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This book presents a study on François Truffaut's films. It reviews the body of work which foregrounds the main themes and discusses Truffaut's working practices as a director, drawing on his own writing about his film-making. The book commences with an introduction on his first film, Les Mistons. The energy and resilience of children act as vital counters to a morbid preoccupation with death, visible here in the fatal ending to the couple's romantic idyll. By choosing as subject for his film an exploration of the young male's sexual awakening, by situating it in a French provincial town and by adopting the realist mode, Truffaut was making an important statement. The book seeks to situate Truffaut both historically and culturally and the second aiming to give a broad overview of his films and their critical reception. It then provides a closer analysis of one film, Jules et Jim (1961), both as a means to discuss more precisely Truffaut's style of film-making and to provide an example of how a film may be 'read'. The book discusses the 'auteur-genre' tension, the representation of gender, the relationship between paternity and authorship and, finally, the conflict at the heart of the films between the 'absolute' and the 'provisional'. Truffaut's films display mistrust of the institutions that impose social order: school (Les 400 Coups), army (Baisers volés), paternal authority (Adèle H.) and the written language.
conclusion: paternity and le garçu 155 7 Conclusion: paternity and Le Garçu Le Garçu, which came out in 1995, became Pialat’s last film. He remained dissatisfied with it and even made plans to re-edit it, although his failing health made this one of the many projects he was not to complete. Yet Le Garçu is not an inappropriate conclusion to Pialat’s lifework in film. It brings his career full circle, reconnecting with the autobiographical and documentary inspiration of his first films and focusing more directly on what had always been the central concern of
the lump in order to show how its treatment throws into relief the different configurations of paternity and maternity, of gender roles and of religious politics put forward in a range of re-tellings. Three kinds of critical analysis are put forward, progressively narrowing the focus of study. Building on Lillian Herlands Hornstein’s impressive scholarship, I begin by studying analogues of KT drawn from medieval chronicles; these analogues allow an appreciation of features shared by the different narratives. The second section turns to the Auchinleck text of KT
’engageait ainsi sur la voie du désastre’ (the couple thus set out on the road to disaster).2 Their first child, Caroline, was born in January : her father gave her the nickname of ‘Image’, a reference to the theory of the mirror stage which he was elaborating at the time of her birth. Rewriting the past According to Roudinesco, Lacan was an adoring father made happy by the experience of paternity. However, twenty-one months after Caroline’s birth, Lacan ran across Sylvia Bataille by chance in the café de Flore: she had refused to have a relationship with him some years
wider figurative sense of the older male figure who represents a model, a teacher, an initiator into the social world – and whose authority may need to be contested if the son (or daughter) is to forge an individual identity. The director’s own life predisposed him to a concern with the question of paternity: François Truffaut learnt of his own illegitimacy around the age of twelve, the identity of his biological father remained a
emerges from Pialat’s preoccupation with the family: issues of community and national identity, Warehime_04_ch3 45 12/21/05, 9:40 AM 46 maurice pialat generational conflict (and its historical counterpart: tradition versus change), work and money, sexuality and sexual politics, and paternity. This gives his films a political dimension that is all the more subtle for remaining implicit in the interactions of individual characters, even though the ambiguities of these interactions occasionally led viewers to accuse Pialat of anti-Semitism, racism and misogyny
dimanche! , 1982 (photo: Alain Venisse) 7 and 8 [below] Both sides of paternity – the acquisition of language means both joy and loss. François Truffaut as DrItard and Jean-Pierre Cargol as Victor in L’Enfant sauvage , 1970 (photo: Pierre Zucca
: César (Raimu) and Escartefigue (Paul Dullac) cheat Panisse and Monsieur Brun (Robert Vattier) at cards 7 Unspoken truths: César (Raimu) and Honorine (Alida Rouffe) acknowledge their grandson’s paternity 8 A heavenly view: the late
. 5. Fathers should have a right to take paid paternity leave on the birth or adoption of a new baby. % Var.: 13.4% Cum. % Var.: 47% Cronbach Alpha: .564 Varimax Rotated loading .81 .78 .71 .55 .52 .79 .76 .51 .74 .63 .61 .61 men: ‘Work–life balance is as important to men as it is to women.’ The fact that this item loaded on this factor suggests that provision of affordable childcare is somehow linked in people’s minds with men’s work–life balance. Respondents high on this factor tend to favour a national programme of childcare facilities for pre-school children
generic and nondescript first names in the English language, Cascan denies the baby what the very process of naming was supposed to give her: an identity. The vagueness of Jane’s name, however, is only the most explicit symptom of a malaise that has much deeper roots. Indeed, in spite of Gertrude’s protestations that Claudius is the father of her child, the suspicions regularly raised by other characters about Gertrude’s prolific sexuality are not easily dismissed when it comes to ascertaining Claudius’s paternity. Gertrude asserts that ‘[she] know[s] the day [she] know