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This text examines the film 'Le Fabuleux Destin d'Amelie Poulain' and its production within the French film industry and analyses the issues of genre and narrative that it presents so well.
Making faces: a highly original visual Q&A with France's most beloved comic actor In New York in 1948, photographer Philippe Halsman had a chance meeting with Fernandel, a French movie star from the vaudeville tradition, and asked the actor to participate in a completely original photographic experiment. Halsman would ask Fernandel questions about America to which he would respond using only facial expressions. With his wide, lovable horse-face, Fernandel mimicked the answers to such questions as "Does the average Frenchman still pinch pretty girls in a crowd?" (silly grin) and "What was your reaction to the great American game of baseball?" (perplexed). Fernandel`s reactions are laugh-out-loud funny, and the book that resulted from this unusual collaboration is nothing short of wonderful. The Frenchman has been out of print for over fifty years, but TASCHEN`s reprint thankfully brings it back to life.
The owner of the bookshop THE VERB TO BE, is a red-haired giant imprisoned in an enormous body and his solitude. One wet afternoon, driving a vanload of new and second-hand books, �tienneVollard knocks down and seriously injures a little girl, �va. In the hospital, he meets �va's mother, Th�r�se, a struggling single parent who lacks maternal instincts and whose dream is to be faraway, alone. Both are haunted by guilt: Th�r�se because of her lateness in collecting her daughter, and Vollard because he did not manage to stop his car on time (even if he knows that he could not have avoided -va: indeed she seemed to throw herself in front of the car). Vollard visits �va regularly while she is in a coma and reads books to her, while Th�r�se spaces her visits out. When �va eventually wakes up, she has become mute and is terribly weakened. A few weeks after �va has been sent to a rehabilitation centre in the Massif de la Chartreuse, Th�r�se gets a job faraway and asks Vollard to visit her daughter on her behalf. Soon, Vollard enjoys their walks in the mountain, where he tells her stories and poems he has memorized and tries to break her out of her mute, impassive shell. However, nothing seems to help "La Petite Chartreuse" - Vollard calls �va that way in reference to the monastic order of the Chartreux - to enjoy life again. She becomes weaker everyday to such a point that Vollard decides to find Th�r�se and to take her back to her daughter before it is too late . . .
A history of French film
Brutal Intimacy is the first book to explore the fascinating films of contemporary France, ranging from mainstream genre spectaculars to arthouse experiments, and from wildly popular hits to films that deliberately alienate the viewer. Twenty-first-century France is a major source of international cinema—diverse and dynamic, embattled yet prosperous—a national cinema offering something for everyone. Tim Palmer investigates France's growing population of women filmmakers, its buoyant vanguard of first-time filmmakers, the rise of the controversial cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noé, and stars such as Vincent Cassel and Jean Dujardin. Analyzing dozens of breakthrough films, Brutal Intimacy situates infamous titles alongside many yet to be studied in the English language. Drawing on interviews and the testimony of leading film artists, Brutal Intimacy promises to be an influential treatment of French cinema today, its evolving rivalry with Hollywood, and its ambitious pursuits of audiences in Europe, North America, and around the world.
Botticelli to Van Gogh: Masterpieces from the National Gallery, London explores the history of European art from the Renaissance through to the birth of modern art in the late nineteenth century. Published in conjunction with the exhibition held at the National Gallery of Australia, this book features essays by international experts in Italian, Spanish, Dutch, Flemish, French and British art and 60 paintings by some of Europe's most revered artists, including Titian, Rembrandt, Vermeer, Velázquez, Goya, Turner, Renoir, Gauguin and Cézanne.
Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
This revised and updated edition of a successful and established text provides a much-needed historical overview of French cinema from its roots through to the political and social developments in the 1990s and beyond.