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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
"Adaptation was central to André Bazin's lifelong query: What is cinema? Placing films alongside literature let him identify the aesthetic and sociological distinctiveness of each. More importantly, it helped him wage his campaign for a modern conception of cinema, one that owed a great deal to developments in the novel. His critical genius is on full display in this collection, where readers are introduced to the foundational concepts of the relationship between film and literary adaptation as put forth by one of the greatest film and cultural critics of the 20th century. Expertly curated and with an introduction by celebrated film scholar Dudley Andrew, the book begins with a selection of essays that show Bazin's film theory in action, followed by reviews of films adapted from renowned novelists of the day (Conrad, Hemingway, Steinbeck; Colette, Sagan, Duras; and more) as well as classic novels of the 19th century (Bronte, Melville, Tolstoy; Balzac, Hugo, Zola; Stendhal and more). Taken together, this volume will be an indispensable resource for anyone interested in literary adaptation, authorship, classical film theory, French film history, and André Bazin's criticism alike. As a bonus, 250 years of French fiction is put in play as Bazin assesses adaptation after adaptation to determine what is at stake for culture, for literature and especially for cinema"--
French novels such as "Madame Bovary" and "The Stranger" are staples of high school and college literature courses. This work provides coverage of the French novel since its origins in the 16th century, with an emphasis on novels most commonly studied in high school and college courses in world literature and in French culture and civilization.
Who has not, in a favored moment, ‘stolen the limelight’, whether inadvertently or by design? The implications of such an act of display – its illicitness, its verve, its vertiginous reversal of power, its subversiveness – are explored in this book. Narrative crafting and management of such scenarios are studied across canonical novels by Gide, Colette, Mauriac, and Duras, as well as by African Francophone writer Oyono and detective novelist Japrisot. As manipulated within narrative, acts of display position a viewer or reader from whom response (from veneration or desire to repugnance or horror) is solicited; but this study demonstrates that display can also work subversively, destabilising and displacing such a privileged spectator. As strategies of displacement, these scenarios ultimately neutralise and even occult the very subject they so energetically appear to solicit. Powered by gendered tensions, this dynamic of display as displacement works toward purposes of struggle, resistance or repression.
A vivid portrait of Parisian music hall life, this 1910 novel reflects the adventures of the author of Gigi as a dancer as well as her struggles balancing respectability and freedom.
One of the most celebrated filmmakers of all time, Francois Truffaut was an intensely private individual who cultivated the public image of a man completely consumed by his craft. But his personal story—from which he drew extensively to create the characters and plots of his films—is itself an extraordinary human drama. Now, with captivating immediacy, Antoine de Baecque and Serge Toubiana give us the definitive story of this beloved artist. They begin with the unwanted, mischievous child who learned to love movies and books as an escape from sadness and confusion: as a boy, Francois came to identify with screen characters and to worship actresses. Following his early adult years as a journalist, during which he gained fame as France's most iconoclastic film critic, the obsessive prodigy began to make films of his own, and before he was thirty, notched the two masterpieces The 400 Blows and Jules and Jim. As Truffaut's dazzling body of work evolves, in the shadow of the politics of his day, including the student uprisings of 1968, we watch him learning the lessons of his masters Fellini and Hitchcock. And we witness the progress of his often tempestuous personal relationships, including his violent falling-out with Jean-Luc Godard (who owed Truffaut the idea for Breathless) and his rapturous love affairs with the many glamorous actresses he directed, among them Jacqueline Bisset and Jeanne Moreau. With Fanny Ardant, Truffaut had a child only thirteen months before dying of a brain tumor at the age of fifty-two. Here is a life of astonishing emotional range, from the anguish of severe depression to the exaltation of Oscar victory. Based on unprecedented access to Truffaut's papers, including notes toward an unwritten autobiography, de Baecque and Toubiana's richly detailed work is an incomparably authoritative revelation of a singular genius.
Through the ages women have had to fight to be taken seriously, have their work accepted, and be considered the equal of men intellectually and creatively. This book tips its hat to women such as Cleopatra, Joan of Arc, Sojourner Truth, and Princess Diana, who have made their mark and forever changed the world with their contributions.
From the author of the much-loved Knowing Sophie and Dear Henry comes a story of two women, the price of friendship, and how there are no choices when it comes to falling in love. Josephine ('Jo') and Emma have been friends forever.When Jo learns she is pregnant, she hurriedly marries, and Emma sets off on a solo adventure. All goes well for Emma at first, as she finds a warm welcome in France, and enjoys all the delights of a French coastal village. then the letter arrives from Jo's new husband, Peter. Could she help her old friend? Between the lines Emma senses something is terribly wrong and returns home. As Emma becomes enmeshed in Jo and Peter's - and ultimately the baby's - lives, she finds that those around her are not always what they seem; and when Peter's old friend Robert arrives on the scene tensions - and secrets - are brought to breaking point. Brenda Little's thoroughly engaging characters bring this story of friendship and love lost and found vividly to life.