Philippe Garrel - (French Film Directors) by Michael Leonard (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>Described by Deleuze as 'one of the greatest modern auteurs', Philippe Garrel is perhaps the most significant filmmaker to emerge in France after the New Wave. This study offers an overview of his work, exploring its intersections with avant-gardes including the Situationists, Surrealism, Arte Povera and the American Underground.<p/><br></br><p><b> Book Synopsis </b></p></br></br>Described by Giles Deleuze as 'one of the greatest modern auteurs', Philippe Garrel is widely acknowledged as the most significant filmmaker to emerge in France after the New Wave. His deeply personal cinema traces the troubled sentimental lives of couples, exploring the relationship between art and political struggle. This study observes the eclecticism of the director's influences, looking to avant-garde movements such as the Situationists, Surrealism, Arte Povera and the American Underground, in order to explore his original body of work. Consideration is also given to Garrel's relationship with other members of the so-called 'post-New Wave', including Jean Eustache and Chantal Akerman. The first book on Garrel's cinema to appear in English, it will appeal to Garrel enthusiasts as well as to students and lecturers specialising in film studies or French studies.<p/><br></br><p><b> From the Back Cover </b></p></br></br>'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 <i>L'Enfant Secret</i> (1979), <i>J'entends Plus la Guitare</i> (1991), <i>Sauvage Innocence</i> (2001) and <i>Les Amants Réguliers</i> (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 Garrel's 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, <i>Arte Povera</i> and the American underground. Acknowledging Garrel's 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.<p/><br></br><p><b> Review Quotes </b></p></br></br><br>'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 <i>Le Lit de la vierge</i> and <i>La Cicatrice intérieure</i>.' Modern & Contemporary France<br><p/><br></br><p><b> About the Author </b></p></br></br>Michael Leonard teaches at the Sorbonne Université, Paris
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