Acknowledgments viii
Notes on Contributors ix
Preface xv
Filmography xxiii
Part I La Planète Truffaut 1
1. Interview with Arnaud Desplechin, Part I: Truffaut and His
Position 3
Anne Gillain and Dudley Andrew
2. Truffaut and His “Doubles” 23
Martin Lefebvre
3. Aesthetic Affinities: François Truffaut, Patrick Modiano,
Douglas Sirk 71
Anne Gillain
4. Interview with Arnaud Desplechin, Part II: Truffaut and His
Methods 105
Anne Gillain and Dudley Andrew
Part II Style and Sensibility 125
5. Flashes of Happiness 127
Alain Bergala
6. Truffaut and the Photographic: Cinema, Fetishism, Death
137
Junji Hori
7. The Impasse of Intimacy: Romance and Tragedy in Truffaut’s
Cinema 153
John Orr
8. A Fine Madness: Digressions on Pathologies in Truffaut’s
Films 173
Francis Vanoye
9. The Ecstatic Pan 184
Phil Powrie
10. The Untimely Moment and the Correct Distance 205
Adrian Martin
Part III The Making of a Filmmaker 219
11. Every Teacher Needs a Truant: Bazin and L’Enfant sauvage
221
Dudley Andrew
12. Certain Tendencies of Truffaut’s Film Criticism 242
Richard Neupert
13. Truffaut–Hitchcock 265
Jonathan Everett Haynes
14. The Paradox of “Familiarity”: Truffaut, Heir of Renoir
283
Ludovic Cortade
15. Cain and Abel: Godard and Truffaut 300
Michel Marie
16. Friction, Failure, and Fire: Truffaut as Adaptive Auteur
317
Timothy Corrigan
Part IV Truffaut and His Time 333
17. Growing Up with the French New Wave 335
James Tweedie
18. Bad Objects: Truffaut’s Radicalism 356
Sam Di Iorio
19. Between Renoir and Hitchcock: The Paradox of Truffaut’s
Women 375
Ginette Vincendeau
20. Truffaut in the Mirror of Japan 388
Kan Nozaki
Part V Films 401
21. Directing Children: The Double Meaning of Self-Consciousness
403
Angela Dalle Vacche
22. Jules et Jim … et Walter Benjamin 420
Dudley Andrew
23. Digging Up the Past: Jules et Jim 434
Elizabeth Ezra
24. The Elevator and the Telephone: On Urgency in La Peau douce
448
Michel Chion
25. La Peau douce: A Psychogeography of Silky Cinephilia 454
Tom Conley
26. La Peau douce: François Truffaut’s Passionate Object 469
Hilary Radner
27. An Unsettling Passage: From Les Deux Anglaises et le
continent to La Chambre verte 489
Carlos Losilla
28. The Structural Role of Intervals in L’Argent de poche
507
Alain Bergala
29. To Die or to Love: Modern Don Juans in Truffaut and Oliveira
517
Luiza Jatobá
30. Film as Literature: or the Truffaldian Malaise (L’Homme qui
aimait les femmes) 530
Lúcia Nagib
31. The Elegist: François Truffaut inside La Chambre verte
546
Philip Watts
32. La Chambre verte and the Beating Heart of Truffaut’s Oeuvre
561
Françoise Zamour
33. Le Dernier Métro: An Underground Golden Coach 571
Jean-Michel Frodon
34. Disillusionment and Magic in La Nuit américaine and Le
Dernier Métro 584
Marc Vernet
Index 594
Dudley Andrew 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 The Major Film Theories, Popular Front Paris and the Poetics of Culture (2005), What Cinema Is! (2010), and Opening Bazin (2011), which won the SCMS Best Anthology Award for 2011.
Anne Gillain is professor emeritus at Wellesley College, USA. She is known for her work on French cinema, particularly François Truffaut, in books that include Le Cinéma selon François Truffaut (1988), Les 400 Coups (1991), and François Truffaut: The Lost Secret (2013).
"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. Summing Up: Highly recommended. Lower-level undergraduates and above." (Choice, 1 September 2013)
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