104 | 2024
La Nouvelle Vague à la lettre (vol. 2)
Edited by Hélène Frazik, David Vasse and Julie Wolkenstein
What was the relationship between the filmmakers of the New Wave and novelistic or theatrical literature, reading, epistolary or critical writing, renewing the relationship between text and image? How did Truffaut, Godard, Rohmer, Chabrol, Rivette, Varda and the others tirelessly draw on their readings as material for their creations? How did they direct their favourite fictions without necessarily adapting them? This second volume focuses, using specific examples, on the presence of the letter in all its forms in the films of the New Wave filmmakers: their conception and practice of literary adaptation on the one hand, and their ways of materially inscribing the text in the image on the other.
-
Introduction [Full text]Introduction
-
Et pourtant ils tournent… des adaptations
-
Truffaut and the Detective Novel: The Printer's Série Noire
-
An Actress’s Novel: Madame Bovary by Claude Chabrol and Isabelle Huppert
-
History from Afar. Around L’Anglaise et le Duc by Éric Rohmer
-
“[...] these book fires that I’m going to have so much fun filming”. Fahrenheit 451 by François Truffaut
-
Adaptation as Thematic Variation: The Works of Henry James in François Truffaut’s The Green Room
-
-
L’écrit à l’écran
-
From One Bank to the Other. New Wave Credits
-
Écrit dans les coins pour liaisons secrètes : se passer le (petit) mot dans les films de François Truffaut [Full text]Written Somewhere for Secret Liaisons: Passing the (Little) Note in the Films of François Truffaut
-
Writing and Sending Images: Truffaut and Epistolary Exchanges
-
Forgery and Fraud in Claude Chabrol’s films
-
Luc Moullet et le littéral [Full text]Luc Moullet and the Literal
-
The Open Letter Device in Letter to Jane (1972)
-
RSS feed