Henri-Georges Clouzot / Christopher Lloyd.
Material type: TextSeries: French film directorsPublisher: Manchester ; New York : Manchester University Press, [2007]Distributor: New York, NY : Distributed exclusively in the USA by PalgraveCopyright date: ©2007Description: 1 online resource (viii, 190 pages) : illustrationsContent type:- text
- computer
- online resource
- 9781847791771
- 1847791778
- 9781781701065
- 1781701067
- Clouzot, H.-G. (Henri-Georges) -- Criticism and interpretation
- Clouzot, H.-G. (Henri-Georges)
- Clouzot, Henri-Georges
- Motion picture producers and directors -- France
- Producteurs et réalisateurs de cinéma -- France
- Individual Film Directors, Film-Makers
- PERFORMING ARTS -- Film & Video -- Direction & Production
- PERFORMING ARTS -- Individual Director
- Motion picture producers and directors
- France
- Film
- Regissörer
- Biografier
- 791.430233092 22
- PN1998.3.C662 L56 2007
- 24.32
- digitized 2011 HathiTrust Digital Library committed to preserve
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Includes bibliographical references, filmography and index.
Clouzot and the cinema -- Occupation and its discontents -- Reconstruction and retribution : Clouzot's post-war films -- Beyond genre : Le Salaire de la peur -- Suspense and surveillance : Les Diaboliques and Les Espions -- Filming Picasso and Karajan -- The final films.
Despite his controversial reputation and international notoriety as a film-maker, no full-length study of Clouzot has ever been published in English. This book offers a significant revaluation of Clouzot's achievement, situating his career in the wider context of French cinema and society, and providing detailed and clear analysis of his major films (Le Corbeau, Quai des Orfèvres, Le Salaire de la peur, Les Diaboliques, Le Mystère Picasso). Clouzot's films combine meticulous technical control with sardonic social commentary and the ability to engage and entertain a broad public. Although his films are characterised by an all-controlling perfectionism, allied to documentary veracity and a disturbing bleakness of vision, Clouzot is well aware that his is an art of illusion. His fondness for anatomising social pretence, the deception, violence and cruelty practised by individuals and institutions, drew him repeatedly to the thriller as a convenient and compelling model for plots and characters, but his source texts and the usual conventions of the genre receive distinctly unconventional treatment.
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