{"product_id":"a-companion-to-francois-truffaut-isbn-9781405198479","title":"A Companion to François Truffaut","description":"\u003cb\u003eA Companion to François Truffaut\u003c\/b\u003e \u003cp\u003e“An unprecedented critical tribute to the director who, in France, wound up becoming the most controversial figure of the New Wave he helped found.”\u003cbr\u003e\u003ci\u003eRaymond Bellour, Centre National de la Recherche Scientifique \u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“This exciting collection breaks through the widely held critical view that Truffaut abandoned the iconoclasm of his early work for an academicism he had consistently railed against in his own film criticism. Indeed, if ‘fever’ and ‘fire’ were Truffaut’s most consistent motifs, the essays in this collection live up to his lifelong, burning passion for the cinema. Written by world-famous scholars, the essays exhaustively explore the themes and styles of the films, as well as Truffaut’s relationships to André Bazin, Alfred Hitchcock, and the directors of the New Wave, his ground-breaking and controversial film criticism, and his position in the complex politics of French cultural life from the Popular Front to 1968 and after.”\u003cbr\u003e\u003ci\u003eAngelo Restivo, Georgia State University \u003c\/i\u003e \u003c\/p\u003e\u003cp\u003eAlthough the New Wave, one of the most influential aesthetic revolutions in the history of cinema, might not have existed without him, François Truffaut has largely been ignored by film scholars since his death almost thirty years ago. As an innovative theoretician, an influential critic, and a celebrated filmmaker, Truffaut formulated, disseminated, and illustrated the ideals of the New Wave with exceptional energy and distinction. Yet no book in recent years has focused on Truffaut’s value, and his overall contribution to cinema deserves to be redefined not only to reinstate him in his proper place but to let us rethink how cinema developed during his lifetime.  \u003c\/p\u003e\u003cp\u003eIn this new \u003ci\u003eCompanion\u003c\/i\u003e, thirty-four original essays by leading film scholars offer new readings of individual films and original perspectives on the filmmaker’s background, influences, and consequence. Hugely influential around the globe, Truffaut is assessed by international contributors who delve into the unique quality of his narratives and establish the depth of his distinctively styled work.  \u003c\/p\u003e\u003cp\u003eAn extended interview with French filmmaker Arnaud Desplechin tracks Truffaut’s controversial stature within French cinema and vividly identifies how he thinks and works as a director, adding an irreplaceable perspective to this essential volume.  \u003c\/p\u003e\u003cp\u003eAcknowledgments viii\u003c\/p\u003e \u003cp\u003eNotes on Contributors ix\u003c\/p\u003e \u003cp\u003ePreface xv\u003c\/p\u003e \u003cp\u003eFilmography xxiii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I La Planète Truffaut 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1. Interview with Arnaud Desplechin, Part I: Truffaut and His Position 3\u003cbr\u003e \u003ci\u003eAnne Gillain and Dudley Andrew\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2. Truffaut and His “Doubles” 23\u003cbr\u003e \u003ci\u003eMartin Lefebvre\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3. Aesthetic Affinities: François Truffaut, Patrick Modiano, Douglas Sirk 71\u003cbr\u003e \u003ci\u003eAnne Gillain\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4. Interview with Arnaud Desplechin, Part II: Truffaut and His Methods 105\u003cbr\u003e \u003ci\u003eAnne Gillain and Dudley Andrew\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Style and Sensibility 125\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5. Flashes of Happiness 127\u003cbr\u003e \u003ci\u003eAlain Bergala\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6. Truffaut and the Photographic: Cinema, Fetishism, Death 137\u003cbr\u003e \u003ci\u003eJunji Hori\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7. The Impasse of Intimacy: Romance and Tragedy in Truffaut’s Cinema 153\u003cbr\u003e \u003ci\u003eJohn Orr\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8. A Fine Madness: Digressions on Pathologies in Truffaut’s Films 173\u003cbr\u003e \u003ci\u003eFrancis Vanoye\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9. The Ecstatic Pan 184\u003cbr\u003e \u003ci\u003ePhil Powrie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10. The Untimely Moment and the Correct Distance 205\u003cbr\u003e \u003ci\u003eAdrian Martin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III The Making of a Filmmaker 219\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e11. Every Teacher Needs a Truant: Bazin and L’Enfant sauvage 221\u003cbr\u003e \u003ci\u003eDudley Andrew\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12. Certain Tendencies of Truffaut’s Film Criticism 242\u003cbr\u003e \u003ci\u003eRichard Neupert\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13. Truffaut–Hitchcock 265\u003cbr\u003e \u003ci\u003eJonathan Everett Haynes\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14. The Paradox of “Familiarity”: Truffaut, Heir of Renoir 283\u003cbr\u003e \u003ci\u003eLudovic Cortade\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15. Cain and Abel: Godard and Truffaut 300\u003cbr\u003e \u003ci\u003eMichel Marie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16. Friction, Failure, and Fire: Truffaut as Adaptive Auteur 317\u003cbr\u003e \u003ci\u003eTimothy Corrigan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Truffaut and His Time 333\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e17. Growing Up with the French New Wave 335\u003cbr\u003e \u003ci\u003eJames Tweedie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18. Bad Objects: Truffaut’s Radicalism 356\u003cbr\u003e \u003ci\u003eSam Di Iorio\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19. Between Renoir and Hitchcock: The Paradox of Truffaut’s Women 375\u003cbr\u003e \u003ci\u003eGinette Vincendeau\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20. Truffaut in the Mirror of Japan 388\u003cbr\u003e \u003ci\u003eKan Nozaki\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Films 401\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e21. Directing Children: The Double Meaning of Self-Consciousness 403\u003cbr\u003e \u003ci\u003eAngela Dalle Vacche\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22. Jules et Jim … et Walter Benjamin 420\u003cbr\u003e \u003ci\u003eDudley Andrew\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23. Digging Up the Past: Jules et Jim 434\u003cbr\u003e \u003ci\u003eElizabeth Ezra\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24. The Elevator and the Telephone: On Urgency in La Peau douce 448\u003cbr\u003e \u003ci\u003eMichel Chion\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25. La Peau douce: A Psychogeography of Silky Cinephilia 454\u003cbr\u003e \u003ci\u003eTom Conley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26. La Peau douce: François Truffaut’s Passionate Object 469\u003cbr\u003e \u003ci\u003eHilary Radner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27. An Unsettling Passage: From Les Deux Anglaises et le continent to La Chambre verte 489\u003cbr\u003e \u003ci\u003eCarlos Losilla\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28. The Structural Role of Intervals in L’Argent de poche 507\u003cbr\u003e \u003ci\u003eAlain Bergala\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29. To Die or to Love: Modern Don Juans in Truffaut and Oliveira 517\u003cbr\u003e \u003ci\u003eLuiza Jatobá\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30. Film as Literature: or the Truffaldian Malaise (L’Homme qui aimait les femmes) 530\u003cbr\u003e \u003ci\u003eLúcia Nagib\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e31. The Elegist: François Truffaut inside La Chambre verte 546\u003cbr\u003e \u003ci\u003ePhilip Watts\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e32. La Chambre verte and the Beating Heart of Truffaut’s Oeuvre 561\u003cbr\u003e \u003ci\u003eFrançoise Zamour\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e33. Le Dernier Métro: An Underground Golden Coach 571\u003cbr\u003e \u003ci\u003eJean-Michel Frodon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e34. Disillusionment and Magic in La Nuit américaine and Le Dernier Métro 584\u003cbr\u003e \u003ci\u003eMarc Vernet\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex 594\u003c\/p\u003e  \u003cp\u003e\"A superb compendium of 34 critical essays on the late French film director ... Truffaut's deeply human and penetrating films come alive for the reader. A splendid 'companion' offering fresh insight and thoughtful analysis on every page. \u003cb\u003eSumming Up\u003c\/b\u003e: Highly recommended. Lower-level undergraduates and above.\"  (\u003ci\u003eChoice\u003c\/i\u003e, 1 September 2013)\u003c\/p\u003e \u003cp\u003e\u003cb\u003eDudley Andrew\u003c\/b\u003e is the R. Selden Rose Professor of Film and Comparative Literature at Yale University, USA. He is the author or editor of nine books, including \u003ci\u003eThe Major Film Theories, Popular Front Paris and the Poetics of Culture\u003c\/i\u003e (2005), \u003ci\u003eWhat Cinema Is!\u003c\/i\u003e (2010), and \u003ci\u003eOpening Bazin\u003c\/i\u003e (2011), which won the SCMS Best Anthology Award for 2011. \u003c\/p\u003e \u003cp\u003e\u003cb\u003eAnne Gillain\u003c\/b\u003e is professor emeritus at Wellesley College, USA. She is known for her work on French cinema, particularly François Truffaut, in books that include \u003ci\u003eLe Cinéma selon François Truffaut\u003c\/i\u003e (1988), \u003ci\u003eLes 400 Coups\u003c\/i\u003e (1991), and \u003ci\u003eFrançois Truffaut: The Lost Secret\u003c\/i\u003e (2013).  \u003c\/p\u003e\u003cp\u003e “An unprecedented critical tribute to the director who, in France, wound up becoming the most controversial figure of the New Wave he helped found.”\u003cbr\u003e\u003ci\u003eRaymond Bellour, Centre National de la Recherche Scientifique \u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“This exciting collection breaks through the widely held critical view that Truffaut abandoned the iconoclasm of his early work for an academicism he had consistently railed against in his own film criticism. Indeed, if ‘fever’ and ‘fire’ were Truffaut’s most consistent motifs, the essays in this collection live up to his lifelong, burning passion for the cinema. Written by world-famous scholars, the essays exhaustively explore the themes and styles of the films, as well as Truffaut’s relationships to André Bazin, Alfred Hitchcock, and the directors of the New Wave, his ground-breaking and controversial film criticism, and his position in the complex politics of French cultural life from the Popular Front to 1968 and after.”\u003cbr\u003e\u003ci\u003eAngelo Restivo, Georgia State University \u003c\/i\u003e \u003c\/p\u003e\u003cp\u003eAlthough the New Wave, one of the most influential aesthetic revolutions in the history of cinema, might not have existed without him, François Truffaut has largely been ignored by film scholars since his death almost thirty years ago. As an innovative theoretician, an influential critic, and a celebrated filmmaker, Truffaut formulated, disseminated, and illustrated the ideals of the New Wave with exceptional energy and distinction. Yet no book in recent years has focused on Truffaut’s value, and his overall contribution to cinema deserves to be redefined not only to reinstate him in his proper place but to let us rethink how cinema developed during his lifetime.  \u003c\/p\u003e\u003cp\u003eIn this new \u003ci\u003eCompanion\u003c\/i\u003e, thirty-four original essays by leading film scholars offer new readings of individual films and original perspectives on the filmmaker’s background, influences, and consequence. Hugely influential around the globe, Truffaut is assessed by international contributors who delve into the unique quality of his narratives and establish the depth of his distinctively styled work.  \u003c\/p\u003e\u003cp\u003eAn extended interview with French filmmaker Arnaud Desplechin tracks Truffaut’s controversial stature within French cinema and vividly identifies how he thinks and works as a director, adding an irreplaceable perspective to this essential volume.    \u003c\/p\u003e\u003cp\u003e“An unprecedented critical tribute to the director who, in France, wound up becoming the most controversial figure of the New Wave he helped found.”\u003cbr\u003e \u003ci\u003eRaymond Bellour, Centre National de la Recherche Scientifique\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“This exciting collection breaks through the widely-held critical view that Truffaut abandoned the iconoclasm of his early work for an academicism he had consistently railed against in his own film criticism. Indeed, if ‘fever’ and ‘fire’ were Truffaut's most consistent motifs, the essays in this collection live up to his life-long, burning passion for the cinema. Written by world-famous scholars, the essays exhaustively explore the themes and styles of the films, as well as Truffaut's relationships to Andre Bazin, Alfred Hitchcock, and the directors of the New Wave, his ground-breaking and controversial film criticism, and his position in the complex politics of French cultural life from the Popular Front to 1968 and after.”\u003cbr\u003e \u003ci\u003eAngelo Restivo, Georgia State University\u003c\/i\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988607156453,"sku":"NP9781405198479","price":239.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405198479.jpg?v=1761780950","url":"https:\/\/k12savings.com\/es\/products\/a-companion-to-francois-truffaut-isbn-9781405198479","provider":"K12savings","version":"1.0","type":"link"}