جزییات کتاب
The 34 essays of this collection by leading international scholars reassess Truffaut's impact on cinema as they locate the unique quality of his thematic obsessions and his remarkable narrative techniques. Almost 30 years after his death, we are presented with strikingly original perspectives on his background, influences, and importance.Bridges a gap in film scholarship with a series of 34 original essays by leading film scholars that assess the lasting impact of Truffaut’s workProvides striking new readings of individual films, and new perspectives on Truffaut’s background, influences, and importanceOffers a wide choice of critical perspectives ranging from current reflections in film theories to articles applying methodologies that have recently been neglected or considered controversial Includes international viewpoints from a range of European countries, and from Japan, New Zealand, and Brazil Draws on Truffaut’s archives at the BiFI (Bibliotheque du film) in ParisIncludes an extended interview with French filmmaker Arnaud Desplechin concerning Truffaut’s shifting stature in French film culture and his manner of thought and work as a directorContent: Chapter 1 Interview with Arnaud Desplechin, Part I (pages 1–22): Anne Gillain and Dudley AndrewChapter 2 Truffaut and His “Doubles” (pages 23–70): Martin LefebvreChapter 3 Aesthetic Affinities (pages 71–104): Anne GillainChapter 4 Interview with Arnaud Desplechin, Part II (pages 105–123): Anne Gillain and Dudley AndrewChapter 5 Flashes of Happiness (pages 125–136): Alain BergalaChapter 6 Truffaut and the Photographic (pages 137–152): Junji HoriChapter 7 The Impasse of Intimacy (pages 153–172): John OrrChapter 8 A Fine Madness (pages 173–183): Francis VanoyeChapter 9 The Ecstatic Pan (pages 184–204): Phil PowrieChapter 10 The Untimely Moment and the Correct Distance (pages 205–217): Adrian MartinChapter 11 Every Teacher Needs a Truant (pages 219–241): Dudley AndrewChapter 12 Certain Tendencies of Truffaut's Film Criticism (pages 242–264): Richard NeupertChapter 13 Truffaut–Hitchcock (pages 265–282): Jonathan Everett HaynesChapter 14 The Paradox of “Familiarity” (pages 283–299): Ludovic CortadeChapter 15 Cain and Abel (pages 300–316): Michel MarieChapter 16 Friction, Failure, and Fire (pages 317–331): Timothy CorriganChapter 17 Growing Up with the French New Wave (pages 333–355): James TweedieChapter 18 Bad Objects (pages 356–374): Sam Di IorioChapter 19 Between Renoir and Hitchcock (pages 375–387): Ginette VincendeauChapter 20 Truffaut in the Mirror of Japan (pages 388–400): Kan NozakiChapter 21 Directing Children (pages 401–419): Angela Dalle VaccheChapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley AndrewChapter 23 Digging Up the Past (pages 434–447): Elizabeth EzraChapter 24 The Elevator and the Telephone (pages 448–453): Michel ChionChapter 25 La Peau douce (pages 454–468): Tom ConleyChapter 26 La Peau douce (pages 469–488): Hilary RadnerChapter 27 An Unsettling Passage (pages 489–506): Carlos LosillaChapter 28 The Structural Role of Intervals in L'Argent de Poche (pages 507–516): Alain BergalaChapter 29 To Die or to Love (pages 517–529): Luiza JatobaChapter 30 Film as Literature (pages 530–545): Lucia NagibChapter 31 The Elegist (pages 546–560): Philip WattsChapter 32 La Chambre verte and the Beating Heart of Truffaut's Oeuvre (pages 561–570): Francoise ZamourChapter 33 Le Dernier Metro (pages 571–583): Jean?Michel FrodonChapter 34 Disillusionment and Magic in La Nuit americaine and Le Dernier Metro (pages 584–593): Marc Vernet
درباره نویسنده
آن گیلیس (انگلیسی: Ann Gillis؛ زادهٔ ۱۲ فوریهٔ ۱۹۲۷(1927-02-12)) هنرپیشه اهل ایالات متحده آمریکا است. وی بین سالهای ۱۹۳۴ تا ۱۹۶۸ میلادی فعالیت میکرد.