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The avant-garde and its Legacy

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.

A Congolese Experience
Justine Brabant

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 Le Figaro reporter and ex-soldier (he was a lieutenant in the Foreign

Journal of Humanitarian Affairs
May 1968 in the mainstream French press
Antigoni Memou

within 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 Le Figaro 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

in Photography and social movements
Abstract only
Ben McCann

Jeanson’s 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’.   226 226  Julien Duvivier américain des cinéastes français’.45 Le Figaro (Anon. 1967) contained perhaps the

in Julien Duvivier
William Marx

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 Le Figaro 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

in 1913: The year of French modernism
Robert W. Lewis

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 Le Figaro, 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

in The stadium century
David Ranc

even goes 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 Le Figaro 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

in Foreign players and football supporters
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Pagnol’s legacy
Brett Bowles

the Centre National de la Cinématographie, . 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’, Le Figaro , 18 August. Huster , Francis ( 2009 ), ‘Marcel

in Marcel Pagnol
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Derek Schilling

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 Le Figaro 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

in Eric Rohmer
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Nadia Kiwan

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, 169 Conclusion 169 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 Le Figaro (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

in Secularism, Islam and public intellectuals in contemporary France