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Author: Bill Marshall

This is a full-length monograph about one of France's most important contemporary filmmakers, perhaps best known in the English-speaking world for his award-winning Les Roseaux sauvages/Wild Reeds of 1994. It locates André Téchiné within historical and cultural contexts that include the Algerian War, May 1968 and contemporary globalisation, and the influence of Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner and the cinematic French New Wave. The originality of his sixteen feature films lies in his subtle exploration of sexuality and national identity as he challenges expectations in his depictions of gay relations, the North African dimensions of contemporary French culture and the centre–periphery relationship between Paris, especially his native southwest and the rest of France. The book also looks at the collaborative nature of Téchiné's filmmaking, including his work with Catherine Deneuve, who has made more films with him than with any other director, and the role of Philippe Sarde's musical scores.

Bill Marshall

siblings. If anything, the ‘becoming-Deneuve’ of these stories of frustrated and unhappy cardigan-wearing women is part of Téchiné’s interest in the actual and virtual, whereby the star persona, in a manner analogous to the fantasy sequences in the film or the alternative destinies of brother and sister, becomes a virtual shadow of the diegetic protagonist. Les Roseaux sauvages (1994) There is one other dimension to the brother–sister relationship in Ma Saison préférée. The heterosexual bias of Hollywood cinema and the wider culture means that it has difficulty in

in André Téchiné
Abstract only
Bill Marshall

: he says he would like them to get lost together within them. His hope represents the possibility of creating there the same kind of heterotopias that were – briefly – created in the countryside of Les Roseaux sauvages and Les Egarés, coupled with an embedded childlike sense of the fairytale and of wonderment. Antoine had gone to Nabila to seek her advice on local sorcery and spells to make Cécile love him again; to this end he had placed a photograph of their younger selves under collaborations 137 her bed. This theme of the disjunctions to be found in the

in André Téchiné
Bill Marshall

theme returns as she journeys through the countryside in Saïd’s taxi; and she leafs through the same photographs of Martin’s childhood that he had looked at on the day of his departure, and packed into his bag that Lucie had kept untouched after Victor’s death. Les Innocents (1987) Les Roseaux sauvages was criticised in some circles for its political implications. Writing in Le Monde, Jean-Michel Frodon (1994) cast doubt on its false dichotomy, via La Fontaine, of rigidity versus suppleness, and for him the equally false symmetry of political intransigence (overcome

in André Téchiné
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Carrie Tarr

makes an important contribution to the semi-autobiographical film which fictionalises the filmmaker’s autobiographical past, particularly her/his childhood. Such an approach has proved popular amongst both male and female filmmakers, as in Jean-Loup Hubert’s Le Grand chemin (1987), Louis Malle’s Au revoir les enfants (1987) and André Téchiné’s Les Roseaux sauvages (1994), but also Véra Belmont

in Diane Kurys
Abstract only
Bill Marshall

1 Emergence André Téchiné’s sixteen feature films to date include a range of low- and high-budget productions, some involving major stars of the French cinema, some a cast of (at least at the time) unknowns, some highly successful in terms of the box office (1.1 million domestic entries for Ma Saison préférée/My Favourite Season in 1993 remains the highest), some far less so. The biggest critical success was arguably Les Roseaux sauvages/Wild Reeds (1994), which won the César (the equivalent of the Oscar in the French film industry) for best film of its year

in André Téchiné
Abstract only
Bill Marshall

Polanski in 1992.) Neither Les Sœurs Brontë nor Hôtel des Amériques had met with great box-office success. A pattern of more frequent filmmaking has occurred in Téchiné’s career in the aftermath of major prizes: Rendez-vous won the director’s prize at Cannes, and was followed by two films in two years, Le Lieu du crime (1986) and Les Innocents (1987), followed by another fallow period. The César for Les Roseaux sauvages consolidated Téchiné’s strong position in the 1990s, and was followed in quick succession by Les Voleurs (1996) and Alice et Martin (1998), but the critical

in André Téchiné
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Rupture and transmission
Julia Dobson

self-evident’. 10 Lvovsky co-wrote Coeur fantôme (Garrel, 1996 ). 11 The series included films by Téchiné ( Les Roseaux sauvages ), Assayas ( L ’ Eau froide ) and Denis ( US Go Home ) that went on to garner

in Negotiating the auteur
James S. Williams

seaside as well as Paris’s satellite new towns), Varda and François Ozon (the beach as liminal space),27 and André Téchiné who moves consistently between two clearly defined and opposed areas: Paris and the the rural south-west of his childhood (cf. Les Roseaux sauvages/Wild Reeds (1994)). There also exists in France a long documentary tradition of anthropological and ethnographic cinema, developed notably by Jean Rouch in pioneering works such as the cinéma-vérité study, Chronique Williams, Space and being in contemporary French cinema.indd 24 11/01/2013 15

in Space and being in contemporary French cinema