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Philippe Garrel
(livre en anglais)
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Description de l'ouvrage :
This concise but wide-ranging book not only illuminates the work of one of the most distinctive French directors; it is a much needed introduction to post-New Wave French cinema and the underground film scene after May 68. Dominique Jeannerod, Queen's University Belfast Described by Giles Deleuze as one of the greatest modern auteurs, Philippe Garrel is arguably the most significant filmmaker to emerge in France after the New Wave. In a career spanning more than half a century, he has written and directed dozens of films, including L'Enfant Secret (1979), J'entends Plus la Guitare (1991), Sauvage Innocence (2001) and Les Amants Réguliers (2004). His deeply personal cinema traces the troubled sentimental lives of couples while exploring the relationship between art and political struggle in a unique style defined by close-up portraiture and long-durational takes. Challenging the assumption that Garrels work exists in direct continuity with that of Jean-Luc Godard and Francois Truffaut, this book identifies a more radical shift by observing the eclecticism of the influences that the director absorbs and exploits. It interprets his work with reference to contexts beyond French cinema, including avant-garde movements such as the Situationists, Surrealism, Arte Povera and the American underground. Acknowledging Garrels role as an unofficial historian of the so-called post-New Wave, it explores his relationship with other members of this loose film school, including Jean Eustache, Chantal Akerman and Jacques Doillon.
À propos de l'auteur :
Michael Leonard teaches at the Sorbonne Université, Paris
Revue de Presse :
'This monograph is essential reading for anyone interested in the knotty problem of the relationship between art and politics in the post-nouvelle vague, post-'68 era.'
French Studies
'Leonard's contribution to the accessible MUP series is a welcome and long overdue re-introduction to Garrel's rich and challenging work. Alongside technical information and plot summaries Leonard offers instructive contexts and comparisons; as well as the link to the Situationists, mentioned above, Leonard makes judicious use of the Situationist concept and practice of the dérive to capture the nomadic style of films such as Le Lit de la vierge and La Cicatrice intérieure.'
Modern & Contemporary France
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