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Abstract only
Guy Austin

). Camille Claudel has been termed ‘the climax of a long period of art-historical rehabilitation’ inspired by feminist reassessments of cultural production (Walker 1993 : 79). The sculptor had previously been known, not as an artist in her own right, but as pupil, assistant and mistress to Auguste Rodin in the 1880s and 1890s, and also as the sister of the poet Paul Claudel, who was in fact responsible for her incarceration in an

in Contemporary French cinema
Justice unravelled, a tale of two Frances (1941 and 1943)
Susan Hayward

pompously convinced of the wisdom of their leader, Pétain. This view is endorsed by the performance concluding with Pétain's speech, in which he declares that ‘notre démocratie parlementaire est morte’ (our parliamentary democracy is dead), adding that the Nouvel Ordre must be maintained and that he, Pétain, will save the people of France from themselves. As the film concludes, there is yet another performance at the theatre: this time in honour of Pétain. Paul Claudel's poem, Paroles au Maréchal , is declaimed from the stage as the barrister Lafarge desperately runs

in The films of Costa-Gavras
Christophe Wall-Romana

loose literary movement taking place between 1860 and 1900, which included well-known poets such as Charles Baudelaire, Arthur Rimbaud, Paul Verlaine, and Stéphane Mallarmé; lesser-known authors such as Marceline DesbordesValmore, Saint-Pol-Roux, Sâr Peladan, Remy de Gourmont, and Albert Kahn; and young writers who would distance themselves from it and forge their own paths such as Paul Claudel, André Gide, and Paul Valéry. The stale version of Symbolism reduces it to a radicalization of the Parnassian doctrine of art for art’s sake, leading to the artist

in Jean Epstein
Abstract only
James S. Williams

, Darius Milhaud and Germaine Tailleferre. In his preface to Les Mariés de la Tour Eiffel , Cocteau coined the term ‘poésie de théâtre’ in reaction to what he regarded as merely poetry in the theatre, for instance, the works of Paul Claudel, Edmond Rostand, Maurice Maeterlinck and the symbolists where, according to Cocteau, theatre was but a pretext for dramatised poetry in the conventional sense. For

in Jean Cocteau