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One of the key features of Jean-Jacques Beineix's relationship with the film image is the notion of seduction and the erotic. This book shows Beineix's films form a coherent body of work and sketches out a psychodrama formed by Beineix's feature films. It explains, the cinéma du look was placed by many, including Beineix himself, in a position of confrontation with the cinema of the nouvelle vague. The book considers the early 1980s debates concerning the film image which led to the view espoused by Jean-Michel Frodon, after a brief account of Beineix's apprenticeship years. It attempts to place Beineix's work within the context of the development of French cinema, and discourses on the French cinema, as they evolved during the 1980s. Beineix's first feature film, Diva, enjoyed considerable success, becoming something of a cult film for the youth audience of the time, as well as launching the careers of Richard Bohringer and Dominique Pinon. More than any of the films of the cinéma du look, La Lune dans le caniveau exemplifies the characteristics Bassan enumerates: a mise en scène, which privileges exuberance, light, movement, especially the curves and curls of the camera, and an emphasis on sensation. Bereavement after IP5 turned Beineix away from feature filmmaking, despite several propositions from American producers, Alien Resurrection and The Avengers among them.

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Il appartient au clair de sortir de l’obscur, comme à travers un premier filtre auquel succéderont beaucoup de filtres (Deleuze 1988 : 120). 1 The apprenticeship years Jean-Jacques Beineix’s curriculum vitae begins laconically: ‘Jean-Jacques Beineix est né à

in Jean-Jacques Beineix
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Chasse aux papillons’, Télérama 1891 (9 April), 22–23 . Beineix , Jean-Jacques ( 1989 ), ‘Jean-Jacques Beineix: “Une réflexion sur l’artiste qui, comme un dresseur…”‘, Le Quotidien de Paris 2921, 10 April 1989: 27–28 . Beineix , Jean-Jacques ( 1992 ), ‘ IP5: L’île aux pachydermes , Paris, Dargaud. Calabrese , Omar ( 1992 ), The Neo-Baroque: A Sign

in Jean-Jacques Beineix

), ‘Jean-Jacques Beineix: “Adapter, c’est ce quefait tout lecteur quand il lit un livre’“, Synopsis , November-December. Beineix , Jean-Jacques ( 2000b ), ‘Jean-Jacques Beineix’, France-Aéro 30: 22–26 . Beineix , Jean-Jacques ( 2001a ), ‘Beineix sur le divan’, Première 286: 104–11 . Beineix , Jean-Jacques ( 2001b ), ‘Jean-Jacques Beineix: j’ai retrouvé le désir’, Le

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-Jacques ( 1989c ), ‘Le dompteur d’images’, Le Nouvel Observateur , 6 April, 106–07 . Beineix , Jean-Jacques ( 1989d ), ‘Jean-Jacques Beineix: “Une réflexion sur l’artiste qui, comme un dresseur …”‘, Le Quotidien de París 2921, 10 April 1989: 27–28 . Beineix , Jean-Jacques ( 1989e ), ‘Beineix critique Beineix’, Le Monde , 13 April 1989, IV

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desire, and not enough like Zorg, the artist, after whom, to recall Beineix’s comment on his name, there is nothing. References Alion , Yves ( 1991 ), ‘ 37°2le matin , l’intégrale’, Revue du cinéma 474: 44. Andreu , Anne ( 1986a ), ‘Jean-Jacques Beineix: “Djian et moi, on

in Jean-Jacques Beineix
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1029, 6 June. Beineix , Jean-Jacques ( 1992c ), ‘Le mal aimé’, Télérama 2213, 10 June, 32–34 . Beineix , Jean-Jacques ( 1992d ), ‘Jean-Jacques Beineix: un cinéaste en quête de sagesse’, Le Figaro , 12 June. Beineix , Jean-Jacques ( 1992e ), ‘ IP5 Le nouveau Beineix: Montand l’émotion’, Première 184: 46

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’, Première 75: 119–21 , 130–35 . Beineix , Jean-Jacques ( 1989 ), ‘Jean-Jacques Beineix’, in L’Aventure du premier film , edited by Samra Bonvoisin and Mary-Anne Brault-Wiart, Paris, Barrault, 148–59 . Beineix , Jean-Jacques ( 2001 ), ‘Autanten emporte le divan: Jean-Jacques Beineix et Jean-Hugues Anglade’, Ciné-Livre 4: 54–59 . Béseos , José-Marie ( 1981 ), Diva

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This introduction presents an overview of key concepts discussed in the subsequent chapters of this book. The book explains how the cinéma du look was placed by many, including Jean-Jacques Beineix himself, in a position of confrontation with the cinema of the nouvelle vague. It considers the early 1980s debates concerning the film image which led to the view espoused by Jean-Michel Frodon, after a brief account of Beineix's apprenticeship years. The book attempts to place Beineix's work within the context of the development of French cinema and discourses on the French cinema, as they evolved during the 1980s. It also considers ways in which one can see Beineix's films as a kind of psychodrama. Beineix's first feature film, Diva, enjoyed considerable success, becoming something of a cult film for the youth audience of the time, as well as launching the careers of Richard Bohringer and Dominique Pinon.

in Jean-Jacques Beineix

. Anon. ( 1983 ), ‘La Lune dans le caniveau de Jean-Jacques Beineix’, L’Ecole libératrice , 4 June. Assayas , Olivier ( 1983 ), ‘La publicité, point aveugle du cinéma français’, Cahiers du cinéma 351: 18–26 . Austin , Guy ( 1996 ). Contemporary French Cinema: An Introduction , Manchester and New York , Manchester University Press . Beineix , Jean

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