Download François Truffaut and Friends: Modernism, Sexuality, and by Robert Stam PDF

By Robert Stam

One of François Truffaut's so much poignantly memorable motion pictures, Jules and Jim, tailored a singular by way of the French author and artwork collector Henri-Pierre Roch. The characters and occasions of the Sixties movie have been in line with a real-life romantic triangle, all started in the summertime of 1920, which concerned Roch himself, the German-Jewish author Franz Hessel, and his spouse, the journalist Helen Grund.

Drawing in this movie and others by way of Truffaut, Robert Stam offers the 1st in-depth exam of the multifaceted dating among Truffaut and Roch. within the technique, he presents a special lens during which to appreciate how model works-from heritage to novel, and finally to film-and how each one kind of expression is inflected by means of the interval during which it truly is created. Truffaut's variation of Roch's paintings, Stam indicates, demonstrates how reworkings might be even more than just copies in their originals; really, they could turn into an immensely artistic enterprise-a kind of writing in itself.

The booklet additionally strikes past Truffaut's movie and the mnage--trois regarding Roch, Hessel, and Grund to discover the intertwined lives and paintings of alternative recognized artists and intellectuals, together with Marcel Duchamp, Walter Benjamin, and Charlotte Wolff. Tracing the tangled webs that associated those members' lives, Stam opens the door to an erotic/writerly territory the place the advanced interaction of assorted inventive sensibilities-all mulling over an analogous nucleus of emotions and events-vividly comes alive.

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Additional info for François Truffaut and Friends: Modernism, Sexuality, and Film Adaptation

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Even after marrying Madeleine Morgenstern, Truffaut continued his old liaisons and initiated new ones, even while continuing to visit prostitutes. Roché and Truffaut also shared an eroticized gaze on art. For both, art-related activities became the locus for sexual encounters. Just as Roché met women through art connoisseurship, Truffaut met women through the cinéclubs and at the cinémathèque. Roché’s love of art was inextricably linked with his pursuit of women. His passions came wrapped in the aura of art, as he sought out women in art schools and academies, ateliers and salons.

He also developed the habit of using writing as an invaluable instrument of seduction. ” In Ian MacKillop’s account, this scheme “worked spectacularly: in one day alone Jo and Pierre received a hundred replies, so they rented a back room at a café to spread out the letters into categories and discuss tactics. ”¹⁰ Roché kept careful records of his exploits. Public writing served to initiate conquests, while private diary writing allowed him to register his private impressions of conquests already achieved.

The son’s thoughts about his mother’s sexuality remind us of Hamlet’s anguished imaginings of his mother as a sexual being. It is possible to speak, in Roché’s case, of a kind of transformational grammar of eroticism, a predictable and interlocking series of elements constantly reconfigured in surface appearance but always prolonging the same substratal matrix. This matrix includes the various elements that Roché conceives as necessary to his narcissistic sense of well-being: close male friendship (successively with Jouanin, Marcel Duchamp, 33 fr a nçois tru ffau t a n d fr ien ds Franz Hessel); the reliable companionship of patient, long-suffering, wifelike figures (Germaine Bonnard, Denise Renard); strong, passionate mistress figures (Helen Grund, Marie Laurencin); an endless series of more or less meaningless love affairs, all conducted under the surveillance of the mother, as the panoptical “warden” scrutinizing her son in the cramped cells of his lovemaking.

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