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Ben McCann

been particularly admonished for its nostalgic embracing of a pre-​war aesthetic that had, by post-​Liberation, become ‘all too familiar and predictable’ (Hayward 2005: 170).15 Most damning of all was that Carné had not left France at all during the Occupation. Panique did not fit into the bracket of poetic works that had emerged during the war (films such as Carné’s Les Visiteurs du soir [1942] and Jean Cocteau’s La Belle et la bête [1946]). It had far more in common with the ‘black realism’ of Le Quai des brumes (1938, which had also starred Simon and featured

in Julien Duvivier
The metafictional meanings of lycanthropic transformations in Doctor Who
Ivan Phillips

The Tharils are distinctly leonine rather than lupine and they are a discrete race of alien beings, not transformed humans, but – with a design based closely on that of the Beast from Jean Cocteau's film La Belle et la Bête ( 1946 ) – they have a lineage that connects them to myths of the accursed bestial hybrid. The Cheetah People, appearing in the final story of the classic series, are humans who have been mutated into a kind of savage nobility by the primal influence of an unnamed but dying planet. As their name suggests, they are human–cat rather than human

in In the company of wolves
Laurence Talairach

rigueur de l’hiver, il vit comme au milieu du printemps, les fleurs les plus rares exhaler une odeur charmante. On y respiroit un air doux & tempéré. Des oiseaux de toute espèce mêlant leur ramage au bruit confus des eaux, formoient une aimable harmonie’; Gabrielle Suzanne Barbot de Gallon de Villeneuve, ‘Histoire de la Belle et la Bête’ [1740], in Nouveau Cabinet des fées (Genève: Slatkine, 1978), pp. 29–138 (p. 43); my translation. 21

in Nineteenth-century women illustrators and cartoonists
Emma Wilson

:137). L’Année dernière à Marienbad is a film composed of echoes of Chekhov, of French films – La Règle du jeu (1939) Les Visiteurs du soir (1942), Orphée (1949), La Belle et la bête (1946) and numerous others – of shadows of Hitchcock, Vertigo (1958) and, visually, To Catch a Thief (1955). It also depends on internal echoes as the film is woven out of a series of repetitions, of returning

in Alain Resnais
Abstract only
Phil Powrie

, coincidentally, had been awarded the previous year to his partner in this film, Géraldine Pailhas). Reception In interviews preceding the film’s release, Beineix suggested that the film was a moral allegory (‘une allégorie, le récit d’une initiation (qui) tient plutôt de la morale que de la métaphysique’; Beineix 1992 b). 1 He likened the film to Cocteau’s La Belle et la Bête (1946

in Jean-Jacques Beineix
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Le Sang d’un poète
James S. Williams

subjects and objects of death and deathliness (statues, the Princess in Orphée , Diana in La Belle et la bête , etc.) representations of the paternal figure of suicide. Despite such a massively overdetermined reading of Le Sang d’un poète where aesthetic sublimation becomes simply recuperation, purification and self-absolution, Milorad does at least avoid casting judgement. This is not always the case

in Jean Cocteau
The amateur art films of Enrico Cocozza
Ryan Shand

, Cocozza’s first fantasy film, which was made in Italy, La Mort et le Poète (1943), has a title that alludes directly to Cocteau’s debut Le Sang d’un Poète (1930), so it is not surprising to learn that this short feature was shown and discussed at the film society that Cocozza helped set up. 12 Cocteau’s subsequent films, La Belle et la Bête (1946) and Orphée (1949) were also featured among the society’s regular screenings of English language classics and European art films. Indeed, according to Cocozza’s collaborator Jim Craig, ‘Cocteau was a patron of the

in British art cinema
Abstract only
Duvivier and the 1930s
Ben McCann

, white light that emphasise the oppressive heat of the North African sun lay down a blueprint for later Duvivier ‘colonial films’, most notably Pépé le Moko (1937). What followed is a rarity in his body of work –​a romantic comedy. Allô Berlin? Ici Paris! (1932) tells the tale of two telephone switchboard operators, one French, the other German, who ‘meet cute’. The Parisian Lily (Josette Day, who would go on to become ‘Beauty’ in Jean Cocteau’s La Belle et la bête [1946]) and the Berliner Erich (Wolfgang Klein) eventually fall in love, but this transcontinental

in Julien Duvivier
genre in Franju’s longs métrages
Kate Ince

Hollywood, in Val Lewton’s unit at RKO studios in the 1940s. (Interestingly, Jean Cocteau is not included, although La Belle et la bête , Orphée and Le Testament d’Orphée earn Cocteau a place in most dictionaries of the fantastique. ) The CinémAction entry illustrates very well how Franju’s reputation as a director of the fantastique rests mainly on two films, Les Yeux sans visage and Judex , which are described as

in Georges Franju
Demy’s musicals
Darren Waldron

ownership is shown to have impacted on the configuration and experience of provincial space, as illustrated in the name of Guy’s garage, L’Escale Cherbourgeoise; no longer a destination, Cherbourg functions as a 4 Cocteau used this technique in La Belle et la bête (1946), when Beauty enters the Beast’s castle for the first time. 5 Comparisons have been be made with the ending of Splendor in the Grass (Elia Kazan, 1961), although Geneviève and Guy’s feelings are portrayed as ambiguous, the ending more morose. Waldron_Demy_Revision.indd 59 26/06/2014 14:30 60

in Jacques Demy