The 34 essays of this assortment by way of major foreign students re-examine Truffaut's effect on cinema as they find the original caliber of his thematic obsessions and his awesome narrative innovations. nearly 30 years after his dying, we're awarded with strikingly unique views on his heritage, affects, and importance.Bridges a niche in movie scholarship with a sequence of 34 unique essays through major movie students that verify the lasting influence of Truffaut’s work
• offers extraordinary new readings of person motion pictures, and new views on Truffaut’s history, impacts, and importance
• deals a large selection of serious views starting from present reflections in movie theories to articles utilizing methodologies that experience lately been missed or thought of controversial
• contains overseas viewpoints from a variety of ecu international locations, and from Japan, New Zealand, and Brazil
• attracts on Truffaut’s files on the BiFI (Bibliotheque du movie) in Paris
• contains a longer interview with French filmmaker Arnaud Desplechin pertaining to Truffaut’s transferring stature in French movie tradition and his demeanour of inspiration and paintings as a director
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Additional resources for A Companion to François Truffaut (Wiley-Blackwell Companions to Film Directors)
When people write this for twenty years, the audience starts to become blind because they are exposed again and again to the contrary of the truth. After a while, a sort of blindness comes over all of us in my generation. If you want to think about film theory, there’s a brief shot in Jules et Jim which is so theoretical it fascinates me. It’s when they are by the sea staying in that large house. ” There follows a scene with a handheld subjective camera, a very close shot, with jump cuts in it.
Just like the tracking in The Wrong Man [Hitchcock, 1956], when Henry Fonda goes inside the jail while outside there’s this same sort of tracking. This paddy wagon scene comes from a film lover; it’s a bit of Bresson. q: What do you think about the striking shot in the jail sequence of the policeman in silhouette at the end of the corridor? It’s rare for Truffaut to give you a kind of postcard shot. But It’s so very beautiful. d: It has to be frightening too. I guess that, while not wanting to describe the cops as bad cops, he shows you that, within the system, they are pigs.
I could see all the shots individually and as they fit together. Well, I was stupefied, because I had never seen this before. q: Why has his work not really been valued at its proper level? It’s underestimated particularly in the US, but also in France, where it is sometimes considered bourgeois, not advanced enough. Why this reaction? 1 It’s like the Bible to me, just as useful as the Hitchcock/Truffaut. It’s so technical. It’s amazingly useful. And you had this great idea to group the interviews around each film and include the years, so the reader can see the development of his thinking: what he thinks of a film he has just made in ’68, then what he thinks of the same film a year later, then later still.
A Companion to François Truffaut (Wiley-Blackwell Companions to Film Directors)