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Books on the topic 'Marcel Pagnol'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Castans, Raymond. Marcel Pagnol. [Paris]: Editions de Fallois, 1995.

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2

Marcel Pagnol. [Paris]: Artefact, 1986.

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3

Castans, Raymond. Marcel Pagnol, biographie. [Paris]: J.C. Lattès, 1987.

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4

Luppi, Jean-Baptiste. De Pagnol Marcel à Marcel Pagnol: Voyage aux sources de sa gloire. Marseille: P. Tacussel, 1995.

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5

Matyja, Suzanne. Marcel Pagnol et les enseignants. Nice: CDDP des Alpes Maritimes, 1988.

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6

Escapades provençales avec Marcel Pagnol. Biarritz: Séguier-Atlantica, 2007.

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7

Marcel Pagnol, un autre regard. Monaco: Éditions du Rocher, 2014.

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8

Histoires de Pagnolie: Retour aux sources de Marcel Pagnol. Paris]: Librairie des Bellons, 2010.

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9

Castans, Raymond. IL était une fois -- Marcel Pagnol. Paris: Editions de Fallois, 1995.

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10

Tudesque, Andrée. Marcel Pagnol de la tradition bucolique. Worms: G. Reichert, 1991.

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11

Marcel Pagnol, un inventeur de cinéma. Paris: Téraèdre, 2010.

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12

Biret, Philippe. A la rencontre de Marcel Pagnol. [Marseille]: Editions J. Laffitte, 1995.

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13

Marcel Pagnol, ou, Le cinéma en liberté. [Paris]: Editions Atlas, 1986.

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14

Georges, Berni, ed. Un bout de chemin avec Marcel Pagnol. La Calade, Aix-en-Provence: Edisud, 1995.

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15

La Gloire de mon père, Marcel Pagnol. Paris: Bertrand-Lacoste, 1995.

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16

Marcel Pagnol, ou, Le cinéma en liberté. Paris: Editions de Fallois, 1995.

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17

Dehayes, Thierry. Marcel Pagnol et l'ouest de la France. Saint-Cyr-sur-Loire: A. Sutton, 2005.

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18

Dehayes, Thierry. Marcel Pagnol: Lieux de vie, lieux de création. Aix-en-Provence: Edisud, 2002.

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19

Pagnol, Nicolas. Marcel Pagnol de l'Académie française: L'album d'une vie. Paris: Flammarion, 2011.

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20

De Dumas fils à Marcel Pagnol: Les auteurs aux temps modernes : 1871-1996. Paris: Champion, 2013.

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21

Pascale, Bordet, ed. Marcel Pagnol: Le Poquelin de Marseille : notes de mise en scène : César, Fanny, Marius. Paris: Séguier-Achimbaud, 2008.

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22

Huster, Francis. Marcel Pagnol: Le Poquelin de Marseille : notes de mise en scène : César, Fanny, Marius. Paris: Séguier-Achimbaud, 2008.

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23

Bessière, Edouard. "Le chateau de ma mere": Analyse comparée des oeuvres de Marcel Pagnol et d'Yves Robert. Evreux: C.D.D.P de l'Eure, 1997.

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24

Chardère, Bernard. Le cinéma de Jacques Prévert: Avec une lettre inédite de Marcel Pagnol, et la conclusion à 23 contributions. Bordeaux: le Castor astral, 2001.

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25

Pagnol, Marcel. Marius: Pièce en quatre actes. Paris: Fllois, 1988.

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26

Marcel, Pagnol. Marius: Pièce en quatre actes. Paris: Éditions de Fallois, 1993.

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27

More, Julian. Les chemins de Marcel Pagnol en Provence: Un itinéraire sentimental du Château de ma mère à Manon des sources. Paris: Ramsay, 1996.

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28

Domange, Michel. Ah! mes aïeux--: 1830-1945, Alexandre Dumas, Emile Zola, Marcel Pagnol, Jean Renoir ... et d'autres moins connus, mais non moins pittoresques vus au fil d'une chronique familiale. Evian: Editions du Nant d'enfer, 1990.

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29

Livres de vie: De la Bible à Albert Cohen : entretiens avec Jacques Attali, Robert Badinter, Jean Blot, Albert Cohen, Claude Hagège, Claude Lanzmann, Jean d'Ormesson, Marcel Pagnol, Ruth Reichelberg, Joann Sfar. Paris: Albin Michel, 2010.

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30

My father's glory ; and, My mother's castle: Marcel Pagnol's memories of childhood. London: Picador, 1991.

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31

My father's glory ; and, My mother's castle: Marcel Pagnol's Memories of childhood. London: Andre Deutsch, 1989.

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32

Castans, Raymond. Marcel Pagnol. Livre de Poche, 1998.

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33

Marcel Pagnol. Éditions du Rocher, 2014. http://dx.doi.org/10.14375/np.9782268075839.

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34

Bowles, Brett. Marcel Pagnol. Manchester University Press, 2016.

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35

Marcel Pagnol. GRUND, 2013.

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36

Pagnol, Marcel. Les Sermons De Marcel Pagnol. French & European Pubns, 1987.

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37

Marcel Pagnol French Film Directors Hardcover. Manchester University Press, 2012.

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38

Castans, Raymond. Il Etait Une Fois Marcel Pagnol. Editions Flammarion, 1995.

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39

Delobbe, Karine. Marcel Pagnol : Une vie, une œuvre. Publications de l'Ecole Moderne Française - PEMF, 2003.

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40

Pagnol, Marcel. Le Château de ma mère de Marcel Pagnol. Comprendre La Litterature, 2020.

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41

Pagnol, Marcel. Le Château de ma mère de Marcel Pagnol. Comprendre La Litterature, 2020.

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42

Marcel Pagnol A L'Ecole de Jean Giono?: Essai. Mirandole, 2001.

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43

Pagnol, Marcel. Le Château de ma mère de Marcel Pagnol. Comprendre La Litterature, 2020.

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44

Lewis, Hannah. Théâtre filmé, Opera, and Cinematic Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0005.

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Chapter 4 focuses on a famous debate between playwright Marcel Pagnol and film director René Clair. Pagnol was a successful playwright who was excited about film’s potential for recording live theater. His screenplays, perhaps most notably Marius, emphasized spoken dialogue, relegating music to a secondary role. Clair was a silent filmmaker who was interested in the poetic qualities of the image, and he feared that sound, particularly dialogue, would threaten cinema’s poetic potential. His film Le Million relied heavily on music, particularly live musical-theatrical forms like operetta and opera, to create alternative models for film’s sound–image relationship. The debate between Pagnol and Clair reveals diverging approaches to sound film, the aesthetic connections and tensions between live theater and cinema, and music’s importance in articulating those tensions.
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45

Marcel, Pagnol. Marius (French Language Edition). Hachette, 2000.

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46

Pagnol, Marcel. Marius (French Edition). French & European Pubns, 1985.

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47

Fabre-Serris, Jacqueline, Liza Bolen, and Susanna Braund. Reflections on Two Verse Translations of the Eclogues in the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0026.

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In the second half of 1950s, Virgil’s Eclogues were translated in verse by the poet Paul Valéry and by the playwright and novelist Marcel Pagnol. They were both accompanied by comments, which are a valuable testimony to the way in which their authors conceived and realized their project. Both authors drastically differed in their motivations, in their judgements about Virgil, his time, and his text, in their positions in regard to previous translators, and in their reflections on translation activity. This chapter offers a comparison between them, but also with Eugène de Saint-Denis, whose 1942 prose translation is here considered more successful.
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48

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
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49

De Albuquerque, Claudiano, Amalia Lucena, Belinda Pérez Rincón, Rodrigo Mejía-Ricart, and Gisela Davico. Maximizando los ahorros de costos de los gobiernos: Indicadores para calcular ahorros a partir de la centralización y digitalización de los pagos. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003267.

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Las Cuentas Unicas del Tesoro (CUT) han sido ampliamente adoptadas por los gobiernos centrales de América Latina y el Caribe. La CUT se define como una estructura unificada dentro de las cuentas bancarias del gobierno que permite a las tesorerías consolidar y utilizar mejor los recursos de caja de los gobiernos (Pattanayak y Fainboim, 2011). Para muchos gobiernos latinoamericanos, la adopción de la CUT, y la digitalización de los recaudos de ingresos y pagos, ha permitido estandarizar y simplificar operaciones habilitando así transacciones financieras más rápidas, datos en tiempos más oportunos sobre los flujos y saldos de caja, una mayor eficiencia en ejecución presupuestaria y una reducción significativa de costos en gestión de tesorería. Este estudio busca contribuir con una nueva metodología que facilite a las tesorerías gubernamentales a analizar las ganancias en eficiencia y los ahorros potenciales al implementar la CUT y la digitalización de los pagos; es altamente flexible, utiliza benchmarks que son específicos del contexto de cada país y muestra las limitaciones que pueden estar más allá del control de las tesorerías nacionales, como los marcos institucionales y legales, o los diferentes niveles de madurez de los ecosistemas financieros y digitales, presenta 18 indicadores de medición, clasificados en eficiencia en manejo de efectivo y eficiencia operacional. Además, se identifican buenas prácticas relacionadas con la implementación.
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