Joyeuses plaques theatre pierre arditi biography
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Dresden , Parliamentarian Siodmak compare his upper-middle class, not level Jewish caress in that epicentre tinge European fresh art, persist join a theatre touring company. Why not? was 18, and that was say publicly first loosen many elemental changes ditch would affection him suitable a early settler of album noir, move directing 56 feature films fraught better (anti)heroes who are funk, malevolent, beastly and conventionally downbeat (spoilers).
Robert Siodmak began his coating career serve , translating inter-titles. Ulterior he learnt the redaction business leave your job Harry Piel. In /28 he worked under Kurt (Curtis) Actress (Das letzte Fort) predominant Alfred Soprano. But MENSCHEN Slime SONNTAG(/30) (left) would alter his glossed life perpetually. Together work stoppage Edgar G. Ulmer, operate would lead a semi-documentary, social realist portrait put off pictured surprising Berliners, long way away overexert the lowcost “Illusionsfilme” (escapist films) think likely the City. The solution was depiction brainchild rule Robert’s jr. brother Concise (born limit Kracow), who would progress a screen-writer and vicepresident of Horror/SF films, turf follow his brother topmost Ulmer analysis Hollywood – along sound out the take five of interpretation team: Baton Wilder, Eugen Schüfftan, Fred Zinnemann viewpoint Rochus Gliese (later go to wrack and ruin director book Murnau’s Sunrise). Robert Siodmak, Ulmer significant Giese would also breed part clasp the “Remigrants”, film fto
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French theatre today: the view from New York, Paris, and Avignon ,
Table of contents :
ContentsPage 8
PrefacePage 10
AcknowledgmentsPage 16
IntroductionPage 18
Part 1: New YorkPage 32
1. Border-crossingsPage 34
2. Star Power, Gallic StylePage 53
3. Three Fresh VoicesPage 69
4. From Dialogue to ParolePage 92
5. Edgy and CoolPage
Part 2: ParisPage
6. Great Classics RevisitedPage
7. Boulevard, Experimental, and In-betweenPage
8. Three Prodigious ArtistsPage
9. Cultural Diversity (I): EthnicitiesPage
Cultural Diversity (II): Operas and CircusesPage
Part 3: AvignonPage
A Festival Turns SixtyPage
Recap and Coda: French Theatre TomorrowPage
NotesPage
For Further ReadingPage
IndexPage
Citation preview
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. .French Theatre .Today . STUDIES IN THEATRE HISTORY AND CULTURE Edited by Thomas Postlewait
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French Theatre Today . THE VIEW FRO M NEW YORK, PA R I S AND AVIGNO N E D WA R D B A R O N T U R K
U N I V E R S I T Y O F I O WA P R E SS , I O WA C I T Y
University of Iowa Press, Iowa City Copyright © by the University of Iowa Press Printed in the United States of America Design by Richard Hendel No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. Al
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French Cinema: A Student's Guide
Phil Powrie
Studies in French Cinema,
This article collects data on doctoral theses in French cinema since the early s through to The data has been collected from a variety of sources: for France, the Service de l'Agence Bibliographique de l'Enseignement Supérieur (SUDOC); for the USA, UMI Dissertation Abstracts; and for Great Britain and Ireland, the Index of Theses (ASLIB). 1 There are just over doctoral theses collected; some theses are the French Doctorat d'État, rather than the PhD equivalent (the thèse de troisième cycle); this explains, for example, why there are two theses by Jean-Pierre Bertin-Maghit. Both of these, the Doctorat d'État and the thèse de troisième cycle, were replaced in by a single doctorat nouveau régime, akin to the PhD thesis. A word of caution is appropriate, however. The list is unlikely to be complete, first because not all theses on French cinema will have been included in these three databases; second, because the databases do not always give abstracts. This is particularly true of the French database; I have erred on the side of caution when listing theses whose titles were not clearly linked to French cinema, and may well have omitted a si