Gotowe bibliografie tematyczne / Truffaut

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Gotowa bibliografia na temat „Truffaut”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Truffaut"

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Truffaut, François. "Proyecciones: Del libro Le cinéma selon Hitchcock, de François Truffaut, Edition Robert Laffont, 1966". Cuadernos de Cine Documental, nr 11 (28.12.2017): 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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Temple, Michael, Diana Holmes i Robert Ingram. "Francois Truffaut". Modern Language Review 95, nr 2 (kwiecień 2000): 523. http://dx.doi.org/10.2307/3736202.

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Casteras, François. "Un autre Truffaut". Commentaire Numéro 30, nr 2 (1.04.1985): 700–705. http://dx.doi.org/10.3917/comm.030.0700.

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Casteras, François. "Truffaut méritait mieux". Commentaire Numéro 79, nr 3 (1.07.1997): 767–69. http://dx.doi.org/10.3917/comm.079.0767.

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Reader, Keith. "Truffaut & Godard". Modern & Contemporary France 23, nr 3 (30.04.2015): 421–22. http://dx.doi.org/10.1080/09639489.2015.1032906.

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Gottlieb, Sidney. "Hitchcock on Truffaut". Film Quarterly 66, nr 4 (2013): 10–22. http://dx.doi.org/10.1525/fq.2013.66.4.10.

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J. Cardullo, Robert. "François Truffaut’s Jules and Jim and the French New Wave, Re-viewed". FILMHISTORIA Online 29, nr 1-2 (22.01.2020): 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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Debray, Régis. "Truffaut, homme de lettres". Médium 10, nr 1 (2007): 122. http://dx.doi.org/10.3917/mediu.010.0122.

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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, nr 1-2 (21.02.2011): 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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Bastide, Bernard. "Correspondance François Truffaut-Fernand Deligny". 1895, nr 42 (1.02.2004): 77–110. http://dx.doi.org/10.4000/1895.281.

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Rozprawy doktorskie na temat "Truffaut"

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Mouren, Yannick. "François Truffaut : l'art du récit /". Paris : Lettres modernes, 1997. http://catalogue.bnf.fr/ark:/12148/cb36190398m.

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Mouren, Yannick. "L'art du récit chez François Truffaut : essai de narratologie appliquée à quelques films de Truffaut". Paris 1, 1990. http://www.theses.fr/1990PA010622.

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L'objet de ce travail est double, théorique d'une part, analytique d'autre part ; théorique puisqu'il s'agit de comprendre comment le film raconte, analytique puisque la validité des concepts proposés sera vérifiée sur un corpus forme de onze films de Truffaut. La raison qui a prévalu à ce choix de Truffaut est qu'il est un cinéaste narratif (classique) et conscient de ce qui représente le fait de raconter une histoire par des images et des sons. Le postulat de départ de ce travail théorique est la distinction de quatre niveaux au sein de la notion de récit : récit, histoire, diégèse, narration. C'est par la mise en relation de ces quatre éléments que l'on peut rendre compte du fonctionnement du récit filmique. Cette mise en relation se fait sous sept angles d'attaque. Les trois premiers subsumes par le concept de temps. L'ordre, la vitesse, suivis du degré de réalité des images, de la transmission des discours, et de l'énonciation. Pour chacune de ces catégories, il s'agit de savoir quels sont tous les choix théoriques possibles et quels sont les choix de prédilection de Truffaut. Ainsi ce travail dont on ne peut nier qu'il doit beaucoup au genette de figures III fera avancer la narratologie filmique et les études truffaldiennes, du moins peut-on l'espérer
The purpose of this dissertation is dual : theoretical, on the one hand, analytical on the other hand. It deals with theory in so far as it aims at explaining how a film tells a story, as well as analysis since the validity of the theoretical concepts will be checked within the study of a corpus composed of a few films by Truffaut. The reason which prevailed in choosing this director is that he is both "narrative" in the classical sense and aware of what telling a story through images and sound implies. The premise to the theoretical part of this work lies in the distinction between four levels within the very notion of "narrative": the narrative, the story, the narration and the diegesis. The working of the film narrative can be accounted for thanks to the relating of these four elements. This relating is achieved through seven distinct approaches; the first three of them are subsumed by the concept of time (i. E. Order, speed, frequency) followed by the degree of reality of images, the conveying fo speeches, the control of narrative information and the concept of enunciation. For each of these categories, the point is to state all the possible theoretical choices and which options Truffaut is partial to. There is no denying that this work is greatly indebted to genette's figures iii ; thus, one cannot but hope it will be a move forward in the field of film narratology and of Truffaut studies
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Cunha, Ana Isa Ribeiro da. "Cinema como reflexo social e cultural: Truffaut e a temática do amor na sociedade e cultura francesas da década de 1970". Master's thesis, Universidade da Beira Interior, 2011. http://hdl.handle.net/10400.6/1326.

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Arte e Sociedade desde sempre estiveram relacionadas. O pressuposto deste trabalho é o de procurar e clarificar uma pequena vertente desta relação. Os filmes da década de 1970 de François Truffaut e a sociedade francesa da mesma década, a par das suas reformas políticas, servem o propósito deste trabalho, sendo esses os elementos chave para esta relação entre cinema e sociedade. França, década de 1970, encontramos um país marcado pelo Maio de 68, pelo movimento feminista e por uma crise económica mundial. Além das problemáticas económicas a resolver, são várias as reformas sociais que se impõem. O Governo de Giscard vem resolver alguns destes problemas, liberalizando o aborto, legalizando o uso de contraceptivos ou procurando impulsionar a economia. A par de uma sociedade em mudança, encontramos sempre uma cultura em renovação e a par destas as suas formas artísticas. Nesta década encontramos uma renovação do estado artístico francês, a influência de todas as alterações económicas e sociais manifestam-se numa crescente politização deste. Nos anos 70, surgem no cinema francês ideias marxistas, existencialistas, feministas, entre outras. A crescente liberdade sexual encontra, também, o seu lugar no panorama cinematográfico. Nesta época do cinema francês encontramos François Truffaut mais próximo de uma maturidade artística. Truffaut não abdica nunca de ser o cineasta que deseja ser, nunca pondo de parte o espectador. Há um tema constante na sua obra, que é precisamente o do amor. Esta é a temática que serve o propósito da procura de uma manifestação do social real na obra deste cineasta. Truffaut ama o cinema e ama a vida. Tal como às suas personagens é o amor que o motiva. Para além do estudo desta temática especifica, serão também abordadas as propostas de Truffaut relativas à criação cinematográfica.
Art and societay have always been conected. The main assumption behind this paper is to seek and clarify one small aspect of this relationship. François Truffauts films of the 1970’s decade and the french society as well as it politics, serve ther purpose of this work, being the key elements to this relationship between cinema and culture. France, the 1970’s, we found a contry marked by the events of May 68, by the feminist movement and by a global economycal crisis. In addition to this economical problems that needed to be solved, there were several social reforms needed. Giscards government comes to solve some of these problems by liberalizing the abortion, legalizing the use of contraceptives or boosting the economy. Along with a changing society, we always find a culture in renovation, and with these their artistical forms. In this decade we find a renovation of the french art forms, the influence of all these economical and social changes manifest themselves in a growing politicisation of the arts. In the 70’s, some marxist, existencialist and feminist ideias emerge in the french cinema. The increasing sexual freedom also finds its place in this cinematatic scene. In this era of the french cinema, we find François Truffaut closer to an artistic maturity. Truffaut never gives up the kind of filmmaker he wants to be, never apart from the viewer. There is a recurring theme in his work, which is precisely love. This is the theme that serves the purpose of this thesis, seeking the manifestation of a social reality in this filmmaker work. Truffaut loves movies and loves life, as his characteres is love that motivates him. In addition to the study of this specific issue, there will also be discussed Truffauts proposals on filmmaking.
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Hansen, Signe. "Truffaut Un-Sutured : a psychogeographical reading of The 400 Blows". Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7707.

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Bibliography : leaves 154-162.
In its application to cinema, suturing denotes the process by which film narrative is rendered seamless. This enables the identification required for a spectator to become the subject of a film and also functions to conceal the film’s ideological mechanisms. In a critical survey of existing criticism of Francois Truffaut's films in general, and The 400 Blows in particular, the dissertation argues that the majority of this scholarship colludes with the textual suturing process by neglecting to pose ideological questions of the films. An application of the Situationist theory of psychogeography to The 400 Blows serves as a counter to this critical trend. The concept is not only thematically pertinent to the film, but also provides an analytical tool to un-suture the filmic text and thereby to situate The 400 Blows ideologically. By focusing on the interaction between individuals and a socially conditioned environment, a psychogeographical reading combines a psychoanalytical and materialist analysis of the film. This critical perspective departs from most existing scholarship by insisting on the film as a discursive response to a particular socio-historical context. Based on a reading of the film’s conclusion as signifying Trufauts un-suturing of his own text, the dissertation argues that the director’s discourse challenges hegemonic codes by asserting the desire for a self-determined situation. Contending that this is commensurate with a rejection of the passive subjecthcod dictated by consumerist culture, it concludes that the film represents a form of discursive psychogeography. This supports the argument for situating Truffaut and the Situationists together in what Raymond Williams terms a structure of feeling, the shared ideological context that finally serves to validate a psychogeographical reading of The 400 Blows.
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Alfonsi, Laurence. "La réception de François Truffaut auprès de la critique et du public à l'étranger : les causes paradoxales d'un rayonnement universel". Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10021.

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Etudier le remarquable rayonnement international de francois truffaut, telle est l'ambition de ce travail qui examine les receptions du cineaste francais dans des pays de cultures diverses (europe centrale et orientale, scandinavie, portugal, asie, israel, turquie, amerique du nord). Grace aux chiffres d'exploitation des films et aux articles de presse etrangers, le but est de comprendre comment l'oeuvre de truffaut parvient a renforcer sa logique interne en s'appuyant sur des horizons d'attente differents. Cinema ambigu et plurivoque, que l'on ne peut definitivement reduire a un principe reducteur de dualite essentielle - une apparence rangee et une face cachee plus violente et authentique -, le cinema de truffaut s'enrichit dans sa confrontation avec les univers artistiques etrangers et surtout avec les differentes realites sociales et politiques. En fait, le cineaste pratique un art conceptuel, qui assoit dans un premier temps son universalite et sa perennite mais va bien au-dela de cet aspect de mythe cinematographique universel : son oeuvre n'est jamais immediatement assimilable par le public, meme lorsqu'elle beneficie d'une large diffusion commerciale et d'un succes important. L'effort que le spectateur doit faire, et qui se traduit par une necessaire reconstruction du sens dans sa propre culture, obeit a un processus de reception qui ne permet jamais tout a fait a l'oeuvre de truffaut de changer en evidence ce qui allait a l'encontre des experiences esthetiques et sociales de son premier public. Le schema rassurant implique par le concept d'auteur constitue ainsi un tremplin important pour le rayonnement international de truffaut mais ne doit pas amener a reduire la complexite de son oeuvre. L'accueil de ses films implique toujours pour les spectateurs des changements d'horizon qui garantissent le caractere ouvert et polysemique de l'oeuvre.
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Ferreira, Luciano Steinbach. "Fahrenheit 451, de Ray Bradbury e de François Truffaut : da alienação pós-moderna à oralidade homérica". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5813.

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Este trabalho analisa o Fahrenheit 451 de Ray Bradbury e o de François Truffaut, em sua proposição de utilizar a oralidade (discurso oral) como forma de manutenção do literário e resistência à imposição e à censura ideológica. Efetua também uma análise comparatista das Utopias Negativas do século XX (obras Distópicas). Ao longo deste projeto, é feita uma análise do surgimento da escrita (alfabético-fonética), e sua estreita relação com o discurso oral. Tenta-se reproduzir a trajetória traçada pelo discurso oral, passando pelo desenvolvimento da tecnologia escrita, assim como a produção cultural tanto no meio oral quanto no escrito, junto com suas conseqüências e influências sobre pensamento humano. Da oralidade dos poemas homéricos à oralidade advinda com o desenvolvimento de aparelhos eletrônicos como o telefone, que, em plena modernidade, voltam a valorizar o discurso oral. Neste projeto a oralidade é vista como algo cíclico.
This thesis analyses Ray Bradbury’s and François Truffaut’s Fahrenheit 451, in their proposal of using the oral discourse as a way of maintenance of the literacy as well as resistance to ideological imposition and censorship. It also brings a comparative analysis of the Negative Utopias of the twentieth century (Distopic Literature), along with the rise of writing (alphabetic-phonetic writing), and its close relation to oral discourse. It tries to reproduce the path trailed by oral discourse, passing through the development of writing technology, as well as the cultural production both in the oral and in the writing media, along with its consequences and influences to human thought. From Homer’s oral poems to the oral discourse emerged with the development of electronic devices such as the telephone, which enhance oral discourse in modern times. In this project oral discourse is seen as something cyclical.
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Janin-Foucher, Nicole. "Du générique au mot fin : Le paratexte dans les oeuvres de F. Truffaut et J.-L. Godard : 1958-1984". Lyon 2, 1989. http://www.theses.fr/1989LYO20059.

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Ce travail de recherche en analyse filmique etudie dans les oeuvres des deux auteurs tous les ecrits non diegetiques du film, du generique au mot fin. Ceux ci forment un paratexte traite selon une double perspective, litteraire et esthetique. Le fil directeur de la these est l'analyse des fonctions de ces ecrits : - fonction d'information, surtout pour le generique; - fonction de legitimation, mode d'emploi et valorisation de l'oeuvre; - fonction de demarcation et d'enonciation, ou se lit le travail du realisateur sur l'ecrit; - enfin, fonction esthetique, car l'ecrit est image. La conclusion compare truffaut, qui utilise les ecrits comme un conteur, et godard, qui livre un systeme de lecture du film. Trois volumes, 443 pages, 50 photogrammes commentes
This research-work on films analyses all the titles in the works of these two directors, from credit-titles to "the end". These constitute a "paratext" which is studied according to a two-fold point of view, the litterary one and the aesthetical one. This analysis is based upon historical examples, specially those which played a prominent part in inspiring both directors. The main line of the thesis lies on the analysis of functions devoted to the titles : - how they give informations, mainly for credit-titles; - how they legitimize the film by giving directions for use and valorizing the film; - how they demarcate and show the directors'work when writing; - how they give aesthetical perspectives, for titles are images. The conclusion compares truffaut, who uses what the writes as a taler, to godard, who tells us how to read his film
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Bellido-Espichán, Allison-Desireé. "Un asunto de filiación: Aproximaciones e influencias entre las obras cinematográficas de Jean Renoir y François Truffaut". Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4548.

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El proyecto del presente trabajo de investigación se centra en el estudio de algunas de las relaciones intertextuales, de influencias temáticas y estilísticas que se establecen entre las obras de ambos autores, teniendo a Truffaut como cineasta heredero del legado creativo de Renoir.
This research project focuses on the study of the thematic and stylistic relationships established in the works of the two authors.
Trabajo de investigación
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Harper, Mark C. "The violent act of femininity sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210040.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2006.
Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0756. Adviser: Joan Hawkins. "Title from dissertation home page (viewed March 16, 2007)."
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Fairlamb, Brian. "Men of the West : the influence of Hollywood Westerns and their stars upon the depiction of masculinity in the films of Godard and Truffaut". Thesis, University of Sunderland, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327316.

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Książki na temat "Truffaut"

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Truffaut, François. Truffaut by Truffaut. New York: Abrams, 1987.

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Dominique, Rabourdin, red. Truffaut par Truffaut. Paris: Chêne, 1985.

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Baecque, Antoine de. Truffaut. New York: Knopf, 1999.

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Serge, Toubiana, red. Truffaut. New York: Knopf, 1999.

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Baecque, Antoine de. Truffaut. New York: Knopf, 1999.

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Dalmais, Herve. Truffaut. Paris: Rivages, 1987.

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Serge, Toubiana, red. Truffaut. Berkeley: University of California Press, 2000.

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Tsao, Leonardo García. Franc̦ois Truffaut. Guadalajara: Universidad de Guadalajara, Centro de Investigaciones y Enseñanza Cinematográficas, 1987.

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Philippe, Claude-Jean. François Truffaut. Paris: Seghers, 1988.

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Guérif, François. François Truffaut. [Paris]: Edilig, 1988.

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Części książek na temat "Truffaut"

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Haynes, Jonathan Everett. "Truffaut-Hitchcock". W A Companion to François Truffaut, 265–82. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118321591.ch13.

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Lefebvre, Martin. "Truffaut and His “Doubles”". W A Companion to François Truffaut, 23–70. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118321591.ch2.

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Hori, Junji. "Truffaut and the Photographic". W A Companion to François Truffaut, 137–52. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118321591.ch6.

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Gillain, Anne. "Two English Girls (1971)". W Totally Truffaut, 139–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0013.

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Shot a few months after Truffaut’s breakup with Catherine Deneuve and his hospitalisation for a nervous breakdown, the film is a beautiful meditation on the sufferings inflicted by passion. Adapted from an autobiographical book by Pierre-Henri Roché, the text in a voice-over propels forward the narrative. Truffaut illustrates the systemic nature of passion and its incidence on the organic. A total flop when it came out, the film is now considered one of Truffaut’s best works. Shot-by-shot analysis: The deflowering of one of the two sisters, Muriel, by the main character who is played by Jean-Paul Léaud.
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Gillain, Anne. "The Wild Child (1970)". W Totally Truffaut, 117–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0011.

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Based on historical documents, the film describes the attempts of Itard, a scientist played by Truffaut, to teach language to a wild child. It covers the semiological debate that was current in the 70s’ about the origins of language. The analysis follows the sober and condensed codification manifest in the film, which marks a turning point in Truffaut’s stylistic evolution. Shot by shot analysis: At night, from inside the house, Itard watches at night the child under the moon.
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Gillain, Anne. "The Woman Next Door (1981)". W Totally Truffaut, 261–76. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.003.0022.

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The re-emergence of a past relationship brings chaos into the life of two married couples. One of Truffaut’s most perfect films, the pervasive presence of “memorial shots” creates an intensely claustrophobic atmosphere. Each of these memorial shot is analyzed in details. The main feminine figure, played by Fanny Ardant, experiences what Truffaut used to call “le trou noir”, a mental collapse already described in Two English Girls and The Story of Adèle H. Shot by shot analysis: The last meeting between the two lovers that will result in tragedy.
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Hamilton, James W. "François Truffaut". W A Psychoanalytic Approach to Visual Artists, 135–66. Routledge, 2018. http://dx.doi.org/10.4324/9780429471452-8.

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"Truffaut, François". W Encyclopedia of Contemporary French Culture, 560–61. Routledge, 2002. http://dx.doi.org/10.4324/9780203003305-93.

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"FRANÇOIS TRUFFAUT:". W Studying French Cinema, 23–46. Auteur, 2013. http://dx.doi.org/10.2307/j.ctv13841k3.4.

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"Individuation (Truffaut)". W Alone with Others, 83–100. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781009363259.006.

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Streszczenia konferencji na temat "Truffaut"

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Nunes, Cátia Brito dos Santos, JORGE GARCÍA MARÍN i JOÃO DIOGENES FERREIRA DOS SANTOS. "MEMÓRIA E LUGAR DE MEMÓRIA EM RICOEUR: NARRATIVA DE TRUFFAUT SOBRE A ESCOLA". W III Congresso Brasileiro de Educação a Distância On-line. Revista Multidisciplinar de Educação e Meio Ambiente, 2023. http://dx.doi.org/10.51189/iii-conbraed/13979.

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Tu, Landuo, Xintong Wang, Qinrui Zhang i Xiaohan Zhang. "The Technique of the French New Wave: Bazin and Truffaut in the 400 Blows". W 2022 3rd International Conference on Mental Health, Education and Human Development (MHEHD 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220704.230.

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Raporty organizacyjne na temat "Truffaut"

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Galenson, David, i Joshua Kotin. From the New Wave to the New Hollywood: The Life Cycles of Important Movie Directors from Godard and Truffaut to Spielberg and Eastwood. Cambridge, MA: National Bureau of Economic Research, czerwiec 2008. http://dx.doi.org/10.3386/w14150.

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