But his personal story—from which he drew extensively to create the characters and plots of his films—is itself an extraordinary human drama. Now, with captivating immediacy, Antoine de Baecque and Serge Toubiana give us the definitive story of this beloved artist. They begin with the unwanted, mischievous child who learned to love movies and books as an escape from sadness and confusion: as a boy, Francois came to identify with screen characters and to worship actresses. Following his early adult years as a journalist, during which he gained fame as France's most iconoclastic film critic, the obsessive prodigy began to make films of his own, and before he was thirty, notched the two masterpieces The 400 Blows and Jules and Jim. As Truffaut's dazzling body of work evolves, in the shadow of the politics of his day, including the student uprisings of 1968, we watch him learning the lessons of his masters Fellini and Hitchcock. And we witness the progress of his often tempestuous personal relationships, including his violent falling-out with Jean-Luc Godard (who owed Truffaut the idea for Breathless) and his rapturous love affairs with the many glamorous actresses he directed, among them Jacqueline Bisset and Jeanne Moreau. With Fanny Ardant, Truffaut had a child only thirteen months before dying of a brain tumor at the age of fifty-two. Here is a life of astonishing emotional range, from the anguish of severe depression to the exaltation of Oscar victory. Based on unprecedented access to Truffaut's papers, including notes toward an unwritten autobiography, de Baecque and Toubiana's richly detailed work is an incomparably authoritative revelation of a singular genius.

    Founded in 1951, it was responsible for establishing film as the ‘seventh art,’ equal to literature, painting or music, and it revolutionized film-making and writing. Its contributors would put their words into action: the likes of Godard, Truffaut, Rivette, Rohmer were to become some of the greatest directors of the age, their films part of the internationally celebrated nouvelle vague.In this authoritative new history, Emilie Bickerton explores the evolution and impact of Cahiers du Cinéma, from its early years, to its late-sixties radicalization, its internationalization, and its response to the television age of the seventies and eighties. Showing how the story of Cahiers continues to resonate with critics, practitioners and the film-going public, A Short History of Cahiers du Cinéma is a testimony to the extraordinary legacy and archive these ‘collected pages of a notebook’ have provided for the world of cinema.

    A History of the French New Wave Cinema offers a fresh look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the most important New Wave movies of the late 1950s and early 1960s.Richard Neupert first tracks the precursors to New Wave cinema, showing how they provided blueprints for those who would follow. He then demonstrates that it was a core group of critics-turned-directors from the magazine Cahiers du Cinéma—especially François Truffaut, Claude Chabrol, and Jean-Luc Godard—who really revealed that filmmaking was changing forever. Later, their cohorts Eric Rohmer, Jacques Rivette, Jacques Doniol-Valcroze, and Pierre Kast continued in their own unique ways to expand the range and depth of the New Wave. In an exciting new chapter, Neupert explores the subgroup of French film practice known as the Left Bank Group, which included directors such as Alain Resnais and Agnès Varda. With the addition of this new material and an updated conclusion, Neupert presents a comprehensive review of the stunning variety of movies to come out of this important era in filmmaking.

    Outlines the essential traits of the New Wave and defines it as a school that changed international film history forever. Includes a chronology of major political and cultural events of the New Wave, black-and-white images, and an extensive bibliography.

    Among filmmakers and film buffs, Cassavetes is revered, almost as a god. A major star of live television and a serious actor, he stumbled into making his first film, Shadows, and created a template for working outside the Hollywood system that would produce some of the most piercing and human films of the last thirty years including A Woman Under the Influence and Husbands. He became the prototypical outsider fighting the system for much of his career. Film critic Marshall Fine had unprecendented access to Cassavetes' wife, Gena Rowlands, and other members of their inner circle, as well as industry insiders who worked with Cassavetes -- some speaking publicly for the first time. Together, they tell his daring, tumultuous, and compelling story.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

    Explore every centimeter of Paris, from the top of the Eiffel Tower to the ancient catacombs below the city: with Rick Steves on your side, Paris can be yours! Inside Rick Steves Paris 2019 you'll find: Comprehensive coverage for spending a week or more exploring Paris Rick's strategic advice on how to get the most out of your time and money, with rankings of his must-see favorites Top sights and hidden gems, from Notre-Dame, the Louvre, and the Palace of Versailles to where to find the perfect croissant How to connect with culture: Stroll along the Seine, marvel at the works of Degas and Monet, and sip café au lait at a streetside café Beat the crowds, skip the lines, and avoid tourist traps with Rick's candid, humorous insight The best places to eat, sleep, and relax with a glass of vin rouge Self-guided walking tours of lively neighborhoods and incredible museums and churches Detailed maps, including a fold-out map for exploring on the go Useful resources including a packing list, French phrase book, a historical overview, and recommended reading Over 700 bible-thin pages include everything worth seeing without weighing you down Annually updated information on the Historic Core, Left Bank, Opera Neighborhood, Champs-Elysees, the Marais, Montmartre, and more, plus day trips to Versailles, Chartres, Giverny, and Auvers-sur-Oise Make the most of every day and every dollar with Rick Steves Paris 2019. Spending just a few days in the city? Try Rick Steves Pocket Paris.

    This book argues that in several respects Kubrick was one of the cinema's last modernists.

    The book traces his immense impact on the portrayal of the leading stars year by year, from his arrival in California in 1925 until his departure in 1943. During that time he photographed all of the greatest personalities, at Metro-Goldwyn-Mayer, Warner Brothers, and Columbia as well as independently. The prints come from the Chapman Collection, one of the most extensive archives of original Hurrell photographs in the world, and they include a number of rarities and surprises. Although some photos by Hurrell are familiar and frequently reproduced, most of the images in this book will come as a revelation, since they have not been published in over half a century. The genesis of the pictures is examined in a remarkable text by Mark A. Vieira, himself a highly regarded portrait photographer, who came to know Hurrell well during the photographer's later years. Vieira explains in detail Hurrell's technical feats of lighting and retouching. And drawing on firsthand accounts, he vividly re-creates the lively interplay between the photographer and his subjects at the shooting sessions in which these portraits were taken.

    Paris in Color author Nichole Robertson turns her lens onto spots both legendary and little-known, highlighting quiet moments that every booklover savors—inviting cafe scenes, comfy chairs, enticing book nooks—and the weathered charm of places steeped in centuries of literary history. Quotes by great writers such as Balzac and Colette are interspersed throughout, while a timeline and an index of featured locations round out the volume. This bijou treasure of a book will inspire every creative soul who dreams of following in the footsteps of their literary heroes.

    Based on six years of research and hundreds of interviews—including conversations with Dietrich herself—this is the last, best word on one of the century's greatest movie actresses and performers, an icon who embodied glamour and sophistication for audiences around the globe.

    His endlessly touching and romantic films -- always tinged by a touch of reflective sadness -- made him one of France's favorite and most successful directors. This book traces Truffaut's career and includes rare images drawn from his archives.

    Despite his on-screen persona, Niven wasn’t always the perfect gentleman. He was insecure both privately and professionally and used people to get ahead. But he did, he said, ‘at least try to be a decent man.’ He knew he often failed, although it isn’t easy to find people who ever had a bad word to say about him. In this fascinating biography of the star, Munn looks at the funny stories and the sad underlying truth, from his outrageous days with Errol Flynn and their irrevocable split –‘You always know where you are with Flynn. He always lets you down’ – and numerous affairs with stars and prostitutes, to an attempted suicide, his horrific experiences in war-torn France and the breakdown and blame of his second marriage. This compelling text includes interviews with his second wife, Hjordis, John Huston, Rex Harrison, Laurence Olivier, Loretta Young (they discussed marriage once), Niven’s long-time friend Michael Trubshawe, Peter Ustinov, Ava Gardner and many more.

    French, half-Jewish, born in Germany, Simone Signoret is not only an actress but also a political activist, a wife, and a mother. With amazing frankness, she highlights her roles in her celebrated films; her marriage to singer and actor Yves Montand; her trip to Russia and her meeting with Nitika Khruschev; her life in New York and Hollywood; and, above all, her friendships with famous people.

    accompanied by evocative illustrations, it is an intimate and unapologetically personal journey through a life the way we remember them, as Keaton puts it "chaotic, fragmented and often grammatically incorrect".