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・ Maurice Peeters
・ Maurice Pelling
・ Maurice Peoples
・ Maurice Peress
・ Maurice Perrault
・ Maurice Perrin
・ Maurice Perrin (cyclist)
・ Maurice Perrin (physician)
・ Maurice Persat
・ Maurice Peston, Baron Peston
・ Maurice Peterson
・ Maurice Petherick
・ Maurice Petty
・ Maurice Philippe
・ Maurice Philipperon
Maurice Pialat
・ Maurice Pic
・ Maurice Picon
・ Maurice Piette
・ Maurice Pillard Verneuil
・ Maurice Piot
・ Maurice Piron
・ Maurice Pivar
・ Maurice Plantier
・ Maurice Podoloff
・ Maurice Poli
・ Maurice Pollack
・ Maurice Ponga
・ Maurice Pope
・ Maurice Pope (linguist)


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Maurice Pialat : ウィキペディア英語版
Maurice Pialat

Maurice Pialat (31 August 1925 – 11 January 2003) was a French film director, screenwriter and actor noted for the rigorous and unsentimental style of his films. His work is often described as being "realist",〔(Maurice Pialat: A Cinema of Surrender ) at Rouge〕 though many film critics〔〔(Tribute to Maurice Pialat ) at Senses of Cinema〕 acknowledge that it does not fit the traditional definition of realism.
==Life and career==
Pialat originally intended to become a painter, but met with little success.〔(Lightning in a Bottle ) at ''Film Comment''〕 Having acquired a camera at age 16, he tried his hand at documentary films before making his first notable short, ''L'Amour existe'', in 1960.
Pialat came to filmmaking late. He directed his feature-length debut, 1969's ''L'Enfance Nue'' (''The Naked Childhood'') at the age of 44. The film, which was co-produced by French New Wave director François Truffaut, won the Prix Jean Vigo.
During his 35-year career, Pialat completed only ten major features, many of which—most notably ''Loulou''—have been interpreted as being autobiographical. He directed Gérard Depardieu in four films: ''Loulou'', ''Police'', ''Sous le soleil de Satan'' (''Under the Sun of Satan''), for which Pialat won the Palme d'Or at the 1987 Cannes Film Festival and "Le Garcu" in 1995.
In a posthumous tribute written for the French film magazine ''Positif'', critic Noël Herpe referred to Pialat's style as "a naturalism that was born of formalism."〔 In English-language film criticism, he is often compared to his American contemporary John Cassavetes.〔〔(Maurice Pialat at John Cassavetes ) at Senses of Cinema
Summarizing Pialat's stance as a filmmaker in a profile for ''Film Comment'', critic Kent Jones wrote: "To say that Pialat marched to the beat of a different drummer is to put it mildly. In fact, he didn't really march at all. He ambled, and fuck anybody who got it into their head that they'd like to amble along with him. Or behind him. Or ahead of him."〔

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