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/Girlfriends (1968) and Que la bête meure/This Man Must Die (1969), Chabrol and Gégauff teamed up for screenplay and dialogue without role separation. As for Truffaut, if he wrote his first screenplay for the short film Les Mistons/The Brats (1958) alone, he then developed a pool of screenwriting collaborators, including Marcel Moussy, Jean-Louis Richard and Jean Gruault. He would choose one of them as
Hollywood product which the politique originally challenged. La nouvelle vague In 1957 François Truffaut acted on his auteurist convictions and founded his own production company, Les Films du Carrosse, which was to produce nearly all his work from his second short, Les Mistons (1957) to his final feature Vivement dimanche! (1983). One year later, in June 1958, a new wave of French cinema – la nouvelle
Caughie pithily puts it. 8 In contrast, James M. Welsh and John C. Tibbetts make a good case for the opposite view, noting that Anderson, Richardson and Reisz ‘were writing in Sequence before François Truffaut published his first criticism in Cahiers du cinéma in 1953. Moreover, Richardson and Reisz completed Momma Don’t Allow a year before Truff aut made Les Mistons in 1957. Rather than a
Garrel’s treatment of Terzieff appears consistent with Truffaut’s polemic, his use of Lafont in Le Révélateur and Léaud in La Concentration is more problematic. The birth of Bernadette Lafont’s film career is synonymous with the birth of the New Wave . In her first acting role she starred in François Truffaut’s short film Les Mistons (1957), made just two years prior to Les Quatre cents coups (1959), one of the most celebrated works of this film movement. Following this, she played Marie in Claude Chabrol’s Le Beau Serge (1958), a work that has the notable
colleagues eagerly threw themselves into the service of their city, even if their earliest beginnings were often in the provinces – Les Mistons (Truffaut, 1957) in Nîmes, Le Beau Serge (Chabrol, 1958) in the Creuse, etc. This call of the streets was not an entirely unprecedented impulse – an interesting predecessor can be found in the little-known …Sans laisser d’adresse (Jean-Paul Le Chanois, 1951), by a director who to the
in Les Mistons (1957)), or the basic techniques of modern film-making depicted in La Nuit américaine ( Day For Night , 1973). A similar doubling of the fetish is presented in Michel Deville’s La Lectrice (1988), an erotic and self-conscious adaptation of the novel by Raymond Jean. While Marie (Miou-Miou) reads a suggestive text to the wheelchair-bound Eric, close-ups of her thighs as she crosses her legs alternate
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.
Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.