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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 /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Balzac reframedby Zahra Tavassoli Zea.
其他題名:	the classical and modern faces of Eric Rohmer and Jacques Rivette /
作者:	Tavassoli Zea, Zahra.
出版者:	Cham :Springer International Publishing :2019.
面頁冊數:	xi, 230 p. :ill., digital ;24 cm.
Contained By:	Springer eBooks
標題:	New wave filmsFrance.
電子資源:	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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