La Influencia de François Truffaut en Richard Linklaterlas sagas de Antoine Doinel y "Antes de"

  1. Lucía Tello Díaz
Journal:
Ambitos: Revista internacional de comunicación

ISSN: 1988-5733 1139-1979

Year of publication: 2015

Issue: 30

Type: Article

DOI: 10.12795/AMBITOS.2015.I30.05 DIALNET GOOGLE SCHOLAR lock_openIdus editor

More publications in: Ambitos: Revista internacional de comunicación

Abstract

In 1959 François Truffaut inaugurated a new way of understanding the course of time in films; with Les 400 coups the filmmaker marked the birth of sagas in cinema, being the first filmmaker who accompanied the same character along twenty years. In 1994 Richard Linklater initiated a new saga with Before Sunrise, giving continuity to his characters to this day. From Nouvelle Vague to Generation X, these auteurs propose a new concept of temporal evolution, allowing viewers to witness the growth of a character. With this paper we analyse the common features that make these sagas unique in their kind.

Bibliographic References

  • ANDREW, D; GILLAIN, A (2012). It’s Time for Truffaut. Cineaste 38:1. 4-10. doi: 10.1002/9781118321591.ch12
  • BOZELKA, K (2008). An Interview with Richard Linklater. Velvet Light Trap: A Critical Journal of Film & Television, 61. 51-56.
  • CODELL, J. F (2006). Playing Doctor: François Truffaut’s L’enfant Sauvage and the Auteur/Autobiographer as Impersonator. Biography 29.1. 101-122.
  • CROCE, A (1960). The 400 Blows by François Truffaut. Film Quarterly 13:3. 35-38.
  • CUTLER, A (2013). Love in Time. Julie Delpy, Ethan Hawke, and Richard Linklater’s Before Films. Cineaste 38: 4.
  • GARCÍA GIL, L (2009). François Truffaut. Madrid: Cátedra.
  • GILBEY, R (2013). Every time we say goodbye. New Statesman, 14 de junio. 48-50.
  • GISPERT, E (1998). François Truffaut. Los cuatrocientos golpes. Barcelona: Paidós.
  • GLOVERSMITH, M (2013). Richard Linklater and the VHS Generation. White City Cinema, 1 de julio. Recuperado 11 de junio 2015. http://whitecitycinema.com/2013/07/01/richard-linklater-and-the-vhs-generation/
  • LIM, D (2013). Nine more years on, and still talking. The New York Times, 3 de mayo. Recuperado el 8 de agosto 2015: http://www.nytimes.com/2013/05/05/movies/ethan-hawke-and-julie-delpy-discuss-before-midnight.html?pagewanted=all&_r=0
  • LOPATE, P (2013). The long and winding road in Before Midnight. Filmcomment. Mayo-junio. 20-24.
  • LOSILLA, C (2013). Introducción a Richard Linklater. Transit. Cine y otros desvíos. 11 de abril. Recuperado 23 noviembre de 2015. http://cinentransit.com/richard-linklater/
  • MARTÍN, A (2008). Qué es el cine moderno. Valdivia: Uqbar.
  • MONACO, J (2003). The Adventures of Antoine Doinel. Cineaste. Invierno. 69-70.
  • NEUPERT, R (1995). The End: Narration and Closure in the Cinema. Detroit: Wayne State University Press.
  • NEYRAT, C (2008). François Truffaut. Madrid: Cahiers du Cinema.
  • O´PRAY, M (2003). Avant-Garde Film. Forms, Themes and Passions. Londres: Wallflower.
  • PREMINGER, A (2004). The human comedy of Antoine Doinel: from Honoré de Balzac to François Truffaut. The European Legacy: Toward New Paradigms, 9:2. 173-193. doi: 10.1080/10848770410001687594.
  • RIBERA, G (2013). Les quatre cents coups. François Truffaut. Història del Cinema II. Marzo. 1-11.
  • SANDHU,S (2009).Film as an Act of Love. New Statesman. 2 de abril. 44-46. Recuperado el 29 de diciembre de 2014: http://www.newstatesman.com/arts-and-culture
  • SHIKODA, S (2006). Adaptation as a filmed Homage: Truffaut’s Une belle fille comme moi (1976).Studies in French Cinema 6: 1. 65–73. doi: 10.1386/sfci.6.1.65/1
  • SPEED, L (2007). The Possibilities of Roads Not Taken: Intellect and Utopia in the Films of Richard Linklater. Journal of Popular Film & Television 35:3. 98-106.
  • STEVENS, D (2013). Before Midnight. Slate, 24 mayo. Recuperado 7 de agosto 2015: http://www.slate.com/articles/arts/movies/2013/05/before_midnight_directed_by_richard_linklater_reviewed.html
  • TAUBIN, A (2013). Emotional Pratfalls. Filmcomment. Mayo-junio. 24-27.
  • TAVARES, M (2010). Understanding Cinema: the Avant-gardes and the Construction of Film Discourse. Comunicar 35. 43-51. Recuperado el 23 de enero de 2015. doi:10.3916/C35-2010-02-04.
  • THIHER, A (1977). The Existential Play in Truffaut’s Early Films. Literature Film Quarterly 5:3.183- 198.
  • TOWNER, D (1990). Antoine Doinel in the Zoetrope. Literature/ Film Quarterly 18: 4. 230-35.
  • TRUFFAUT, F (1971). Les aventures d’Antoine Doinel. París: Mercure de France.
  • TURNER, D (1984). Made in the U.S.A.: The American Child in Truffaut’s 400 Blows. Literature Film Quarterly 12:2. 75-89.
  • VILARÓ I MONCASÍ, A (2011). The Actor’s Errancy after Antonie Doinel: on the melancholic Tendency in Contemporary French Cinema.Comunicació: Revista de Recerca i d’Anàlisi . 28:1. 19-40. doi: 10.2436/20.3008.01.76
  • WICKMAN, F (2013). The Real Couple Behind Before Sunrise. Slaut, 30 de mayo. Recuperado 11 agosto 2015: http://www.slate.com/blogs/browbeat/2013/05/30/before_sunrise_inspiration_before_midnight_is_dedicated_to_amy_lehrhaupt.html