Conclusion
in Louis Malle
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter presents some closing thoughts on the concepts discussed in the book. In dissecting a lifetime of ambiguity, the book has shown that there are few critical certainties when it comes to Louis Malle. This is the most fascinating quality of Mallean cinema. Malle's childhood experience of January 1944, the founding trauma, its working-through in the eventual completion of Au revoir les enfants, provides one coherent and important way to debate the director and his work. There is Malle the 1950s playboy celebrity, the soixante-huitard activist, the Frenchman at home in the USA, the professional cinéaste, producer, and documentarist. Classical realism, surrealism and cinéma direct continue to be a powerful combination that defies simplistic aesthetic classification. In filming Au revoir les enfants he systematically asserted a defence of artistic liberty against unthinking authoritarianism. Mallean film was also a journey of repeated reinvention.

Metrics

All Time Past Year Past 30 Days
Abstract Views 32 11 0
Full Text Views 12 3 0
PDF Downloads 7 5 1