it considers how the role has evolved industrially and critically, and sheds light on screenwriting practices in the context of debates on word and image, national cinema and authorship.
"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."