This is a comprehensive, original and accessible account of all aspects of Jean Cocteau's work in the cinema. It is the first major study in English to appear for over forty years and casts new light on Cocteau's most celebrated films as well as those often neglected or little known. Jean Cocteau is not only one of French cinema's greatest and most influential auteurs whose wor...
This is a comprehensive, original and accessible account of all aspects of Jean Cocteau's work in the cinema. It is the first major study in English to appear for over forty years and casts new light on Cocteau's most celebrated films as well as those often neglected or little known. Jean Cocteau is not only one of French cinema's greatest and most influential auteurs whose work covered all the major genres but also an experimenter, collaborator, theorist and all-round ambassador of film. This lucid account provides a complete introduction to Cocteau's cinematic project in the context of his entire oeuvre, detailed analysis of individual films, and a thematic engagement with all his cinema from a range of interdisciplinary perspectives. The Cocteau that emerges is at once a materialist filmmaker and visionary who is committed to realism in all its guises and reveals the wonder and mystery of what he called 'the cinematograph'.
作者简介
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詹姆斯·S. 威廉姆斯（James S. Williams），英国伦敦大学皇家霍洛威学院教授，主要研究领域为20世纪法国文学与电影。编著有《同性恋书写在法国：理论、小说与电影，1945— 1995》（Gay Signatures: Gay and Lesbian Theory, Fiction and Film in France,1945-1995，1998）、《重写杜拉斯：电影、种族与性别》（Revisioning Duras: Film, Race, Sex，2000）与《让-吕克·戈达尔》（Jean-Luc Godard，2006）等。
p101: The narrator is lucid and eternally vigilant, yet along with the slightly paranoid fears about the beloved escaping from him via sleep into another world (‘I could kill you when I see you smiling in your sleep!’, ‘I will die, you will live, and that’s what awakens me!’, etc.), there is a strong yearning here for fusion: ‘You hold my body tight with your little strength./ Why are we not a plant with the same bark,/ The same heat, the same colour,/ And whose single flower would be our kiss.'
p112-3: Plunged into complete emotional turmoil, Cocteau withdrew entirely from circulation, leaving Chanel to pay for the funeral and all remaining medical expenses. He would neither visit Radiguet’s dead body nor, on the day of the funeral, join the long procession in pouring rain to Père-Lachai... (查看原文)
Radiguet was forcing the very fruits of his success into his face. Yet in a familiar Cocteau paradox, the more Radiguet appeared dismissive, even contemptuous, towards him, the more Cocteau considered him utterly unique and pure. When in February 1923 the two travelled first to London then Harrow (to visit Reginald Bridgeman) and finally on to Oxford, they behaved more like master and slave: each found the other indispensable but also cloying, and each served to confirm the other’s loneliness. (查看原文)
说实话，译者很用功，但语言功底真是要命了。编辑也太那啥…… google books上基本有全文，我也没空一句句对，只是实在磕得难受了就随手记一下，诸多明显不对但读者能自打补丁或者囫囵吞下的就过吧。 先说编辑问题： 第18页 Le Nouveau Cirque 误为 Le Nouveau-Girque 第27页 ...
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还没人写过短评呢