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Journal articles on the topic 'Truffaut'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Truffaut, François. "Proyecciones: Del libro Le cinéma selon Hitchcock, de François Truffaut, Edition Robert Laffont, 1966." Cuadernos de Cine Documental, no. 11 (December 28, 2017): 57–73. http://dx.doi.org/10.14409/ccd.v0i11.7043.

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Ciclo «Hitchcock & Truffaut». Capítulo 13El miércoles 5 de abril de 2017 comenzó el ciclo de Proyecciones «Hitchcock & Truffaut». Comenzó con el documental Hitchcock/Truffaut, dirigido por Kent Jones, que narra la relación de Alfred Hitchcock y François Truffaut. Esa relación ha producido uno de los libros imprescindibles para quien se interese en el cine: El cine según Hitchcock, de François Truffaut. En el ciclo se vieron, además, films de Hitchcock y de Truffaut.

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2

Temple, Michael, Diana Holmes, and Robert Ingram. "Francois Truffaut." Modern Language Review 95, no. 2 (April 2000): 523. http://dx.doi.org/10.2307/3736202.

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3

Casteras, François. "Un autre Truffaut." Commentaire Numéro 30, no. 2 (April 1, 1985): 700–705. http://dx.doi.org/10.3917/comm.030.0700.

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4

Casteras, François. "Truffaut méritait mieux." Commentaire Numéro 79, no. 3 (July 1, 1997): 767–69. http://dx.doi.org/10.3917/comm.079.0767.

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5

Reader, Keith. "Truffaut & Godard." Modern & Contemporary France 23, no. 3 (April 30, 2015): 421–22. http://dx.doi.org/10.1080/09639489.2015.1032906.

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6

Gottlieb, Sidney. "Hitchcock on Truffaut." Film Quarterly 66, no. 4 (2013): 10–22. http://dx.doi.org/10.1525/fq.2013.66.4.10.

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7

J. Cardullo, Robert. "François Truffaut’s Jules and Jim and the French New Wave, Re-viewed." FILMHISTORIA Online 29, no. 1-2 (January 22, 2020): 57–68. http://dx.doi.org/10.1344/fh.2019.1-2.57-68.

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Truffaut’s early protagonists, like many of those produced by the New Wave, were rebels or misfits who felt stifled by conventional social definitions. His early cinematic style was as anxious to rip chords as his characters were. Unlike Godard, Truffaut went on in his career to commit himself, not to continued experiment in film form or radical critique of visual imagery, but to formal themes like art and life, film and fiction, and art and education. This article reconsiders a film that embodies such themes, in addition to featuring characters who feel stifled by conventional social definitions: Jules and Jim.

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8

Debray, Régis. "Truffaut, homme de lettres." Médium 10, no. 1 (2007): 122. http://dx.doi.org/10.3917/mediu.010.0122.

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9

Alfonsi, Laurence. "La réception du Dernier Métro et de La Femme d’à côté en U.R.S.S. : la stratégie truffaldienne de l’auteurisme face au consensus idéologique." Articles divers 7, no. 1-2 (February 21, 2011): 205–24. http://dx.doi.org/10.7202/1000940ar.

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L’article se propose de montrer comment, pat leur caractère subversif, les deux films de François Truffaut, Le Dernier Métro et La Femme d’à côté, peuvent bousculer les conventions et le consensus idéologiques. La stratégie artistique de Truffaut d’« appel aux particularismes » prend tout son poids dans des moments de crises comme la pré-perestroïka, où elle devient l’anti-idéologisation. En quoi les deux films de Truffaut peuvent apparaître comme une menace à l’idéologie et comme une arme pour la libéralisation des années quatre-vingt? Le rôle du cinéma truffaldien est d’autant plus significatif que Le Dernier Métro et La Femme d’à côté constituent deux films thématiquement très différents. Ainsi, l’auteure montre comment l’identification souterraine du public est amenée à s’effectuer sur la base de la dualité, de l’officieux, de l’illicite. Elle correspond ainsi parfaitement à la stratégie truffaldienne qui développe l’ambivalence, l’apparence « civile » en même temps que la face personnelle et cachée.

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10

Bastide, Bernard. "Correspondance François Truffaut-Fernand Deligny." 1895, no. 42 (February 1, 2004): 77–110. http://dx.doi.org/10.4000/1895.281.

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11

Albera, François. "Rivette et Truffaut à l’exercice." 1895, no. 89 (December 1, 2019): 182–87. http://dx.doi.org/10.4000/1895.7612.

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12

de Baecque, Antoine. "François Truffaut, écrivain de cinéma." Critique 883, no. 12 (2020): 1004. http://dx.doi.org/10.3917/criti.883.1004.

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13

Lasneaux, Marcello Vieira. "A família e a escola como agências socializadoras da infância: uma análise à luz da sociologia da infância." Uningá Review 38 (July 24, 2023): eURJ4473. http://dx.doi.org/10.46311/2178-2571.38.eurj4473.

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A sociologia da infância (doravante, SI) procura reafirmar que as crianças devem ser percebidas como atores sociais, sujeitos de direitos e cocriadores de sua cultura. É possível fazer isso a partir de várias linguagens e narrativas, tanto na realidade das escolas e das ruas quanto na ficção dos contos e do cinema, como na obra “Os incompreendidos” de François Truffaut (1932-1984). O método utilizado foi o uso de filmes documentais e/ou de ficção como instrumento de problematização, com o intuito de fazer reflexões sobre o filme à luz dos conhecimentos da SI, realizando incursões sobre os papéis da escola e da família, consideradas agências socializadoras da infância. Após o levantamento bibliográfico acima, permite-se a possibilidade de que este ensaio possa contribuir de forma inédita para a discussão do tema da SI, a partir das reflexões interligadas entre a teoria dela a partir dos elementos fílmicos de Truffaut, particularmente da película “Os incompreendidos”, de 1959. O olhar constante de que as crianças são o futuro retira-lhes qualquer possibilidade de viverem o hoje, de ativarem seu papel e de se conectarem efetivamente com seu tempo. Em “Os incompreendidos”, percebe-se o incômodo que Truffaut demonstra com a educação escolar e com o papel da família, denunciando a indiferença que o mundo adulto apresenta em relação às crianças. Unido ao desejo de escapar do convencionalismo tanto estético como temático, Truffaut contribui para enfrentar a visão dessubjetivada da infância e como mais um apoio para a crítica ao modelo sobre que ora se outorga como dominante: o modelo escolar adultocêntrico.

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14

De Barros, Matheus Guimarães. "A violência da razão iluminista: breves considerações antropológicas sobre o filme L’enfant Sauvage de François Truffaut." Revista Intratextos 11, no. 1 (January 4, 2022): 118–26. http://dx.doi.org/10.12957/intratextos.2020.60275.

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15

Axelrad, Catherine. "Truffaut à Thiers : acteurs et témoins." Genesis 28, no. 1 (2007): 193–200. http://dx.doi.org/10.3406/item.2007.1426.

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16

Sheen, Erica. "Anti-anti-fidelity: Truffaut, Roché, Shakespeare." Adaptation 6, no. 3 (March 20, 2013): 243–59. http://dx.doi.org/10.1093/adaptation/apt001.

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17

Zukerfeld, Nicolás, Bárbara Peleteiro, Marilyn Contardi, Juan Novak, Rodrigo Moreno, and Malena Solarz. "Discusión." Cuadernos de Cine Documental, no. 12 (September 26, 2018): 2–21. http://dx.doi.org/10.14409/ccd.v0i12.7667.

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18

Martin, Marie, and Laurent Véray. "La chambre verte de François Truffaut, remake secret du Paradis perdu d’Abel Gance. Du culte des morts à celui du cinéma." Cinémas 25, no. 2-3 (March 23, 2016): 75–95. http://dx.doi.org/10.7202/1035773ar.

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Cet article vise à démontrer, à travers l’analyse croisée des deux films et de divers documents d’archives, que, davantage qu’une adaptation littéraire affichée de différents thèmes de Henry James, La chambre verte (François Truffaut, 1978) est avant tout le remake secret de Paradis perdu (Abel Gance, 1940). L’aveuglement des critiques à l’époque de la sortie du film de Truffaut invite à réfléchir à la question du secret qui, dans le sillage de la fameuse figure dans le tapis jamesienne, se fonde sur une dénégation truffaldienne et sert de pierre de touche à une ferveur cinéphile conçue sur le modèle du culte des morts mis en scène par les deux films. Ces convergences permettent de théoriser la part de la projection, au double sens de dispositif cinématographique et de processus psychique, dans l’élaboration du remake secret.

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19

Brodski, Michael. "The Cinematic Representation of the Wild Child: Considering L'enfant sauvage (1970)." Gothic Studies 21, no. 1 (May 2019): 100–113. http://dx.doi.org/10.3366/gothic.2019.0010.

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In examining François Truffaut's L'enfant sauvage (1970), I will consider the feral child Victor (Jean-Pierre Cargol) with regard to the film's cinematic portrayal as typifying the cultural construction of a child. Following James R. Kincaid, the figure of the child can be seen as a ‘hollow category’, seemingly featureless in its alleged innocence. As a result, it functions as an adult ‘repository of cultural needs or fears’. For this reason, the child, and especially the feral child, can serve as a projection screen for a variety of different and even opposed questions and symbolic constructions. The film effects this subliminally through the portrayal of Victor. This is mainly achieved by constantly shifting between a Romantic discourse of the noble savage and child of nature and the Lockean empiricist view, with the infant's mind as a tabula rasa condition and the doctor Jean Itard's (played by Truffaut himself) consequent need to educate Victor.

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20

Austin-Smith, Brenda. "A Truffaut Notebook by Sam SoleckiSam Solecki. A Truffaut Notebook. McGill-Queen's University Press. xii, 340. $34.95." University of Toronto Quarterly 86, no. 3 (August 2017): 241–42. http://dx.doi.org/10.3138/utq.86.3.241.

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21

Machelidon, Véronique. "Truffaut et ses doubles par Martin Lefebvre." French Review 88, no. 4 (2015): 253–54. http://dx.doi.org/10.1353/tfr.2015.0301.

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22

Gillain, Anne, and Wheeler Winston Dixon. "The Early Film Criticism of Francois Truffaut." SubStance 23, no. 2 (1994): 113. http://dx.doi.org/10.2307/3685073.

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23

Boer, Laurent. "3. La Nuit américaine de Truffaut/Delerue." Vibrations 4, no. 1 (1987): 179–202. http://dx.doi.org/10.3406/vibra.1987.991.

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24

Reader, Keith. "Cinematic representations of Paris: Vigo/Truffaut/Carax." Modern & Contemporary France 1, no. 4 (January 1993): 409–15. http://dx.doi.org/10.1080/09639489308456142.

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25

Sterritt, David. "Book Review: François Truffaut: The Lost Secret." Film Quarterly 67, no. 1 (2013): 79–80. http://dx.doi.org/10.1525/fq.2013.67.1.79.

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26

Bidaud, Samuel. "DE TRUFFAUT À BERGMAN, DE BERGMAN À TRUFFAUT: NOTE SURDOMICILE CONJUGAL,L'AMOUR EN FUITEETSCÈNES DE LA VIE CONJUGALE." French Studies Bulletin 36, no. 136 (September 2015): 41–44. http://dx.doi.org/10.1093/frebul/ktv012.

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27

Collet, Jean. "Eric Rohmer, la face cachée de l'œuvre." Études Tome 413, no. 9 (September 1, 2010): 223–33. http://dx.doi.org/10.3917/etu.4133.0223.

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Résumé Un an après la mort du cinéaste, Jean Collet revient sur la richesse inépuisable de son œuvre, son goût pour l’invention des formes et ses motifs les plus secrets. Et de Rohmer à Chabrol, Truffaut, Bazin, Schérer, c’est toute une période particulièrement féconde du cinéma qu’il nous fait revivre.

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28

Bové, Carol. "Revisiting Modernism with Kristeva: DeBeauvoir, Truffaut, and Renoir." Journal of Modern Literature 25, no. 3-4 (June 2002): 114–26. http://dx.doi.org/10.2979/jml.2002.25.3-4.114.

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29

Bove, Carol Mastrangelo. "Revisiting Modernism with Kristeva: DeBeauvoir, Truffaut, and Renoir." Journal of Modern Literature 25, no. 3 (2002): 114–26. http://dx.doi.org/10.1353/jml.2003.0015.

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30

van der Helm, Ruud. "Laurence ALFONSI (2000), L’aventure américaine de l’œuvre de François Truffaut / Laurence ALFONSI (2000), Lectures asiatiques de l’œuvre de François Truffaut." Communication, Vol. 22/2 (October 15, 2003): 185–92. http://dx.doi.org/10.4000/communication.4536.

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31

Garson, Charlotte. "François Truffaut ou des films à 40 de fièvre." Études juin, no. 6 (May 21, 2015): 81–90. http://dx.doi.org/10.3917/etu.4217.0081.

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Amateur plus qu’éclairé du cinéma classique dont témoigne sa première carrière de critique, François Truffaut a fait du classicisme de Renoir, Hitchcock ou Lubitsch le tissu même de son art paradoxal, à la fois cristallin et sophistiqué. De film en en film, il a surtout offert au grand public une exploration du sentiment si intime et si violente qu’elle nécessite l’obscurité rituelle d’une salle de cinéma.

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32

Neri, Corrado. "Past Masters, New Waves: Tsai Ming-liang / François Truffaut." Transtext(e)s Transcultures 跨文本跨文化, no. 1 (May 1, 2006): 64–79. http://dx.doi.org/10.4000/transtexts.183.

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33

Ferrer Gadea, José Bernardo. "La música en la obra cinematográfica de Truffaut-Doinel." ANIAV - Revista de Investigación en Artes Visuales, no. 7 (September 23, 2020): 1. http://dx.doi.org/10.4995/aniav.2020.12912.

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<p>No es fácil encontrar un caso en la historia del cine en que un director haya cogido a un actor siendo niño y haya seguido con el mismo personaje y actor hasta ya muy adulto. Hace 60 años François Truﬀaut , genio de la <em>Nouvelle Vague</em>, creó a Antoine Doinel, personaje semiautobiográﬁco encarnado por el actor Jean-Pierre Léaud. Solo cuatro largometrajes y un corto le bastaron al cineasta para contarnos la historia de su alter-ego Antoine Doinel. Lo conoceremos en blanco y negro a ﬁnales de los 50. Cinco cintas para ser testigos del difícil tránsito de la adolescencia a la juventud y de esta a la frustrante madurez.</p><p>Con todo esto, resulta esencial la música compuesta para tal fin. Partituras realizadas por tres compositores exclusivamente franceses, Constantin, Duhamel y Delerue, para las diferentes etapas evolutivas del personaje Doinel, sobre las que se realiza un análisis somero, no por ello sin dejar de ser ameno, dividido en una introducción y su respectivo análisis, éste agrupado en apartados, según sus propias características, y así optar a una mayor comprensión que, en definitiva, persigue obtener unos resultados musicales críticos para poder cotejarlos entre ellos y obtener una visión conjunta de la música que ha acompañado al personaje durante toda las saga.</p>

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34

Walz, Gene. "Truffaut: A Biography Antoine de Baecque and Serge Toubiana." Canadian Journal of Film Studies 9, no. 2 (October 2000): 89–93. http://dx.doi.org/10.3138/cjfs.9.2.89.

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35

Fell, John. ": The Early Film Criticism of Francois Truffaut . Wheeler Winston Dixon." Film Quarterly 47, no. 1 (October 1993): 68. http://dx.doi.org/10.1525/fq.1993.47.1.04a00300.

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36

Muñoz, Felipe. "La temática del cuerpo en la filmografía de Francois Truffaut." Revista de Filosofía 22, no. 1 (April 10, 2023): 79–91. http://dx.doi.org/10.21703/2735-6353.2023.22.01.04.

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En este trabajo nos proponemos analizar y relacionar la temática del cuerpo en parte de la filmografía del director francés François Truffaut. Para esto, nos serviremos de dos obras cinematográficas: Los 400 Golpes y Jules et Jim, y repasaremos en ellas conceptos como el amor y la violencia vistos desde la perspectiva y dirección de este aclamado director, gran representante de la nueva ola francesa. Sin embargo, antes de comenzar con nuestra revisión, repasaremos la posibilidad de analizar filosóficamente el cine para así, una vez defendida dicha posibilidad, hacer un recorrido a los films rastreando en ellos la utilización y presencia del concepto de cuerpo, siendo examinado desde la filosofía. Finalmente, este director nos parece adecuado traer a colación debido a su nivel artístico y filosófico según los temas tratados en sus trabajos, por lo que con este análisis realizaremos una discusión renovada y actual contribuyendo al debate filosófico y al estudio fílmico con sus conceptos utilizados.

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37

Calaça, Fausto, and Célia Maria Domingues da Rocha Reis. "O Édipo Romântico, da literatura ao cinema." Revista Crítica Cultural 9, no. 1 (August 12, 2014): 119. http://dx.doi.org/10.19177/rcc.v9e12014119-130.

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No presente artigo, realizamos uma análise comparada entre o romance de Honoré de Balzac, O lírio do vale (1836) e o filme de François Truffaut, Beijos proibidos (1968), tendo como perspectiva os temas desencantamento, nostalgia, romance de aprendizagem, Nouvelle vague e a noção de “Édipo romântico”, elaborada por Pierre Laforgue (2002). Colocamos em destaque o drama de Antoine Doinel, protagonista do filme, que re-apresenta um episódio semelhante ao da trajetória do jovem protagonista Félix de Vandenesse, do romance de Balzac.

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38

Therrien, Denyse. "ALFONSI, Laurence, L’Aventure américaine de l’oeuvre de François Truffaut et Lectures asiatiques de l’oeuvre de François Truffaut, Paris, L’Harmattan, 2000, 372 p. et 278 p." Cinémas: Revue d'études cinématographiques 12, no. 3 (2002): 175. http://dx.doi.org/10.7202/000741ar.

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39

Viswanathan, Jacqueline. "Ciné-romans : le livre du film." Cinémas 9, no. 2-3 (October 26, 2007): 13–36. http://dx.doi.org/10.7202/024784ar.

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RÉSUMÉ Cet article analyse certains textes d'Ingmar Bergman, de Louis Malle, d'Éric Rohmer et de François Truffaut qui, tout en étant proches du roman, sont aussi des scénarios qui ont été publiés après le tournage des films. Nous y proposons une lecture de ces ciné-romans qui met au jour l'étape de l'écriture du scénario comme exploration et mise en fiction cinématographique d'un passé personnel. Nous montrons également l'importance du sujet de renonciation. Cette lecture autre révèle des aspects qui enrichissent et diversifient la conception traditionnelle du scénario comme un texte à prédominance performative.

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40

Léon, Céline. "Truffaut: la disparue du Dernier Métro et de Jules et Jim." French Review 84, no. 1 (2010): 82–98. http://dx.doi.org/10.1353/tfr.2010.0006.

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41

Țurcanu Lazarov, Mihaela. "Jules et Jim, de François Truffaut ou l’insoutenable légèreté du féminin." Studia Universitatis Babeș-Bolyai Philosophia 65, no. 1 (February 20, 2020): 75–84. http://dx.doi.org/10.24193/subbphil.2020.1.06.

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42

BLOOM, M. E. "Pygmalionesque Delusions and Illusions of Movement: Animation from Hoffmann to Truffaut." Comparative Literature 52, no. 4 (January 1, 2000): 291–320. http://dx.doi.org/10.1215/-52-4-291.

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43

Magalhães, Elisa De. "A farmácia performática: corpo e anticorpo no ato performativo." ARS (São Paulo) 14, no. 28 (December 28, 2016): 207. http://dx.doi.org/10.11606/issn.2178-0447.ars.2016.122569.

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Este artigo discorre sobre o ato performativo como desconstrução de si permanente, como relação conflituosa produtora de alteridades, entre elas, a alteridade radical, o todo outro, que é a cisão do corpo em íntimo e êxtimo, tão estranhos um para o outro que não podem se comunicar, surgem como corpo e anticorpo. Assim, o espectador só pode experienciar a performance se também performar, desconstruir-se, experimentar-se como infinito no infinito do outro. A atuação de Jean Desailly e Françoise Dorléac em cenas do filme La Peau Douce, de François Truffaut, são imagens deflagradoras do pensamento aqui desenvolvido sobre performance.

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44

Fell, John. "Review: The Early Film Criticism of François Truffaut by Wheeler Winston Dixon." Film Quarterly 47, no. 1 (1993): 68. http://dx.doi.org/10.2307/1213132.

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45

READER, K. A. "Review. A Guide to References and Resources. Walz, Eugene P., Francois Truffaut." French Studies 40, no. 1 (January 1, 1986): 117–18. http://dx.doi.org/10.1093/fs/40.1.117-a.

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46

Bispo, Ana Keli Santos. "Intertextualidade na construção do suspense ficcional nas obras Sleeping Murder de Agatha Christie e The Murders in the Rue Morgue, de Edgar Allan Poe." Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 7, no. 2 (January 31, 2018): 72–83. http://dx.doi.org/10.69969/revistababel.v7i2.4058.

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O presente artigo apresenta um estudo comparativo entre o livro Sleeping Murder (2009), de Agatha Christie e o conto The Murders in the Rue Morgue (1982), de Edgar Allan Poe, proporcionando uma análise das aproximações e distanciamentos entre as obras, a fim de trazer à luz a construção do suspense policial em narrativas ficcionais. De tal modo, investigar-se-á quais os meios, procedimentos utilizados pelos autores e em quais momentos de suas obras ficam evidentes o processo de construção do suspense. Assim, faremos uma breve discussão sobre o gênero suspense e qual tipo é possível encontrar nas obras acima citadas. Para tanto, traremos teóricos como Lovecraft (2008), Truffaut (2004), além de teóricos da Literatura Comparada.

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47

Alfonsi, Laurence. "La réception de François Truffaut aux Etats-Unis: Les conditions de sa popularité." Canadian Journal of Film Studies 6, no. 1 (March 1997): 3–17. http://dx.doi.org/10.3138/cjfs.6.1.3.

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48

Ostaszewski, Jacek. "Oddramatyzowanie akcji i antyklimaks w kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 80–94. http://dx.doi.org/10.26881/pan.2018.19.06.

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The paper discusses the influence of modernist aesthetics on the changes in the dramatic structure of film. In the films analysed by the author, the typical tricks for the classical model, such as dramatisation of action and climax as the classic denouement, are etiolated, turning into their antitheses: de-dramatising of action and anti-climax. On the examples of films such as: The Four Hundred Blows by F. Truffaut, The Adventure by M. Antonioni, Gran Torino by C. Eastwood, The Mist by F. Darabont, Smoke by W. Wang, and Three Monkeys and Once Upon a Time in Anatolia by N.B. Ceylan, the author demonstrates the functions and artistic potential of denouements which shift attention from action to characters and leave the viewer with the dilemma of an “open” ending.

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Nayar, Sheila J. "Écriture Aesthetics: Mapping the Literate Episteme of Visual Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 140–55. http://dx.doi.org/10.1632/pmla.2008.123.1.140.

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The norms of art-cinema narration—evident in the work of such directors as Ingmar Bergman, Satyajit Ray, and François Truffaut—reflect noetic processes and expectations engendered by a culture of the written word. Such norms are absent from Hindi popular films, which have been historically contoured by the psychodynamics of orally based thought and by devices and motifs common to oral storytelling. By funneling art-cinema narration's norms—already meticulously (and impartially) cataloged by David Bordwell—through the prism of orality and through the orally inflected characteristics of Hindi popular films and by conjointly engaging with literary theory concerned with issues of textuality, this essay develops a novel conceptual matrix for understanding the epistemic pressures that weigh on visual storytelling as both a spectatorial and a generative act.

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Maccarone, Cristine, and Luiz Antonio Vadico. "Da ceia à cena. Os alimentos na vida e na obra de Alfred Hitchcock." Jangada: crítica | literatura | artes, no. 11 (November 22, 2018): 5–21. http://dx.doi.org/10.35921/jangada.v0i11.135.

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A obra de Alfred Hitchcock já foi analisada pelos mais diversos vieses, mas um dos que chamam atenção, e ainda relegado a relativo abandono, é o da presença constante e reiterada dos alimentos em seus filmes. Esse diretor inglês foi responsável por 53 produções, das quais 52 foram aqui analisadas. Para mapear nesse universo as diversas características dos alimentos, suas utilizações, forma de manipulação e ritos sociais que os envolvem, foi desenvolvido um formulário de pesquisa, no qual se buscou verificar se o alimento desempenhou alguma função dramática nas obras hitchcockianas. Nesse processo de análise fílmica, foi estabelecido um diálogo com teóricos da área de Cinema, como François Truffaut e Jacques Aumont, e, no que tange aos alimentos e ao seu papel social, com Massimo Montanari e Jean-Louis Flandrin.

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