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An orphan and thief, Hugo lives in the walls of a busy train station. He desperately believes a broken automaton will make his dreams come true. But when his world collides with an eccentric girl and a bitter old man, Hugo's undercover life are put in jeopardy. Turn the pages, follow the illustrations and enter an unforgettable new world!
These two volumes examine a significant but previously neglected moment in French cultural history: the emergence of French film theory and criticism before the essays of Andr Bazin. Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to "bite into" the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.
Le mois de Mai est plus beau que jamais. Luc LARCANGE, spécialiste de la communication politique, manipulateur d’informations, metteur en scène de scandales, est une « plume ». Un spin doctor qui invente des vérités pour créer des contre-vérités. En plein questionnement sur sa vie, il décide de s'accorder une journée de repos bien méritée. Une longue flânerie l'entraîne sur les quais de Seine... Le ciel se couvre... Un orage gronde... Une "ombre de pluie et de lumière" l'enveloppe un instant... Lorsqu'elle se dissipe, Luc LARCANGE ne sait pas encore que rien ne sera plus jamais pareil qu'avant... Ses activités officielles et officieuses se côtoient, se mêlent, se superposent, s’additionnent, se multiplient, s’interfèrent et le constat est tel que la réalité n’est plus que fiction alors que la fiction elle-même n’est plus qu’un rêve psychédélique qui n’est peut-être qu’une ultime machination de son esprit.
Before he became an influential cinematic innovator, Georges Méliès (1861–1938) was a maker of deluxe French footwear, an illusionist, and a caricaturist. Proceeding from these beginnings, Méliès Boots traces how the full trajectory of Georges Méliès’ career during the late-nineteenth and early-twentieth centuries, along with the larger cultural and historical contexts in which Méliès operated, shaped his cinematic oeuvre. Solomon examines Méliès’ unpublished drawings and published caricatures, the role of laughter in his magic theater productions, and the constituent elements of what Méliès called "the new profession of the cinéaste." The book also reveals Méliès' connections to the Incohérents, a group of ephemeral artists from the 1880s, demonstrating the group’s relevance for Méliès, early cinema, and modernity. By positioning Méliès in relation to the material culture of his time, Solomon demonstrates that Méliès’ work was expressive of a distinctly modern, and modernist, sensibility that appeared in France during the 1880s in the wake of the Second Industrial Revolution.
These two volumes examine a significant but previously neglected moment in French cultural history: the emergence of French film theory and criticism before the essays of Andr Bazin. Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to "bite into" the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.
Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.
Presents a history of the documentary film
Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity. Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.
Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.