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Jean Cocteau, the first French writer to take cinema seriously, was as old and young as cinema itself; he made his first film in 1925 and completed his last film when he was 70. This book first deals with the issue of the type of film maker that Cocteau was: as a auteur, as a collaborator, as an experimenter, and as a theorist. It takes the pulse of Cocteau's cinema by examining in detail his ground-breaking first film Le Sang d'un poète', and argues that the film offers a vision of the potential of film for Cocteau. The book traces the evolution of realism and fantasy in Cocteau's work by introducing a main element, theatre, and assesses the full gamut of Cocteau's formal inclinations: from the legend and fantasy of L'Eternel retour to the spectacular fairytale of La Belle et la bête; from the 'film théâtral' of L'Aigle à deux têtes to the domestic melodrama Les Parents terribles which 'detheatricalises' his original play. In Le Testament d'Orphée, all the various formal tendencies of Cocteau's cinema come together but with the additional element of time conceived of as history, and the book re-evaluates the general claim of Cocteau's apparently missed encounter with history. The book considers whether the real homosexual element of Cocteau's cinema surfaces more at the most immediate level of sound and image by concentrating on the specifics of Cocteau's filmic style, in particular camera angle, framing and reverse-motion photography.

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James S. Williams

. S’il vous a déplu, j’en serai triste, car j’y ai mis toutes mes forces comme le moindre ouvrier de mon équipe’. 1 In fact, shortly before his death in August 1963, Cocteau recorded one last film, a twenty-five-minute short entitled Jean Cocteau s’adresse à ‘l’an 2000. It was wrapped up, sealed and posted, to be opened only in the year 2000. As it turned out, it was discovered and exhumed a few years shy of that date

in Jean Cocteau
James S. Williams

Mon Jeannot – ma force, c’est toi, ma patrie, c’est toi. (My Jeannot – you are my strength, my homeland.) (J. Cocteau) In a photograph by Robert Doisneau taken in 1949 during the shooting of Orphée and called simply ‘Jean Marais, Jean Cocteau’, Cocteau, looking towards the camera

in Jean Cocteau
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James S. Williams

angel of light, with the angel of machines, the angels of space and time, this is work to my measure.) Jean Cocteau (b. 5 July 1889, d. 11 October 1963) was, as he often liked to point out, as old and young as cinema itself. The first French writer to take cinema seriously, he made his first film in 1925, a 16 mm short now lost, entitled Jean Cocteau fait du cinéma

in Jean Cocteau
James S. Williams

Jean Cocteau nous prouve inlassablement que pour savoir faire du cinéma il nous faut retrouver Méliès, et que pour ça pas mal d’années Lumière sont encore nécessaires. (J.- L. Godard) (Jean Cocteau tirelessly proves to us that in order

in Jean Cocteau
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Le Sang d’un poète
James S. Williams

personal crisis, specifically the sublimation of unrealised love Cocteau felt for intimate friends such as Radiguet (see Springer 1989 and Weiss 1995 ). The critic Milorad, who presided over the Cahiers Jean Cocteau and possessed inside knowledge of Cocteau’s life, has offered the most exhaustive dissection yet of Le Sang d’un poète , paying particular attention to the (symbolic) death of the child and the (real) death of the father (see

in Jean Cocteau
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body and sexuality in reverse motion
James S. Williams

. References Betsky , A. ( 1997 ), Queer Space: Architecture and Same-Sex Desire , New York, Williams Morrows. Brown , F. ( 1968 ). An Impersonation of Angels: A Biography of Jean Cocteau , New York: The Viking Press. Cocteau , J. ( 1943 ), Le Mythe du Gréco , Paris, Au divan. Cocteau , J

in Jean Cocteau
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Orphée
James S. Williams

, Pierre Belfond. Cocteau , J. ([1973] 2003), Entretiens sur le cinématographe (L’Edition anniversaire) (eds A. Bernard and C. Gauteur), Paris, Editions du Rocher. Cocteau , J. ( 1992 ), Jean Cocteau, Orphée: The Play and the Film (ed. E. Freeman), London, Bristol Classical Press. Cocteau , J. ( 1995 ), Jean

in Jean Cocteau
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James S. Williams
in Jean Cocteau
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Sam Rohdie

Voyages (1) Alla storia preferisco la mitologia, perché la storia parte dalla verità e finisce nelle menzogna, mentre la mitologia parte dalla menzogna e va verso la vérità. (I prefer mythology to history, because history begins with truth and ends in lies, while mythology begins with lies and arrives at the truth.) Jean Cocteau21 Bernardo Bertolucci’s La via del petrolio (1965) is a documentary made for RAI television in 1965. The film was commissioned by the Italian oil company Eni (Ente Nazionale Idrocarburi) in 1964. It is in three parts: ‘Origins’ / ‘Le

in Film modernism