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Balzac reframedthe classical and mod...

Balzac, Honore de, (1799-1850)

Balzac reframedthe classical and modern faces of Eric Rohmer and Jacques Rivette /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Balzac reframedby Zahra Tavassoli Zea.
Reminder of title:	the classical and modern faces of Eric Rohmer and Jacques Rivette /
Author:	Tavassoli Zea, Zahra.
Published:	Cham :Springer International Publishing :2019.
Description:	xi, 230 p. :ill., digital ;24 cm.
Contained By:	Springer eBooks
Subject:	New wave filmsFrance.
Online resource:	https://doi.org/10.1007/978-3-030-30615-1
ISBN:	9783030306151$q(electronic bk.)

Balzac reframedthe classical and modern faces of Eric Rohmer and Jacques Rivette /
Tavassoli Zea, Zahra.

Balzac reframedthe classical and modern faces of Eric Rohmer and Jacques Rivette /[electronic resource] :by Zahra Tavassoli Zea. - Cham :Springer International Publishing :2019. - xi, 230 p. :ill., digital ;24 cm. - Palgrave studies in adaptation and visual culture. - Palgrave studies in adaptation and visual culture..

1. Introduction: Balzac and the Nouvelle Vague -- 2. Rohmer: Reader and Imitator of Balzac -- 3. Poetry and Reality of the Historical Image -- 4. Balzac and Rivette: Continuity and Deflection -- 5. Modern Mythographer -- 6. Conclusion: Balzac's Multifaceted Legacy.

This book examines the theoretical affiliations between the most notable proponent of literary realism, Honore de Balzac, and two understated but key representatives of the French New Wave, Eric Rohmer and Jacques Rivette. It argues that their film criticism, which gradually led to the establishment of a common aesthetic vision of cinema (the "politique des auteurs"), owes more to Balzac and the nineteenth-century novel than to any intellectual trend of the immediate post-war period. By considering the films of Rohmer and Rivette as an extension of their writings (essays, film reviews, scriptwriting, novels and interviews), this volume analyses the changing and sometimes opposed ways in which they applied Balzacian principles and themes to their cinematic practice. Essentially, it understands the exchange between art forms, past traditions and contemporaneous currents as the overlooked yet common thread that links these three authors, through their own re-appropriations of classical and romantic aesthetics in their explorations of modern French society. In doing so, this study provides further nuance to the "conservative" versus "progressist" rupture that is generally assumed between the two directors, and offers an innovative reading of The Human Comedy in the light of post-war ideas on authorship, film adaptation, classicism and modernism.

ISBN: 9783030306151$q(electronic bk.)

Standard No.: 10.1007/978-3-030-30615-1doiSubjects--Personal Names:

855602
Rohmer, Eric,
1920-2010.Subjects--Topical Terms:

855604
New wave films
--France.

LC Class. No.: PN1995.3 / .T38 2019

Dewey Class. No.: 791.4301

Balzac reframedthe classical and modern faces of Eric Rohmer and Jacques Rivette /
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520 $a This book examines the theoretical affiliations between the most notable proponent of literary realism, Honore de Balzac, and two understated but key representatives of the French New Wave, Eric Rohmer and Jacques Rivette. It argues that their film criticism, which gradually led to the establishment of a common aesthetic vision of cinema (the "politique des auteurs"), owes more to Balzac and the nineteenth-century novel than to any intellectual trend of the immediate post-war period. By considering the films of Rohmer and Rivette as an extension of their writings (essays, film reviews, scriptwriting, novels and interviews), this volume analyses the changing and sometimes opposed ways in which they applied Balzacian principles and themes to their cinematic practice. Essentially, it understands the exchange between art forms, past traditions and contemporaneous currents as the overlooked yet common thread that links these three authors, through their own re-appropriations of classical and romantic aesthetics in their explorations of modern French society. In doing so, this study provides further nuance to the "conservative" versus "progressist" rupture that is generally assumed between the two directors, and offers an innovative reading of The Human Comedy in the light of post-war ideas on authorship, film adaptation, classicism and modernism.
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