In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.
particular, networks forged by years of being there on the
ground. As a journalist I am alone, and in the best-case scenario I have a vehicle
and three phone numbers that a colleague held onto from a previous assignment.
Creative use of these limited resources and, above all, the war reporter’s
isolation – which allows a more independent, yet fragile, view of the
violence – are mentioned by Adrien Jaulmes, a LeFigaro
reporter and ex-soldier (he was a lieutenant in the Foreign
the ranks and the Atelier Populaire posters hung on the walls of the Sorbonne
and disseminated in the streets of Paris.9
This chaper provides an analysis of the photographic material published
in the mainstream press during the events of May of 1968, drawing upon the
French dailies published in Paris, that is LeFigaro and L’Humanité and the
weekly Le Nouvel Observateur. Le Monde does not constitute a good example
given it rarely included any photographs in its editorial until 1972, and it did not
feature photographs on its front page until 1983.10 It is a fact
appraisal of Duvivier from back in 1937 (‘il apprenait son métier
“comme un mécano” ’) (3),43 Jean Renoir (1967: 2) reminded people
that ‘ce grand technicien, ce rigoriste, était un poète’.44 The headline
in La Tribune de Genève on 31 October read ‘Julien Duvivier: le plus
42 ‘you had vision, you sought things out, you were a marvellous story-teller’.
43 ‘he learnt his trade like a mechanic would’.
44 ‘this rigorous technician was also a poet’.
226 Julien Duvivier
américain des cinéastes français’.45 LeFigaro (Anon. 1967) contained
few years in order to see that avant-gardes and arrière-gardes were born nearly on the same year: 1909. It was the year that LeFigaro published Marinetti’s famous ‘Manifesto of futurism’. But if we are to believe Clouard’s testimony, 1909 also ‘was completely full of the sound of controversies around neoclassical theories’ (L’année 1909 retentit tout entière des polémiques engagées autour des thèses néoclassiques). 9 Two literary reviews had been founded in order to defend the classical renaissance: the Revue critique des idées et des livres in 1908, and
handsome and the most comfortable [stadium] in Europe’.67 The
Prefect of Paris exulted that the Parc was an ‘incontestable success’ on
both technical and aesthetic fronts.68 LeFigaro, for its part, praised the
‘well-turned-out urban stadium’ for its perfect visibility on the interior
and the obvious attention paid to the press, radio and television inside
the stade.69 The most substantial complaints about the actual appearance
and the function of the stadium, as it turns out, concerned the lack of
parking in the neighbourhood around the stadium, an ironic fate for an
as far as offering a different edition for each département within the
borders of the region.30
Another feature that radically distinguishes the French and the
British press is the presence of L’Équipe, a daily broadsheet focusing
exclusively on sport. It is indeed one of the main national newspapers
in France with sales slightly more than LeFigaro and only marginally
less than Le Monde. It is therefore the main source of information
for readers with a keen interest in sports. Despite being regularly
questioned for its coverage of sporting events, it has
the Centre National de la Cinématographie, www.cinefeed.com .
Coppermann , Annie
( 1999 ), ‘ Le
Schpountz de Gérard Oury: Pagnol revisité’, Les Echos , 27 August.
Dhaussy , Jacques
( 1994 ), ‘Pagnol sur les planches: Marius , Fanny , César en
version théâtrale condensée’, LeFigaro , 18 August.
Francis ( 2009 ), ‘Marcel
Upon release in September 2001 of Eric
Rohmer’s twenty-third feature, the exquisite Revolutionary costume
drama L’Anglaise et le Duc, the Parisian daily LeFigaro
coyly asked its readers, ‘Faut-il guillotiner Rohmer?’ (Must
Rohmer be guillotined?) (Macé-Scaron 2001 ). At age
eighty-one, the reclusive director found himself in the glare of a spotlight
he had long fled. That Rohmer, born Jean
or Perrotin 2015). It is arguable
that since Bouzar has withdrawn somewhat from her position as policy interlocutor and changed the status of the CPDSI to an independent research centre,
no longer in receipt of funding from the Ministère de l’Intérieur, her integrity has
been challenged even more pointedly. For example, an article was published in
LeFigaro (Bastié 2016) linking Bouzar to one of the ‘mentors’ of the Kouachi
brothers –an ex-jihadist –who, Bouzar claims, has been helping her carry out her
research on radicalisation and de