Details
Philippe Garrel
French Film Directors Series
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124,99 € |
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| Verlag: | Manchester University Press |
| Format: | EPUB |
| Veröffentl.: | 17.01.2020 |
| ISBN/EAN: | 9781526115973 |
| Sprache: | englisch |
| Anzahl Seiten: | 256 |
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Beschreibungen
Described by Giles Deleuze as ‘one of the greatest modern auteurs’, Philippe Garrel is widely acknowledged as the most significant filmmaker to emerge in France after the New Wave. His deeply personal cinema traces the troubled sentimental lives of couples, exploring the relationship between art and political struggle. This study observes the eclecticism of the director’s influences, looking to avant-garde movements such as the Situationists, Surrealism, Arte Povera and the American Underground, in order to explore his original body of work. Consideration is also given to Garrel’s relationship with other members of the so-called ‘post-New Wave’, including Jean Eustache and Chantal Akerman. The first book on Garrel’s cinema to appear in English, it will appeal to Garrel enthusiasts as well as to students and lecturers specialising in film studies or French studies.
Described by Deleuze as ‘one of the greatest modern auteurs’, Philippe Garrel is perhaps the most significant filmmaker to emerge in France after the New Wave. This study offers an overview of his work, exploring its intersections with avant-gardes including the Situationists, Surrealism, Arte Povera and the American Underground.
Introduction: Philippe Garrel, an irregular <i>auteur</i>
1 Cinema and revolution
2 Cinema of the underground
3 Narrative turn: Autobiography and the imaginary self
4 Dialogues
5 Past and future generations
Conclusion
<i>Filmography</i>
<i>Select bibliography</i>
<i>Index</i>
1 Cinema and revolution
2 Cinema of the underground
3 Narrative turn: Autobiography and the imaginary self
4 Dialogues
5 Past and future generations
Conclusion
<i>Filmography</i>
<i>Select bibliography</i>
<i>Index</i>
Michael Leonard teaches at the Sorbonne Université, Paris
‘This concise but wide-ranging book not only illuminates the work of one of the most distinctive French directors; it is a much needed introduction to post-New Wave French cinema and the underground film scene after May ’68.’
Dominique Jeannerod, Queen's University Belfast
Described by Giles Deleuze as ‘one of the greatest modern auteurs’, Philippe Garrel is arguably the most significant filmmaker to emerge in France after the New Wave. In a career spanning more than half a century, he has written and directed dozens of films, including <i>L'Enfant Secret</i> (1979), <i>J'entends Plus la Guitare</i> (1991), <i>Sauvage Innocence</i> (2001) and <i>Les Amants Réguliers</i> (2004). His deeply personal cinema traces the troubled sentimental lives of couples while exploring the relationship between art and political struggle in a unique style defined by close-up portraiture and long-durational takes.
Challenging the assumption that Garrel’s work exists in direct continuity with that of Jean-Luc Godard and Francois Truffaut, this book identifies a more radical shift by observing the eclecticism of the influences that the director absorbs and exploits. It interprets his work with reference to contexts beyond French cinema, including avant-garde movements such as the Situationists, Surrealism, <i>Arte Povera</i> and the American underground. Acknowledging Garrel’s role as an unofficial historian of the so-called ‘post-New Wave’, it explores his relationship with other members of this loose film school, including Jean Eustache, Chantal Akerman and Jacques Doillon.
Dominique Jeannerod, Queen's University Belfast
Described by Giles Deleuze as ‘one of the greatest modern auteurs’, Philippe Garrel is arguably the most significant filmmaker to emerge in France after the New Wave. In a career spanning more than half a century, he has written and directed dozens of films, including <i>L'Enfant Secret</i> (1979), <i>J'entends Plus la Guitare</i> (1991), <i>Sauvage Innocence</i> (2001) and <i>Les Amants Réguliers</i> (2004). His deeply personal cinema traces the troubled sentimental lives of couples while exploring the relationship between art and political struggle in a unique style defined by close-up portraiture and long-durational takes.
Challenging the assumption that Garrel’s work exists in direct continuity with that of Jean-Luc Godard and Francois Truffaut, this book identifies a more radical shift by observing the eclecticism of the influences that the director absorbs and exploits. It interprets his work with reference to contexts beyond French cinema, including avant-garde movements such as the Situationists, Surrealism, <i>Arte Povera</i> and the American underground. Acknowledging Garrel’s role as an unofficial historian of the so-called ‘post-New Wave’, it explores his relationship with other members of this loose film school, including Jean Eustache, Chantal Akerman and Jacques Doillon.
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