French New Wave

In first place we will try to perfectly define the context which saw the emergence of
American noir films in France. We will show that these movies especially influenced a certain
kind of people, a few young “cinéphiles” who later became the figureheads of the New Wave.
This first chapter will also allow us to partly erase the general vagueness surrounding noir
films and the New Wave and it will help us to highlight some of their historical connections.
Then, we will focus more accurately on the tangible marks of the legacy of noir films in the
New Wave, as regards both movements’ style, favourite themes and vision of the world.
Finally, our third chapter will show how the New Wave managed to go beyond the influence
of noir films, and how it influenced the American neo-noir production in return.

Caracterización del cine de Claude Lelouch, de su estilo y preocupaciones, de su equívoca caracterización como cineasta aledaño o dependiente de la nouvelle vague, de su pertenencia a una generación de cineastas con mayor raigambre en el realismo poético y el cine de género, de su particular concepción del cine y de la confluencia de todos esos aspectos en el cortometraje que realizó con la cámara Lumiere a fines del siglo pasado.

Les 19 et 20 juillet 2024, l'Holotopia Academy - une académie informelle d'arts, de sciences, de lettres, de philosophie et de musique, créée en 2004 par Alberto del Genio et Emanuel Dimas de Melo Pimenta - a célébré ses vingt ans d'existence, coïncidant avec l'arrivée de l'être humain sur la Lune cinquante-cinq ans plus tôt, dans le cadre du projet Apollo, alors avec Neil Armstrong et Buzz Aldrin. Les célébrations de la création de l'Académie Holotopia ont également compté avec la participation de l'architecte Massimo Pica Ciamarra, de l'expert en aérospatiale Gennaro Russo, du pianiste classique Marco Rapattoni et de l'architecte spatial et compositeur Emanuel Pimenta. La rencontre était également un hommage à Alberto del Genio, médecin et grand connaisseur des arts. L'Holotopia Academy est située sur la Punta Campanella, propriété d'Alberto del Genio et décrite par Homère comme l'endroit où Ulysse a rencontré les Sirènes. La rencontre comprenait également une conférence d'Emanuel Pimenta à la 5e rencontre de design, d'art et de technologie (5_DAT), à l'université Anhembi Morumbi, à São Paulo, au Brésil - une rencontre dirigée par Gilbertto Prado, Mirtes Marins de Oliveira et Suzete Venturelli. Quelques mois plus tôt, les artistes américains William Anastasi et Phill Niblock - grands amis de Pimenta et de del Genio - sont décédés. Ils avaient tous deux participé à l'Holotopia Academy. Dans le cadre de cette rencontre, Emanuel Pimenta a composé deux requiems et créé deux films à la mémoire d'Anastasi et de Niblock. Pour ces requiems, Pimenta a écrit deux textes : Musique de Tempête, à propos d'Anastasi et du concerto 33.33 ; et Âme d'une Ville Nocturne, à propos de Niblock et du concerto Seven Sidereal Sounds. La première mondiale des concerts et des films a eu lieu simultanément à l'Holotopia Academy et à la White Box à New York, sous la direction de Juan Puntes, également ami d'Anastasi et de Niblock.

The essay explores Bazinian Realism in the context of the French New Wave, focusing on how directors like François Truffaut, Jean-Luc Godard, and Alain Resnais applied André Bazin's theories to their filmmaking. It discusses Truffaut's "400 Blows" and its use of camera techniques to evoke the protagonist's emotions, creating a realistic experience that culminates in a freezeframe ending, breaking the film's realism to highlight themes of societal suppression. Godard's "Vivre Sa Vie" is examined for its documentary-like objectivity, segmenting the protagonist's descent into prostitution with intertitles and detached camera movements. Resnais's "Hiroshima Mon Amour" integrates memory and time, using flashbacks and archival imagery to represent collective trauma. The essay concludes that while absolute realism is unattainable, these directors used realism to express their visions and engage audiences in a unique cinematic experience.

We consider a common aspect to three films of French and Brazilian Modern Cinema of 1967-1969: the reutilization of the same piece of music in the beginning and in the end of the film, generally during or in continuity with the credits. Beyond favoring the film formal unity, that repetition implies the procedure of variation and promotes a reconsideration of the film as a whole.
We analyze: Mouchette (Bresson, 1967), Entranced Earth (Glauber Rocha, 1967) and The Beast
Must Die (Chabrol, 1969).

Chollet, Thibault, "À propos de Le songe de B. Soares" (2024). Pessoa Plural—A Journal of Fernando Pessoa Studies. Brown Digital Repository. Brown University Library. https://doi.org/10.26300/6mr0-gw32

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 25

Thibault Chollet
À propos de Le songe de B. Soares
[About Le songe de B. Soares]

https://doi.org/10.26300/6mr0-gw32

RÉSUMÉ

Cette contribution encapsule le voyage créatif de l'adaptation de l'œuvre de Fernando Pessoa dans un court métrage animé, entrelacé de réflexions personnelles sur l'inspiration et le processus artistique. Initialement déclenché par la désillusion avec un projet précédent et alimenté par une profonde connexion avec les écrits de Pessoa, le cinéaste s'est lancé dans une entreprise transformative lors de ses trajets quotidiens en train. À travers des illustrations et des animations méticuleuses, le film est passé d'une quête solitaire à une expression poignante de thèmes existentiels et de résonance émotionnelle. Malgré les défis et les détours créatifs, le projet a abouti à une exploration visuellement riche de la mélancolie et du mouvement, soulignée par une bande sonore évocatrice.

RESUMO

Este contributo encapsula a jornada criativa de adaptação da obra de Fernando Pessoa numa curta-metragem animada, entrelaçada com reflexões pessoais sobre inspiração e processo artístico. Inicialmente desencadeada pela desilusão com um projeto anterior e alimentada por uma profunda conexão com os escritos de Pessoa, o cineasta embarcou em uma iniciativa transformadora durante as viagens diárias de comboio. Através de ilustrações e animações meticulosas, o filme evoluiu de uma busca solitária para uma expressão comovente de temas existenciais e ressonância emocional. Apesar dos desafios e desvios criativos, o projeto culminou em uma exploração visualmente rica da melancolia e movimento, enfatizada por uma trilha sonora evocativa.

ABSTRACT

This contribution encapsulates the creative journey of adapting Fernando Pessoa's work into an animated short film, intertwined with personal reflections on inspiration and artistic process. Initially sparked by disillusionment with a previous project and fueled by a deep connection to Pessoa's writings, the filmmaker embarked on a transformative endeavor during daily train commutes. Through meticulous illustration and animation, the film evolved from a solitary pursuit into a poignant expression of existential themes and emotional resonance. Despite challenges and creative detours, the project culminated in a visually rich exploration of melancholy and movement, underscored by an evocative soundtrack.

BIBLIOGRAPHY

CHOLLET, Thibault (2019). Le Songe de B. Soares. https://vimeo.com/thibaultchollet .
PESSOA, Fernando (2004). Le livre de l'intranquillité. Françoise Laye, traducteur. Édition intégrale. Paris :
Christian Bourgois Editeur.

jurisprudents consider Custom as one of the guidance resources. The analysis of Custom impact on legal concepts and inference of criminal understanding of law and it cannot be denied by lawyers and judges in theory and practice. This article shows that the mental element of crime and factors of criminal responsibility deterioration are not based on abstract criterion. It also determines Custom role on the above mentioned items. Since the should come into discussion. Moreover public manners in society are utilized as a Custom criterion in evaluation of mental factors leading to criminal behavior. Thus, Custom is considered as a mandatory resource.

Film Society Movement in India and its trajectories, spanning from 1947 to 1980. The film society movement initiated and boasted by the prominent Bengali luminaries filmmakers’, such as Chidananda Dasgupta, Satyajit Ray, Bangshi Chandragupta, Harishadhan Dasgupta, Ritwik Ghatak, Mrinal Sen, and later on, a gang of film school alumni, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalakrishnan, Sayed Akhtar Mirza, Girish Kasaravalli, Nirod Mahapatra, Manmohan Mahapatra, Jahnu Barua, etc. were part of it, and alongside a substantial following of film enthusiasts that grew to approximately 100,000 members by 1980. While this movement primarily attracted individuals who regarded themselves as devoted film enthusiasts, it gained momentum through discussions reminiscent of those that animated left-leaning cultural movements originating in late colonial India, especially the Indian People Theatre Movement. It argued that a group of luminaries, those connected to this movement in some capacities, initially had their contributions marked by debates on the cultural and political roles of cinema. The main objectives of film societies were to forge a link between the cinema of the West and Indian art house cinema, as well as Indian audiences, filmmakers, and cinema technicians. After the independence in the second and third five-year plans, the Government of India took the initiative to strengthen the parallel film movement. Their agendas were not only to inspire young people to make but also to perpetuate Indian films in the international film market, where the primary motive would be to make ‘Better films, for Better Audience and Better Society’. So, in this paper, I would like to explore how in the mid-1960s, notable shifts were found within the film societies that shifted the focus to aesthetics rather than a more pronounced political engagement with cinema. Simultaneously, it will also be explained that if it is factually accepted that the central government and other state agencies took affirmative initiatives in introducing and promoting Indian parallel films, why is it assumed that the parallel film movement only addressed the well-educated? If the latter is true, why is it so? Are narrative conventions in art cinema not accessible to those with less education?

Le 6 avril 2024, à "l'Equinoxe - Le cinéma Apollo" de Châteauroux dans le cadre du festival Kino Retro– REMAKE IT ! #2 proposé par Équinoxe – Scène nationale de Châteauroux, Ciclic, Cinémathèque de Bretagne & Cinésia, dans le cadre du Festival Retours vers le Futur 2024.

Depuis le mois de septembre, des débutants, amateurs et professionnels, de tous âges, s'étaient inscrits à la 2e édition du Kino Rétro pour réaliser un film. Ce projet était ouvert à tous avec pour seule règle de produire un court-métrage d'une durée de moins de 5 minutes, avec 50% d'images d'archives, issues des collections de l'agence régionale pour le livre et l'image Ciclic Centre-Val de Loire et de la Cinémathèque de Bretagne, en lien avec le thème du festival « Corps sans limite ». La restitution de ces films inventifs et surprenants donna lieu à une après-midi de projection publique ouverte à tous. Animation, fiction, film de genre, documentaire, performance graphique, tous les styles ont été convoqués. L'après-midi fut animée par quatre "professionnels" du monde du cinéma , ambassadeurs du Kino Rétro.

Film Society Movement in India and its trajectories, spanning from 1947 to 1980. The film society movement initiated and boasted by the prominent Bengali luminaries filmmakers’, such as Chidananda Dasgupta, Satyajit Ray, Bangshi Chandragupta, Harishadhan Dasgupta, Ritwik Ghatak, Mrinal Sen, and later on, a gang of film school alumni, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalakrishnan, Sayed Akhtar Mirza, Girish Kasaravalli, Nirod Mahapatra, Manmohan Mahapatra, Jahnu Barua, etc. were part of it, and alongside a substantial following of film enthusiasts that grew to approximately 100,000 members by 1980. While this movement primarily attracted individuals who regarded themselves as devoted film enthusiasts, it gained momentum through discussions reminiscent of those that animated left-leaning cultural movements originating in late colonial India, especially the Indian People Theatre Movement. It argued that a group of luminaries, those connected to this movement in some capacities, initially had their contributions marked by debates on the cultural and political roles of cinema. The main objectives of film societies were to forge a link between the cinema of the West and Indian art house cinema, as well as Indian audiences, filmmakers, and cinema technicians. After the independence in the second and third five-year plans, the Government of India took the initiative to strengthen the parallel film movement. Their agendas were not only to inspire young people to make but also to perpetuate Indian films in the international film market, where the primary motive would be to make ‘Better films, for Better Audience and Better Society’. So, in this paper, I would like to explore how in the mid-1960s, notable shifts were found within the film societies that shifted the focus to aesthetics rather than a more pronounced political engagement with cinema. Simultaneously, it will also be explained that if it is factually accepted that the central government and other state agencies took affirmative initiatives in introducing and promoting Indian parallel films, why is it assumed that the parallel film movement only addressed the well-educated? If the latter is true, why is it so? Are narrative conventions in art cinema not accessible to those with less education?

The symposium’s critique of the effects of a “measurement culture” and its dominance in regards to epistemology emphasizes a profound crisis within fields we traditionally consider “cultural”. Architecture in particular is effected as it still seeks to break free from humanist paradigms and 20th century modernism to fully embrace a new identity that adequately reflects our strange reality of globalized culture and life in the Anthropocene.1 This paper examines the above problem through a particular focus on what constitutes the real today and how representational techniques and scientific facts have become inseparably linked since modern times. Once we untangle this link and challenge the preeminent status of the factual real (or the paradigm of facts), radically new modes of thinking and making potentially emerge. A revised real attempts to overcome the limitations of causal and fact-based thinking in design and draw up a realism that includes fictional as well as speculative strat...

The dearth of women filmmakers and opportunities for women in the film industry in general has been called to our collective attention in the wake of #Metoo and the debauchery of Harvey Weinstein and his ilk. Since the advent of the moving picture, however, women have had a hand in shaping the industry through their contributions of technique, technology, narrative form, and the unique female perspective of transmuting image into art. Just as autofiction blurs the written word’s demarcation of truth, so, too, do the cinécriture of Agnès Varda and the documentarian’s eye of Márta Mészáros express a fluidity between fact and fiction via-à-vis the camera’s lens. These grandes dames of European cinema both began as documentary filmmakers during the iconoclast years of La Nouvelle Vague which, as a turning point in cinema, marked other European movements from the 1960s onward.

The following essay aims to analyze the perception of the non-conformist woman and her motivations through a comparison of the female protagonists Mona in Agnès Varda’s Vagabond (Sans toit ni loi, 1985), and Kata and Anna in Márta Mészáros’ Adoption (Örökbefogadás, 1975), specifically how her ostracization from a male-dominated society brings about the impetus to create a niche for herself, the dynamic of female-centered friendship, and the inherent dangers of a woman who knows her own mind.

Este artículo es un repaso por la noción de diálogo o encuentro en las artes y el pensamiento de los sesenta y setenta del siglo XX, divididas históricamente por el episodio de 1968. Mantendré que en las artes, lo dialógico representó una estrategia política por partida doble: la conversación y el encuentro eran tanto un vector de ruptura con los modos de entender el hecho artístico, como un procedimiento para construir una presencia corporal y común considerada perdida y/o necesaria. En este itinerario tendré preferencia por el cine aunque aludiré asimismo a la irrupción de lo dialógico en la literatura o la filosofía. Concluiré comentando en qué sentido el diálogo se presenta como una de las claves de la filosofía política actual.