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Screening French literature

1 Introduction: screening French literature Homer B. Pettey and R. Barton Palmer French literature on screen relies upon investigations of the processes of artistic, cultural, and industry adaptations. The French film industry has always cherished the national heritage of classic literature and has adapted to the screen the works of Victor Hugo, Alexandre Dumas, Honoré de Balzac, Gustave Flaubert, Émile Zola, and Marcel Proust. Hollywood has also been keen on adapting these authors’ seminal works, often adapting a French cinematic version of the novel. So, too

in French literature on screen
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the pages of a novel. In her study of the city in literature, Diana Festa-McCormick18 analyses the pivotal role played by major cities in 10 novels by different authors, including Honoré de Balzac and Émile Zola (Paris), Marcel Proust (Venice), Lawrence Durrell (Alexandria) and John Dos Passos (Manhattan). Most authors, she explains, express ambivalent attitudes toward the cities in their novels, acknowledging their darker aspects, including ubiquitous poverty, corruption and injustice, as well as their capacity to inspire. In every case, however, the city is

in The extended self

’Affiche (1924), and Le Double amour (1925) are melodramas. L’Auberge rouge (1923), Les Aventures de Robert Macaire (1925), and Mauprat (1926) adapt literary works of Honoré de Balzac for the first, Benjamin Antier, Armand Lacoste, and Alexandre Chapponier (under the title L’Auberge des Adrets, aventures véridique de Robert Macaire et son ami Bertrand, which Epstein likely discovered in the edition by Jules Lermina illustrated by Émile Cohl) for the second, and George Sand for the last. The literary adaptations are very much uneven. L’Auberge rouge skilfully melds through a

in Jean Epstein
Respectability in urban and literary space

cheese’.47 This description distinguishes the café from proximate spaces through recourse to its tradition and appearance. His rush past other sites represents a further component of his strategy of dislocation, detaching his destination from the surrounding environment. In contemporary depictions, Honoré de Balzac described the locale as ‘A quiet game of chess?’ 47 the ‘temple of prostitution’ as well as the refuge of ‘the most unaccountable freaks of Parisian squalor’,48 even after the prohibition of gambling in 1837.49 Yet participating in the Palais

in A cultural history of chess-players
The genealogy and diffusion of a ‘popular’ theatrical genre and experience, 1780–1830

subsequent extension had been entrusted to well-known professionals. Not long after this date, many writers and journalists, first and foremost Honoré de Balzac, who gave unrivalled descriptions of the boulevards in his novels and elsewhere, would stress how such zones constituted a sort of crucible of modernity.20 The normative regime regulating theatrical life rendered the boulevards in many respects a separate world from the rest of the theatre system, clearly counterposed to the theatres endowed with ‘privilege’, that is, a royal patent, located in the heart of the

in Leisure cultures in urban Europe, c.1700–1870
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/ text for Anglophone readers is Honore de Balzac Gillette; or The Unknown Masterpiece (trans., with an essay by Anthony Rudolf) London: Menard Press, 1988. 5 Sir Henry Ashwoode, the Forger: a Chronicle of Old Dublin City London: Parry & Co., 1851, 3

in Dissolute characters
Abjection and revelation in Le Fantôme de l’Opéra

novels of Victor Hugo, especially Notre Dame de Paris from 1831 (long recognized as a precursor of Le Fantôme de l’Opéra), and, on the other hand, to the stinging portraits of bourgeois hypocrisy in the ironic novels and novellas of Honoré de Balzac. In Le Fantôme, as a matter of fact, I find several direct reminders of Balzac’s Sarrasine (1830), that complex

in European Gothic
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Spectres of Maturin; or, the ghosts of Irish Romantic fiction

consideration of Maturin’s ghostly influence in nineteenth- and twentieth-century Irish, British, European, and American fiction. By pointing to the ways in which the spectres of Maturin might be detected in the works of authors as diverse as Honoré de Balzac, Charles Baudelaire, James Clarence Mangan, Edgar Allan Poe, Nathaniel Hawthorne, Christina Rossetti, and Joseph Sheridan Le Fanu, this book ends where it

in Charles Robert Maturin and the haunting of Irish Romantic fiction
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Talbot’s photographs to Professor Forbes, called them ‘the specimens of the Black Art’ (Fox Talbot, 2013 ). Honoré de Balzac advanced that each Daguerreotype had stripped away and fixed a vital part of the pictured subject, and others feared the loss of their soul or essence to this machine. In Champfleury’s humorous tale, ‘La Légende du daguerréotype’ (1857) a M. Balandard arrives

in Gothic effigy

’s phantomatic body remains opaque)’: ‘“A foot is what fits the shoe”: Disability, the Gothic and Prosthesis’, Gothic Studies, 2, 1 (2000), 39–49 (see 46–7). James may well have taken this negative bodily image of ‘invisible deformity’ from Balzac; cf. ‘his face seemed to belong to a hunchback whose hump was inside his body’; the character in question here, Goupil, also has hair ‘reddish in colour’ and is later referrred to as ‘the failed hunchback’: see Honoré de Balzac, Ursule Mirouët, translated by Donald Adamson (Harmondsworth: Penguin, 1976), 33; 228. Stanley Renner

in The absurd in literature