From Wikipedia, the free encyclopedia (Redirected from My Journey Through French Cinema) Bertrand Tavernier (25 April 1941 – 25 March 2021) was a French director, screenwriter, actor and producer.https://en.wikipedia.org/wiki/My_Journey_Through_French_Cinema
From Wikipedia, the free encyclopedia (Redirected from My Journey Through French Cinema) Bertrand Tavernier (25 April 1941 – 25 March 2021) was a French director, screenwriter, actor and producer.YearTitleRoleNotes2016Lumière ! L'aventure commenceProducerDocumentary2016Voyage à travers le cinéma français / My ...Director & ProducerDocumentary Nominated - Cannes Film ...2013The French Minister (French: Quai ...Director, Writer & ActorSan Sebastián International Film Festival ...2010Director & WriterPhiladelphia Film Festival - Audience ...
- 25 March 2021 (aged 79), Sainte-Maxime, France
- Film director, producer, screenwriter, actor
- 25 April 1941, Lyon, France
Oct 12, 2016 · My Journey Through French Cinema: Directed by Bertrand Tavernier. With Bertrand Tavernier, François Truffaut, Jean-Paul Gaultier, Jean Renoir. Bertrand Tavernier's personal journey through French cinema, from films he enjoyed as a boy to his own early career, told through portraits of key creative figures.
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“My Journey Through French Cinema” is a guided tour by director Bertrand Tavernier of France’s film history. Tavernier became an internationally acclaimed director with his first feature, “The Clockmaker” (1974), and in the 40 years-plus since, he has created the motion pictures, “The Judge and the Assassin,” “Coup de Torchon,” and “A Sunday in the Country.”
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Jun 23, 2017 · Bertrand Tavernier ’s “My Through Journey Through French Cinema,” like the two Martin Scorsese first-person docs that obviously inspired it, “Personal Journey Through American Cinema” and “My Voyage to Italian Cinema,” isn’t about the filmmaker’s own career but about the cinephilia that preceded and influenced it.
Jun 23, 2017 · My Journey through French Cinema. Directed by Bertrand Tavernier. Written by Bertrand Tavernier. Theatrical Release date June 23, 2017. Run time 195 min.
This is a list of French film directors This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources .
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At a meeting of the Astronomy Club, its president, Professor Barbenfouillis,[b][c] proposes an expedition to the Moon. After addressing some dissent, five other brave astronomers—Nostradamus,[d] Alcofrisbas,[e] Omega, Micromegas,[f] and Parafaragaramus—agree to the plan. A space capsule in the shape of a bullet is built, along with a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by a bevy of young women in sailors' outfits. The Man in the Moon watches the capsule as it approaches, and it hits him in the eye.[g] Landing safely on the Moon, the astronomers get out of the capsule (without the need of space suits or breathing apparatus) and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a comet passes, the Big Dipper appears with human faces peering out of each star, old Saturn leans out of a window in his rin...
When A Trip to the Moon was made, film actors performed anonymously and no credits were given; the practice of supplying opening and closing credits in films was a later innovation.Nonetheless, the following cast details can be reconstructed from available evidence: 1. Georges Méliès as Professor Barbenfouillis. Méliès, a pioneering French film-maker and magician now generally regarded as the first person to recognise the potential of narrative film, had already achieved considerable success with his film versions of Cinderella (1899) and Joan of Arc (1900). His extensive involvement in all of his films as director, producer, writer, designer, technician, publicist, editor, and often actor makes him one of the first cinematic auteurs. Speaking about his work late in life, Méliès commented: "The greatest difficulty in realising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not yet exist."All told,...
When asked in 1930 what inspired him for A Trip to the Moon, Méliès credited Jules Verne's novels From the Earth to the Moon (1865) and Around the Moon (1870). Cinema historians, the mid-20th-century French writer Georges Sadoul first among them, have frequently suggested H. G. Wells's The First Men in the Moon(1901), a French translation of which was published a few months before Méliès made the film, as another likely influence. Sadoul argued that the first half of the film (up to the shoot...
As the science writer Ron Miller notes, A Trip to the Moon was one of the most complex films that Méliès had made, and employed "every trick he had learned or invented". It was his longest film at the time;[i] both the budget and filming duration were unusually lavish, costing ₣10,000 to make and taking three months to complete. The camera operators were Théophile Michault and Lucien Tainguy, who worked on a daily basis with Méliès as salaried employees for the Star Film Company. In addition...
As with at least 4% of Méliès's output (including major films such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville), some prints of A Trip to the Moon were individually hand-colored by Élisabeth Thuillier's coloring lab in Paris. Thuillier, a former colorist of glass and celluloid products, directed a studio of two hundred people painting directly on film stock with brushes, in the colors she chose and specified. Each worker was assigned a different color in as...
The film's style, like that of most of Méliès's other films, is deliberately theatrical. The stage set is highly stylised, recalling the traditions of the 19th-century stage, and is filmed by a stationary camera, placed to evoke the perspective of an audience member sitting in a theatre.[j]This stylistic choice was one of Méliès's first and biggest innovations. Although he had initially followed the popular trend of the time by making mainly actuality films (short "slice of life" documentary films capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his scènes composées or "artificially arranged scenes". The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French féerie stage tradition, known for their fantasy plots and spectacular visuals, including lavish scenery and mechani...
With its pioneering use of themes of scientific ambition and discovery, A Trip to the Moon is sometimes described as the first science fiction film.[l] A Short History of Film argues that it codified "many of the basic generic situations that are still used in science fiction films today". However, several other genre designations are possible; Méliès himself advertised the film as a pièce à grand spectacle, a term referring to a type of spectacular Parisian stage extravaganza popularised by Jules Verne and Adolphe d'Ennery in the second half of the nineteenth century. Richard Abel describes the film as belonging to the féerie genre, as does Frank Kessler. It can also be described simply as a trick film, a catch-all term for the popular early film genre of innovative, special effects-filled shorts—a genre Méliès himself had codified and popularised in his earlier works. A Trip to the Moon is highly satirical in tone, poking fun at nineteenth-century science by exaggerating it in the...
Méliès, who had begun A Trip to the Moon in May 1902, finished the film in August of that year and began selling prints to French distributors in the same month. From September through December 1902, a hand-colored print of A Trip to the Moon was screened at Méliès's Théâtre Robert-Houdin in Paris. The film was shown after Saturday and Thursday matinee performances by Méliès's colleague and fellow magician, Jules-Eugène Legris, who appeared as the leader of the parade in the two final scenes. Méliès sold black-and-white and color prints of the film through his Star Film Company, where the film was assigned the catalogue number 399–411[m] and given the descriptive subtitle Pièce à grand spectacle en 30 tableaux.[n] In France, black-and-white prints sold for ₣560, and hand-colored prints for ₣1,000. Méliès also sold the film indirectly through Charles Urban's Warwick Trading Companyin London. Many circumstances surrounding the film—including its unusual budget, length, and production...
According to Méliès's memoirs, his initial attempts to sell A Trip to the Moon to French fairground exhibitors met with failure because of the film's unusually high price. Finally, Méliès offered to let one such exhibitor borrow a print of the film to screen for free. The applause from the very first showing was so enthusiastic that fairgoers kept the theatre packed until midnight. The exhibitor bought the film immediately, and when he was reminded of his initial reluctance he even offered to add ₣200 to compensate "for [Méliès's] inconvenience." The film was a pronounced success in France, running uninterrupted at the Olympiamusic hall in Paris for several months. A Trip to the Moon was met with especially large enthusiasm in the United States, where (to Méliès's chagrin) its piracy by Lubin, Selig, Edison and others gave it wide distribution. Exhibitors in New York City, Washington, D.C., Cleveland, Detroit, New Orleans, and Kansas City reported on the film's great success in thei...
After Méliès's financial difficulties and decline, most copies of his prints were lost. In 1917, his offices were occupied by the French military, who melted down many of Méliès's films to gather the traces of silver from the film stock and make boot heels from the celluloid. When the Théâtre Robert-Houdin was demolished in 1923, the prints kept there were sold by weight to a vendor of second-hand film. Finally, in that same year, Méliès had a moment of anger and burned all his remaining nega...
No hand-colored prints of A Trip to the Moon were known to survive until 1993, when one was given to the Filmoteca de Catalunya by an anonymous donor as part of a collection of two hundred silent films. It is unknown whether this version, a hand-colored print struck from a second-generation negative, was colored by Elisabeth Thuillier's lab, but the perforations used imply that the copy was made before 1906. The flag waved during the launching scene in this copy is colored to resemble the fla...
As A Short History of Film notes, A Trip to the Moon combined "spectacle, sensation, and technical wizardry to create a cosmic fantasy that was an international sensation." It was profoundly influential on later filmmakers, bringing creativity to the cinematic medium and offering fantasy for pure entertainment, a rare goal in film at the time. In addition, Méliès's innovative editing and special effects techniques were widely imitated and became important elements of the medium. The film also spurred on the development of cinematic science fiction and fantasy by demonstrating that scientific themes worked on the screen and that reality could be transformed by the camera. In a 1940 interview, Edwin S. Porter said that it was by seeing A Trip to the Moon and other Méliès films that he "came to the conclusion that a picture telling a story might draw the customers back to the theatres, and set to work in this direction." Similarly, D. W. Griffith said simply of Méliès: "I owe him every...
The Hundred-Foot Journey is a 2014 American comedy-drama film directed by Lasse Hallström from a screenplay written by Steven Knight, adapted from Richard Morais' 2010 novel of the same name. The film stars Helen Mirren , Om Puri , Manish Dayal and Charlotte Le Bon and is about a battle of two restaurants in a French village: one by an Indian ...