Simone Signoret

COMEBACK — 1969-1971 Part One : Taking on Another's Skin — L'armée des ombres and L'aveu Signoret's role as Mathilde in Jean - Pierre Melville's Resistance film L'armee des ombres is , like the other main characters , a composite of ...

Author: Susan Hayward

Publisher: A&C Black

ISBN: 9780826413949

Category: Social Science

Page: 308

View: 206

In what may be the most in-depth study yet published of a film star's body of work, Susan Hayward charts the career of Simone Signoret, one of the great Frech actresses of the 20th Century.Signoret- who won an Oscar in 1960 for her performance in Room at the Top- was a key figure in French cinema for 40 years. But it is not so much her longevity that impresses, as it is the quality of work she produced as her career progressed. She started out as a stunningly beautiful woman, winning major international awards five times for her roles, and yet was only moderately in demand during those years. From the 1960s onwards, when her looks began to decline significantly, Signoret was in greater demand, and produced most of her output. She insisted on playing roles consonant with her real age, and often chose to play roles that portrayed wher as even more ugly than she had become.Simore Signoret: The Star as Cultural Sign is a remarkable achievement, a labor of love from one of the world's leading scholars of French cinema.

Nationalism and the Cinema in France

W. Faulkner, 1984, Faulkner, Brodsky Collection Volume Three: De Gaulle Story, Jackson: University Press of Mississippi. See Sand, Le XXe siècle, 169. Frodon, L'Âge moderne, 827. See 'L'armée des ombres', 1969, Journal du dimanche, ...

Author: Hugo Frey

Publisher: Berghahn Books

ISBN: 1782383662

Category: Performing Arts

Page: 250

View: 400

It is often taken for granted that French cinema is intimately connected to the nation's sense of identity and self-confidence. But what do we really know about that relationship? What are the nuances, insider codes, and hidden history of the alignment between cinema and nationalism? Hugo Frey suggests that the concepts of the 'political myth' and 'the film event' are the essential theoretical reference points for unlocking film history. Nationalism and the Cinema in France offers new arguments regarding those connections in the French case, examining national elitism, neo-colonialism, and other exclusionary discourses, as well as discussing for the first time the subculture of cinema around the extreme right Front National. Key works from directors such as Michel Audiard, Jean-Luc Godard, Jean-Pierre Melville, Marcel Pagnol, Jean Renoir, Jacques Tati, François Truffaut, and others provide a rich body of evidence.

The Railway and Modernity

... and letters from Jewish children deportees . a Narratives of Representation since 1945 : The Literary and Filmic Image Post - war literature and film from La Bataille du rail to Jean - Pierre Melville's L'Armée des ombres ( 1969 ) ...

Author: Matthew Beaumont

Publisher: Peter Lang

ISBN: 9783039110247

Category: Social Science

Page: 284

View: 683

Most research and writing on railway history has been undertaken in a way that disconnects it from the wider cultural milieu. Authors have been very effective at constructing specialist histories of transport, but have failed to register the railway's central importance in the representation and understanding of modernity. This book brings together contributions from a range of established scholars in a variety of disciplines with the central purpose of exploring the railway less as a transport technology than as a key signifier of capitalist modernity. It examines the complex social relations in which the railway became historically embedded, identifying it as a central problematic in the cultural experience of modernity. It avoids the limitations of both the close-sighted empiricism typical of many transport historians and the long-sighted generalizations of cultural commentators who view the railway merely as a shorthand for the concept of progress over the nineteenth and twentieth centuries. The book draws on a diverse range of materials, including literary and historical forms of representation. It is also informed by a creative application of various critical theories.

Translating War

After the Liberation, extracts from L'Armée des ombres were anthologised in edited collections put together in order to bring writing from wartime France to a wider post-war readership. In 1945, the two extracts that had appeared in La ...

Author: Angela Kershaw

Publisher: Springer

ISBN: 3319920871

Category: Language Arts & Disciplines

Page: 293

View: 806

This book examines the role played by the international circulation of literature in constructing cultural memories of the Second World War. War writing has rarely been read from the point of view of translation even though war is by definition a multilingual event, and knowledge of the Second World War and the Holocaust is mediated through translated texts. Here, the author opens up this field of research through analysis of several important works of French war fiction and their English translations. The book examines the wartime publishing structures which facilitated literary exchanges across national borders, the strategies adopted by translators of war fiction, the relationships between translated war fiction and dominant national memories of the war, and questions of multilingualism in war writing. In doing so, it sheds new light on the political and ethical questions that arise when the trauma of war is represented in fiction and through translation. This engaging work will appeal to students and scholars of translation, cultural memory, war fiction and Holocaust writing.

French War Films and National Identity

However, the status of a text as an artificial myth does not require the artist to beat us over the head with his point of view, only to make it identifiable as willed, one vision among other possibilities. L'Armée des ombres ...


Publisher: Cambria Press

ISBN: 1621968138



View: 739

The FIAF Moving Image Cataloguing Manual

TV trailers] OR Title: The Misfits Form: TV trailers L'armée des ombres. Rushes OR L'armée des ombres (Rushes) OR L'armée des ombres [Rushes] OR Title: L'armée des ombres Form: Rushes Le samourai. Excerpt OR Le samourai (Excerpt) OR [Le ...

Author: Linda Tadic

Publisher: Indiana University Press

ISBN: 296002964X

Category: Performing Arts

Page: 276

View: 575

The FIAF Moving Image Cataloguing Manual is the result of many years of labor and collaboration with numerous professionals in the moving image field. It addresses the changes in information technology that we’ve seen over the past two decades, and aligns with modern cataloguing and metadata standards and concepts such as FRBR (Functional Requirements for Bibliographic Records), EN 15907, and RDA (Resource Description and Access). The manual is designed to be compatible with a variety of data structures, and provides charts, decision trees, examples, and other tools to help experts and non-experts alike in performing real-world cataloguing of moving image collections.

Germaine Tillion Lucie Aubrac and the Politics of Memories of the French Resistance

Kessel's L'Armée des ombres was inspired by his conversations with Emmanuel d'Astier de la Vigerie, leader, and co-founder with Lucie Aubrac, of the Libération-Sud resistance movement.9 The character Mathilde in L'Armée des ombres, ...

Author: Donald Reid

Publisher: Cambridge Scholars Publishing

ISBN: 1443807222

Category: History

Page: 195

View: 553

Germaine Tillion, Geneviève de Gaulle Anthonioz, Lucie Aubrac, and Raymond Aubrac were among a small number of French men and women who made the decision to resist early in the Occupation. In the summer of 1940, Marc Bloch analyzed the society in which he lived in order to identify and affirm allegiance to a France truly at odds with that which was taking shape in Vichy. Bloch died in the Resistance, but his life would take on new meanings in the collective memories of postwar France. Confrontation with the Aubracs’ account of their refusal to accept the unacceptable became another important way the French engaged with the Resistance and its legacy. The acts Tillion took during the French-Algerian War and de Gaulle Anthonioz took when confronted with poverty in the France of the trentes glorieuses, were of a piece with the radical nature of their earlier decision to resist. Evocation of the Resistance provided a basis for France to reconstitute itself with honor after the war. Yet memory of the Resistance could also pose difficult issues for future generations. Those who came of age in 1968 grappled with the memory of the intrepid resisters of the first years of the war, whose decision to resist stood as an inspiration and a challenge. Historians, with the imperative to take the mandate to narrate the past from historical actors, to make resisters figures of history, developed complex relationships with those who had resisted. The essays in this collection address how resisters made sense of the wartime and postwar world in terms of their resistance, and how others made sense of the Resistance itself and its legacy by engaging with resisters and their histories.

Jean Pierre Melville

Kessel, L'Armée des ombres, p. 173. 118. Marcel Martin, Les Lettres françaises, 17 September 1969. 119. Jean-Pierre Melville, L'Aurore, 15 September 1969: 'This story was not invented and today a Parisian street bears the name of the ...

Author: Ginette Vincendeau

Publisher: Bloomsbury Publishing

ISBN: 1838716548

Category: Performing Arts

Page: 285

View: 487

Ginette Vincendeau discusses the artistic value of his films in their proper context and comments on Jean-Pierre Melville's love of American culture and his controversial critical and political standing in this English language study.

Remembering the Occupation in French film

See Margaret Atack, “L'Armée des ombres and Le Chagrin et le pitié: Reconfigurations of Law, Legalities and the State in Post-1968 France,” in European Memories of the Second World War, ed. Helmut Peitsch, Charles Burdett, ...

Author: L. Hewitt

Publisher: Springer

ISBN: 0230612105

Category: History

Page: 254

View: 130

When collective memory is a source of national debate, the public representation of history quickly becomes a locus of controversy and ideological struggle. This work shows how French film has allowed for a public airing of current concerns through the lens of memory's recreations of the Occupation.

Post beur Cinema North African Emigre and Maghrebi French Filmmaking in France since 2000

Secondly Melville's L'armée des ombres (1969) for the way that it explores the moral dilemmas faced by a clandestine organisation resisting an occupying force. Like L'armée des ombres, Bouchareb's historical political thriller depicts ...

Author: Will Higbee

Publisher: Edinburgh University Press

ISBN: 0748678174

Category: Performing Arts

Page: 288

View: 116

Since the early 1980s, filmmakers of Maghrebi origin have made a key contribution to the representation of issues such as immigration, integration and national identity in French cinema. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African emigre filmmakers have occupied an increasingly prominent position in on both sides of the camera, announcing their presence on French screens in a wider range of genres and styles than ever before. This greater prominence and move to the mainstream has not automatically meant that these films have lost any of the social or political relevance of Beur cinema of the 1980s or the banlieue film of the 1990s. Indeed in the 2000s these films have increasingly questioned the boundaries between national, transnational and diasporic cinema, whilst simultaneously demanding, either implicitly or explicitly, a reconsideration of the very difference that has traditionally been seen as a barrier to the successful integration of North African immigrants and their descendants into French society. Through a detailed study of this transformative decade for Maghrebi-French and North African emigre filmmaking in France, this book argues for the emergence of a Post-Beur cinema in the 2000s that is simultaneously global and local in its outlook. An absorbing introduction to this key development in contemporary French cinema, Post-Beur Cinema is essential reading for students and scholars in Film Studies, French Studies and Diaspora Studies.