《国际电影影片词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume 1 FILMS（Q、R、S、T）

PAISA New York, 1973: also included in Rosselliniana: bibliografia internazionale, dossier "Paisa edited by Adriano Apra, Rome. 1987 Italy. 1946 Hovald. Patrice. Roberto rossellini. Paris. 1958 Director: Roberto rossellini Mida, Massimo. Roberto Rossellini. Parma. 1961 Verdone. Mario. Roberto rossellini. Paris. 1963 Guarner, Jose Luis, Roberto Rossellini. New York, 1970 Production: Organization Films International in collaboration with Armes, Roy, Patterns of Realism, South Brunswick, New Jersey, 1971 oreign Films Productions, some sources also credit Capitani Films; Bazin, Andre, What Is Cinema ?, vol. 2, Berkely, 1971 black and white, 35mm; running time: 117 minutes, originally 124 Leprohon, Pierre, The Italian Cinema, New York, 1972. minutes; length: 4195 feet. Released 1946 Baldelli Pio. Roberto Rossellini. Rome. 1972. Klinowski, Jacek, and Adam Garbicz, editors, Cinema, The magi Producers: Roberto Rossellini, Rod E. Geiger, and Mario Conti Vehicle: A Guide to Its Achievement: Journey 1: The Cinema production supervisor: Ugo Lombardi; story: Victor Haines, Marcello through 1949, Metuchen, New Jersey, 1975 agiero, Sergio Amidei, Federico Fellini, Roberto Rossellini, Klaus Rondolino. Gianni. Roberto Rossellini. Florence. 1974 Mann(Florence episode), and Vasco Pratolini; screenplay: Sergio MacBean, James Roy, Film and Revolution, Bloomington, Indi- ana,1975 Amidei, Federico Fellini, and Roberto Rossellini; English dialogue: Overby, David, editor, Springtime in Italy A Reader on Neo-Realism, Annelena Limentani; English subtitles: Herman G. Weinberg:as- Hamden Connecticut. 1978 sistant directors: Federico Fellini, Massimo Mida, E. Handimar, and Ranvaud. Don, Roberto rossellini. London. 1981 L. Limentani; photography: Otello Martelli: editor: Eraldo da Roma; sound: Ovidia del Grande; music: Renzo Rossellini; English Bondanella, Peter, Italian Cinema: From Neorealism to the Present. narrators: Stuart Legg and Raymond Spottiswoode. New York, 1983. Rossellini, Roberto. Le Cinema Revel, edited by Alain Bergala Cast: Carmela Sazio( Carmela); Robert Van Loon (Joe from Jersey): Hillier, Jim, editor, Cahiers du Cinema 1: The 1950s: Neo-Realism, Alfonsino Pasca(Boy): Maria Michi (francesca): Renzo Avanzo Hollywood. New Wave. London, 1985 (Massimo): Harriet White(Harriet): Dots M. Johnson(MP): Bill Serceau, Michel, Roberto Rossellini, Paris, 1986. Tubbs( Captain Bill Martin); Benjamin Emmanuel; Raymond Camp- Brunette, Peter, Roberto Rossellini, Oxford, 1987, 1996 bell: Albert Heinz; Harold Wagner: Merlin Berth; Leonard Parrish Gansera, Rainer, and others, Roberto rossellini, Munich, 1987 Dale Edmonds(Dale): Carlo Piscane(Peasant in Sicily story): Mats Rossellini, Roberto, Il mio metodo: Scritti e intervisti, edited by Carlson (Soldier in Sicily story): Gar Moore (Fred): Gigi Gori Adriano Apra, Venice, 1987 (Partisan); Cigolani( Cigolani): Lorena Berg(Maddalena): Allen Rossi, Patrizio, Roberto Rossellini: A Guide to References and Dan: M. Hugo; Anthony La Penna. Resources. Boston. 1988 Bondanella, Peter, Films of Roberto Rossellini, Cambridge, 1993 Rossellini, Roberto, My Method: Writings and Interviews, New Awards: Venice Film Festival, Special Mention, 1946: New York Film Critics Award, Best Foreign Film, 1948 Gallagher, Tag, The Adventures of Roberto Rossellini, Cambridge, 1998 Articles Publications Barty King, Hugh, " Seven Americans, in Sight and Sound ( Lon- 0. Autumn 1946 Anderson, Lindsay, in Sequence(London), Winter 1947 Crowther, Bosley, in New York Times, 30 March 1948 Rossellini, Roberto, and others, Paisan, in The War Trilogy: Open Warshow, Robert, in Partisan Review(New Brunswick, New Jersey), City, Paisan, Germany-Year Zero. edited by Stefano Roncoroni, July 1948

915 PAISÀ P (Paisan) Italy, 1946 Director: Roberto Rossellini Production: Organization Films International in collaboration with Foreign Films Productions, some sources also credit Capitani Films; black and white, 35mm; running time: 117 minutes, originally 124 minutes; length: 4195 feet. Released 1946. Producers: Roberto Rossellini, Rod E. Geiger, and Mario Conti; production supervisor: Ugo Lombardi; story: Victor Haines, Marcello Pagiero, Sergio Amidei, Federico Fellini, Roberto Rossellini, Klaus Mann (Florence episode), and Vasco Pratolini; screenplay: Sergio Amidei, Federico Fellini, and Roberto Rossellini; English dialogue: Annelena Limentani; English subtitles: Herman G. Weinberg; as￾sistant directors: Federico Fellini, Massimo Mida, E. Handimar, and L. Limentani; photography: Otello Martelli; editor: Eraldo da Roma; sound: Ovidia del Grande; music: Renzo Rossellini; English narrators: Stuart Legg and Raymond Spottiswoode. Cast: Carmela Sazio (Carmela); Robert Van Loon (Joe from Jersey); Alfonsino Pasca (Boy); Maria Michi (Francesca); Renzo Avanzo (Massimo); Harriet White (Harriet); Dots M. Johnson (MP); Bill Tubbs (Captain Bill Martin); Benjamin Emmanuel; Raymond Camp￾bell; Albert Heinz; Harold Wagner; Merlin Berth; Leonard Parrish; Dale Edmonds (Dale); Carlo Piscane (Peasant in Sicily story); Mats Carlson (Soldier in Sicily story); Gar Moore (Fred); Gigi Gori (Partisan); Cigolani (Cigolani); Lorena Berg (Maddalena); Allen Dan; M. Hugo; Anthony La Penna. Awards: Venice Film Festival, Special Mention, 1946; New York Film Critics Award, Best Foreign Film, 1948. Publications Script: Rossellini, Roberto, and others, Paisan, in The War Trilogy: Open City, Paisan, Germany—Year Zero, edited by Stefano Roncoroni, New York, 1973; also included in Rosselliniana: Bibliografia internazionale, dossier ‘‘Paisà” edited by Adriano Apra, Rome, 1987. Books: Hovald, Patrice, Roberto Rossellini, Paris, 1958. Mida, Massimo, Roberto Rossellini, Parma, 1961. Verdone, Mario, Roberto Rossellini, Paris, 1963. Guarner, Jose Luis, Roberto Rossellini, New York, 1970 Armes, Roy, Patterns of Realism, South Brunswick, New Jersey, 1971. Bazin, André, What Is Cinema?, vol. 2, Berkely, 1971. Leprohon, Pierre, The Italian Cinema, New York, 1972. Baldelli, Pio, Roberto Rossellini, Rome, 1972. Klinowski, Jacek, and Adam Garbicz, editors, Cinema, The Magic Vehicle: A Guide to Its Achievement: Journey 1: The Cinema through 1949, Metuchen, New Jersey, 1975. Rondolino, Gianni, Roberto Rossellini, Florence, 1974. MacBean, James Roy, Film and Revolution, Bloomington, Indi￾ana, 1975. Overby, David, editor, Springtime in Italy: A Reader on Neo-Realism, Hamden, Connecticut, 1978. Ranvaud, Don, Roberto Rossellini, London, 1981. Bondanella, Peter, Italian Cinema: From Neorealism to the Present, New York, 1983. Rossellini, Roberto. Le Cinéma Révélé, edited by Alain Bergala, Paris, 1984. Hillier, Jim, editor, Cahiers du Cinéma 1: The 1950s: Neo-Realism, Hollywood, New Wave, London, 1985. Serceau, Michel, Roberto Rossellini, Paris, 1986. Brunette, Peter, Roberto Rossellini, Oxford, 1987, 1996. Gansera, Rainer, and others, Roberto Rossellini, Munich, 1987. Rossellini, Roberto, Il mio metodo: Scritti e intervisti, edited by Adriano Apra, Venice, 1987. Rossi, Patrizio, Roberto Rossellini: A Guide to References and Resources, Boston, 1988. Bondanella, Peter, Films of Roberto Rossellini, Cambridge, 1993. Rossellini, Roberto, My Method: Writings and Interviews, New York, 1995. Gallagher, Tag, The Adventures of Roberto Rossellini, Cambridge, 1998. Articles: Barty King, Hugh, ‘‘Seven Americans,’’ in Sight and Sound (Lon￾don), Autumn 1946. Anderson, Lindsay, in Sequence (London), Winter 1947. Crowther, Bosley, in New York Times, 30 March 1948. Warshow, Robert, in Partisan Review (New Brunswick, New Jersey), July 1948

PAISA FILMS. 4 EDITIoN Paisa Variety(New York ) 2 November 19 Brunette, Peter, Unity and Difference in Paisan, in Studies Ordway, Peter, "Prophet with Honor: Roberto Rossellini, in Thea Literary Imagination, vol. 16, no. 1, 1983. tre Arts(New York), January 1949 Brunette. Peter. *Rossellini and Cinematic Realism. in cinema Manvell, Roger, ""Paisan: How It Struck Our Contemporaries, in Journal (evanston, Illinois), vol 25, no. 1, 1985 Penguin Film Review (London), May 1949 Decaux, E, in Cinematographe(Paris), April 1985 Koval, francis, "" Interview with Roberto Rossellini, in Sight and Variety(New York), 24 August 1987. Sound (London), February 1 Sinclair, M,"Ellipsis in Rossellini's Paisa: The Privileging of the Pacifici, Sergio J, "Notes on a Definition of Neorealism, in Yale Invisible, in Spectator Los Angeles), vol 9, no. 1, 1988 French Studies(New Haven), Summer 1956. Pinciroli, G,""Efficacia e completezza del gesto cinematografice a confronto in Paisa, in Cineforum(Bergamo, Italy), April 1990 don), winter 1960-61 Roncoroni. S. and E. bruno "Presentazione di due soggetti inediti di "The Achievement of Roberto rossellini, in Film Comment(New Sergio Amidei per Paisa di Roberto rossellini, in Filmcritica York ), Fall 1964 (Rome), December 1990. Johnson, lan, in Films and Filming(London), February 1966 Dean, Peter, Video: Paisa Directed by Roberto Rossellini, in Sigh Helman,A,""Roberto Rossellini albo synteza antynomjii: Nasz and Sound (London), vol 3, no 8, August 1993 lluzjon, in Kino(Warsaw ), October 1973 Wagstaff, Chris, True Stories, in Sight Sound (London), vol 3 Lawton. B. r Construction Reality, in no8, August 1993 Film Criticism(Edinboro, Pennsylvania), no. 2, 1979 Brunette, P, "The Neo bible, in Village Voice(New York), vol 40 Predal. Rene.""Roberto Rossellini. 1906-1977. in avant-Scene du 17 October 1995 Cinema(Paris), 15 February 1979 Pym, John, in Monthly Film Bulletin(London), November 1980. 916

PAISÀ FILMS, 4th EDITION 916 Paisà Variety (New York), 2 November 1948. Ordway, Peter, ‘‘Prophet with Honor: Roberto Rossellini,’’ in Thea￾tre Arts (New York), January 1949. Manvell, Roger, ‘‘Paisan: How It Struck Our Contemporaries,’’ in Penguin Film Review (London), May 1949. Koval, Francis, ‘‘Interview with Roberto Rossellini,’’ in Sight and Sound (London), February 1951. Pacifici, Sergio J., ‘‘Notes on a Definition of Neorealism,’’ in Yale French Studies (New Haven), Summer 1956. Rhode, Eric, ‘‘Why Neorealism Failed,’’ in Sight and Sound (Lon￾don), Winter 1960–61. ‘‘The Achievement of Roberto Rossellini,’’ in Film Comment (New York), Fall 1964. Johnson, Ian, in Films and Filming (London), February 1966. Helman, A., ‘‘Roberto Rossellini albo synteza antynomjii: Nasz Iluzjon,’’ in Kino (Warsaw), October 1973. Lawton, B., ‘‘Italian Neorealism: A Mirror Construction Reality,’’ in Film Criticism (Edinboro, Pennsylvania), no. 2, 1979. Prédal, René, ‘‘Roberto Rossellini, 1906–1977,’’ in Avant-Scéne du Cinéma (Paris), 15 February 1979. Pym, John, in Monthly Film Bulletin (London), November 1980. Brunette, Peter,’’Unity and Difference in Paisan,’’ in Studies in Literary Imagination, vol. 16, no. 1, 1983. Brunette, Peter, ‘‘Rossellini and Cinematic Realism,’’ in Cinema Journal (Evanston, Illinois), vol. 25, no. 1, 1985. Decaux, E., in Cinématographe (Paris), April 1985. Variety (New York), 24 August 1987. Sinclair, M., ‘‘Ellipsis in Rossellini’s Paisa: The Privileging of the Invisible,’’ in Spectator (Los Angeles), vol. 9, no. 1, 1988. Pinciroli, G., ‘‘Efficacia e completezza del gesto cinematografico a confronto in Paisà,’’ in Cineforum (Bergamo, Italy), April 1990. Roncoroni, S., and E. Bruno, ‘‘Presentazione di due soggetti inediti di Sergio Amidei per Paisà di Roberto Rossellini,’’ in Filmcritica (Rome), December 1990. Dean, Peter, ‘‘Video: Paisa Directed by Roberto Rossellini,’’ in Sight and Sound (London), vol. 3, no. 8, August 1993. Wagstaff, Chris, ‘‘True Stories,’’ in Sight & Sound (London), vol. 3, no. 8, August 1993. Brunette, P., ‘‘The Neo Bible,’’ in Village Voice (New York), vol. 40, 17 October 1995. ***

FILMS. 4th EDItION PARIS. TEXAS Roberto Rossellini's Paisa, along with his Roma, citta aperta PARIS. TEXAS (1945), introduced post-war American audiences to Italian neo- realism, which proved to be th influences that altered the shape of American cinema. Neo-realism, West Germany-France, 1984 a movement that emerged from the shattered Italian film industry mmediately after World War Il, concerned itself with an almost Director: Wim Wenders documentary-like depiction of the hardship and suffering of the Italian people during and after World War Il. Directors like Rossellini, Production: Road Movies Filmproduktion(West Berlin)Argos Films ittorio De Sica, and Luchino Visconti took to the streets in order to ( Paris). in association with Westdeutscher Rundfunk, Channel 4, and make their films. In the process they articulated an aesthetic of Project Film; in color; running time: 148 minutes; length: 13,320 feet cinematic realism that called for the use of non-professional actors, Released 1984 on-location shooting, the abandonment of slick "Hollywood". duction values, and a self-conscious rejection of commercial consid- Executive producer: Chris Sievernich; producers: Don Guest, erations. What emerged was a fresh and energetic film style which Anatole Dauman: screenplay: Sam Shepard; assistant director: largely rejuvenated the pre-war stagnation of the Italian cinema Claire Denis: photography: Robby Muller; assistant photogra- to understand the events of the fascist years, which had overwhelanet phers: Agnes Godard, Pim Tjujerman; editor: Peter Pryzgodda' Years later Rossellini wrote that he used this new approach to attemp ssistant editor: Anne Schnee; sound editor: Dominique Auvray him personally and the Italian people generally. He chose the particu- sound recordist: Jean-Paul Mugel; sound re-recordist: Hartmut lar film style he did for its morally neutral approach; he simply wante to observe reality objectively and to explore the facts that implicated Eichgrun; art director: Kate Altman; music: Ry Cooder his country in the fascist horror of the war. He also wanted to create balance sheet on the experience so that Italians could begin to live Cast: Harry Dean Stanton(Travis Anderson); Dean Stockwell life on new terms ter R. Anderson): Aurore Clement(Anne Anderson): Hunter Paisa contains six episodes that trace the American invasion of (Hunter Anderson): Nastassja Kinski (Jane): Bernhard wicki(Doc Italy from the Allied landing in Sicily in 1934 until the Italian tor Ulmer); Sam Berry(Gas Station Attendant): Claresie Mobley surrender in the spring of 1944. Rossellini does not present the war in ( Car Rental Clerk): Viva Auder(Woman on TV): Socorro Valde terms of armies, strategies, and grand plans but rather as a traged (Carmelita): Edward Fayton(Hunter's Friend): Justin Hogg(Hunter, involving the death and the suffering of human beings caught in the age 3); Tom Farrell(Screaming Man); John Lurie("Slater"):Jeni crush of forces beyond their control. Although some of the critics, Vici ("Stretch"): Sally Norwell ("Nurse Bibs"); Sharon Menzel among them Robert Warshow, found the film too sentimental in (Comedienne ) The Mydolls(Rehearsing Band) places, Paisa received good reviews outside of Italy, and it has retained its place as one of the classics of neo-realism, especially in Awards: BAFTA Award for Best Director, 1984. Palme d' or at the United States Cannes. 1984 Neo-realism and Rossellini's remarks concerning Paisa raise some interesting questions about the mimetic nature of film and about the significance of a point of view of doctrine in shaping the final publications cinematic product. Paisa is neither a doctrinaire film nor, as rossellini some critics have rather simple-mindedly suggested, nor is it a film Scnpt guided by a manifesto. It is a film which provides a new beginning, to borrow Rossellini's balance sheet metaphor, and does so by strippin Shepard, Sam, Paris, Texas (in English, French and German), edited film of the appurtenances of the pre-war studio world. Rossellini was by Chris Sievernin, Berlin, 1984. triving for a basic sincerity in his films, and it was primarily toward that end that he made Paisa with a truthful simplicity which is so Devillers. Jean-Pierre. Berlin. L.A. Berlin: Wim Wenders. Paris. 1985 -Charles L. P Silet Boujut, Michel, Wim Wenders, third edition, Paris, 1986 Wenders, Wim, Written in the West: Photographien aus dem Amerikanischen Western. Munich. 1987 Geist, Kathe, The Cinema of Wim Wenders: From Paris, France, to PANDORAS BOX Paris, Texas, Ann Arbor. Michigan, 1988 See dIe buchse DEr pandora Kolker, Robert P, and Peter Beicken, The Films of wim Wenders, New York, 1993. Cook, Roger F, and Gerd Gemunden, editors, The Cinema of wim Wenders: Image, Narrative and the Postmodern Condition Detroit. 1997. PAPER FLOWERS Wenders, Wim, The Act of Seeing: Essays and Conversations See KAagaz KE phool translated by Michael Hofmann, New York, 1999 17

FILMS, 4 PARIS, TEXAS th EDITION 917 Roberto Rossellini’s Paisà, along with his Roma, città aperta (1945), introduced post-war American audiences to Italian neo￾realism, which proved to be the first wave in a series of European influences that altered the shape of American cinema. Neo-realism, a movement that emerged from the shattered Italian film industry immediately after World War II, concerned itself with an almost documentary-like depiction of the hardship and suffering of the Italian people during and after World War II. Directors like Rossellini, Vittorio De Sica, and Luchino Visconti took to the streets in order to make their films. In the process they articulated an aesthetic of cinematic realism that called for the use of non-professional actors, on-location shooting, the abandonment of slick ‘‘Hollywood’’ pro￾duction values, and a self-conscious rejection of commercial consid￾erations. What emerged was a fresh and energetic film style which largely rejuvenated the pre-war stagnation of the Italian cinema. Years later Rossellini wrote that he used this new approach to attempt to understand the events of the fascist years, which had overwhelmed him personally and the Italian people generally. He chose the particu￾lar film style he did for its morally neutral approach; he simply wanted to observe reality objectively and to explore the facts that implicated his country in the fascist horror of the war. He also wanted to create a balance sheet on the experience so that Italians could begin to live life on new terms. Paisà contains six episodes that trace the American invasion of Italy from the Allied landing in Sicily in 1934 until the Italian surrender in the spring of 1944. Rossellini does not present the war in terms of armies, strategies, and grand plans but rather as a tragedy involving the death and the suffering of human beings caught in the crush of forces beyond their control. Although some of the critics, among them Robert Warshow, found the film too sentimental in places, Paisà received good reviews outside of Italy, and it has retained its place as one of the classics of neo-realism, especially in the United States. Neo-realism and Rossellini’s remarks concerning Paisà raise some interesting questions about the mimetic nature of film and about the significance of a point of view of doctrine in shaping the final cinematic product. Paisà is neither a doctrinaire film nor, as Rossellini would have it, a neutral one. The film is not a long documentary, as some critics have rather simple-mindedly suggested, nor is it a film guided by a manifesto. It is a film which provides a new beginning, to borrow Rossellini’s balance sheet metaphor, and does so by stripping film of the appurtenances of the pre-war studio world. Rossellini was striving for a basic sincerity in his films, and it was primarily toward that end that he made Paisà with a truthful simplicity which is so effective. —Charles L. P. Silet PANDORA’S BOX See DIE BUCHSE DER PANDORA PAPER FLOWERS See KAAGAZ KE PHOOL PARIS, TEXAS West Germany-France, 1984 Director: Wim Wenders Production: Road Movies Filmproduktion (West Berlin)/Argos Films (Paris), in association with Westdeutscher Rundfunk, Channel 4, and Project Film; in color; running time: 148 minutes; length: 13,320 feet. Released 1984. Executive producer: Chris Sievernich; producers: Don Guest, Anatole Dauman; screenplay: Sam Shepard; assistant director: Claire Denis; photography: Robby Muller; assistant photogra￾phers: Agnes Godard, Pim Tjujerman; editor: Peter Pryzgodda; assistant editor: Anne Schnee; sound editor: Dominique Auvray; sound recordist: Jean-Paul Mugel; sound re-recordist: Hartmut Eichgrun; art director: Kate Altman; music: Ry Cooder. Cast: Harry Dean Stanton (Travis Anderson); Dean Stockwell (Wal￾ter R. Anderson); Aurore Clement (Anne Anderson); Hunter Carson (Hunter Anderson); Nastassja Kinski (Jane); Bernhard Wicki (Doc￾tor Ulmer); Sam Berry (Gas Station Attendant); Claresie Mobley (Car Rental Clerk); Viva Auder (Woman on TV); Socorro Valdez (Carmelita); Edward Fayton (Hunter’s Friend); Justin Hogg (Hunter, age 3); Tom Farrell (Screaming Man); John Lurie (‘‘Slater’’); Jeni Vici (‘‘Stretch’’); Sally Norwell (‘‘Nurse Bibs’’); Sharon Menzel (Comedienne); The Mydolls (Rehearsing Band). Awards: BAFTA Award for Best Director, 1984. Palme d’Or at Cannes, 1984. Publications Script: Shepard, Sam, Paris, Texas (in English, French and German), edited by Chris Sievernin, Berlin, 1984. Books: Devillers, Jean-Pierre, Berlin, L.A., Berlin: Wim Wenders, Paris, 1985. Boujut, Michel, Wim Wenders, third edition, Paris, 1986. Wenders, Wim, Written in the West: Photographien aus dem Amerikanischen Western, Munich, 1987. Geist, Kathe, The Cinema of Wim Wenders: From Paris, France, to Paris, Texas, Ann Arbor, Michigan, 1988. Kolker, Robert P., and Peter Beicken, The Films of Wim Wenders, New York, 1993. Cook, Roger F., and Gerd Gemunden, editors, The Cinema of Wim Wenders: Image, Narrative and the Postmodern Condition, Detroit, 1997. Wenders, Wim, The Act of Seeing: Essays and Conversations, translated by Michael Hofmann, New York, 1999

PARIS, TEXAS FILMS. 4 EDITIoN Articles. Reitinger, D.W.,Too Long in the Wasteland: Visions of the American West in Film, 1980-1990. in Film and History(Cleve- Berthelius. M..''Drommen om amerika: Historien om wim Wenders land),vol.26,no.1/4,1996 in Chaplin(stockholm), voL 26, no. 3, 1984 Falkowska, J,"American and European Voices in the Films of Variety(New York), 23 May 1984 European Filmmakers Wim Wenders, Percy Adlon and Aki Carson, Kit, in Film Comment(New York), May-June 1984. Kaurismaki, in the Canadian Journal of Film Studies(Ottawa), Bergala, Alain, and others, in Cahiers du Cinema(Paris), Sum vol.6,no.1,1997 1984. Tunney, Tom, "Paris, Texas, in Sight and Sound (London), vol 8. Welsh, H, in Jeune Cinema( Paris), July-August 1984 no. l, January 1998 Johnston, Sheila. in Monthly Film Bulletin (London), August 1984. Production Diary"in Cinema(West Germany), August, Septem ber, and october 1984. Bishop, R, and T. Ryan, "Wim Wenders: An American Saga, in Cinema Papers(Melbourne), August 1984 It is not just the title of this film which suggests a meeting between Pym, John, The Road from Wuppertal, in Sight and Sound Europe and America. Production involved collaboration between the London), Autumn 1984 director Wim Wenders, who caught the critical eye as part of the new Ranvaud, Don,""Paris, Texas, to Sydney, Australia, in Sight and German cinema of the 1970s, and the scriptwriter Sam Shepard, the Sound(London), Autumn 1984 American author of The Motel Chronicles, poems and prose about Special Issue" of Positif(Paris), September 1984 highway culture in the United States. There was a deliberate policy of Simsolo, Noel, and others, in Revue du CinemaImage et Son(Paris), substantially developing the script as shooting progressed (indeed the script was completed by Kit Carson when Shepard departed for Goldschmidt, D, in Cinematographe(Paris), September-October 1984 Baron. Saskia, in Stills(London), October 1984 fascinated with Hollywood as a mode of representation. Many of his Proper,R A F, interview with Robby Miller, in Skoop(Amster- films approach the legacy of American cinema through a strategy of Simons, J,""Paris, Texas: Wim Wenders Wedergeboorte, "in quotation. Yet Paris, Texas invests directly in an emotional folkloric dam). November 1984 tale of white America. At the same time the film opts for complexity Skrien(amsterdam), November-December 1984 in particular, the present lives of the main characters are shown to be Film (West Germany ), December 1984 psychologically haunted by past events, and contained within the Kornum Larsen, J., in Kosmorama( Copenhagen), December 1984. Verstappen, W, in Skoop (Amsterdam), December 1984-January 1985. Paris, Texas knowingly reworks elements from both classical Holly wood and European art cinema. Whether it exhausts these categories Wooton, Adrian. in Film Directions(Belfast), Winter 1984-85 or expresses a contemporary condition of nihilism is open to debate Bromet, Frans, and M.J. A Holland, in Skoop(Amsterdam), Febru ary 1985 Road movies and family melodramas are the chief genres on Scharres, B, ""Robby Muller and Paris, Texas, " in American Cinema- which Paris, Texas draws. However, the way in which mise-en-scene establishes a sharp contrast between humanity and nature, during the tographer( Los Angeles), February 1985 Freitag, I, in Filmfaust(Frankfurt), February-March 1985 opening stages in particular, is highly reminiscent of the western. The De Gaetano, R, and P. lughi, in Cinema Nuovo(Bari), June 1985. startling drama of the opening sequence depends on the way Travis, Fantauzzi, s, * Wenders e il suo angelo, in Quaderni di Cinema the main character, is counterposed with the desert. Yet he lacks the (Florence), March-April 1989 clear cut motivation to triumph over this wilderness. When collected Russell. D.**The American Trauma: Paris. Texas. in Movie. no. by his brother Walt, Travis is incongruously dressed in a battered suit 34-35, Winter1990 with a truckers cap. He is silent, refusing to explain why he Saint-Ellier, A,""L'epuisement du droit au secours des pirates? in disappeared four years previously, and where he has been In Paris, Film Exchange(Paris), vol. 51, no 3, 1990 Texas the mythical conquest of nature involves recalling the hero Denzin, N.K., " Paris, Texas and Baudrillard on America himself from the wilderness The latter is also a mental condition Theor. Culture and Society vol.8,no.2,1991 Van Oostrum. D.. Wim Wenders Euro-American Construction film is about his reintegration with American society Site: Paris. Texas or Texas. Paris. 'in Florida State University Traviss first articulated ory is Paris, Texas, a plot of land Conference on Literature and Film, voL. 16, 1991 which he purchased and where he claims to have been conceived. Or Luprecht, Mark, Freud at Paris, Texas: Penetrating the Oedipal could say that Travis's return to civilisation is marked by his recall of b-Text, " in Literature/Film Quarterly(Salisbury), vol. 20, land ownership and the nuclear family. But Paris, Texas is a painful no.2,1992 memory. The land remains unoccupied because Traviss own family Aldarondo,R, in Nosferatu( San Sebastian), no 16, October 1994. is broken. Family reunion becomes the narrative goal Edwards, C, ""Dean Stockwell, "in Psychotronic Video(Narrowsburg) The film renews a type of plot which theorists, notably Peter no.21,1995 Wollen, have located within classical cinema. In this kind of plot the Smith, R.C.,"Open Narrative in Robbe-Grillet's Glissements central protagonists search for an object of value which has disap- progressifs du plaisir and Wim Wenders Paris, Texas, in peared in the past. The object may often be a woman. In Paris, Texas Literature/Film Quarterly(Salisbury ) voL. 23, no. 1, January 1995. she is Jane, Travis's wife. Father and son quest for her after being 918

PARIS, TEXAS FILMS, 4th EDITION 918 Articles: Berthelius, M., ‘‘Drömmen om Amerika: Historien om Wim Wenders,’’ in Chaplin (Stockholm), vol. 26, no. 3, 1984. Variety (New York), 23 May 1984. Carson, Kit, in Film Comment (New York), May-June 1984. Bergala, Alain, and others, in Cahiers du Cinéma (Paris), Sum￾mer 1984. Welsh, H., in Jeune Cinéma (Paris), July-August 1984. Johnston, Sheila, in Monthly Film Bulletin (London), August 1984. ‘‘Production Diary’’ in Cinema (West Germany), August, Septem￾ber, and October 1984. Bishop, R., and T. Ryan, ‘‘Wim Wenders: An American Saga,’’ in Cinema Papers (Melbourne), August 1984. Pym, John, ‘‘The Road from Wuppertal,’’ in Sight and Sound (London), Autumn 1984. Ranvaud, Don, ‘‘Paris, Texas, to Sydney, Australia,’’ in Sight and Sound (London), Autumn 1984. ‘‘Special Issue’’ of Positif (Paris), September 1984. Simsolo, Noël, and others, in Revue du Cinéma/Image et Son (Paris), September 1984. Goldschmidt, D., in Cinématographe (Paris), September-October 1984. Baron, Saskia, in Stills (London), October 1984. Proper, R. A. F., interview with Robby Müller, in Skoop (Amster￾dam), November 1984. Simons, J., ‘‘Paris, Texas: Wim Wenders’ Wedergeboorte,’’ in Skrien (Amsterdam), November-December 1984. Film (West Germany), December 1984. Kornum Larsen, J., in Kosmorama (Copenhagen), December 1984. Verstappen, W., in Skoop (Amsterdam), December 1984-January 1985. Dieckmann, F., in Film Quarterly (Berkeley), Winter 1984–85. Wooton, Adrian, in Film Directions (Belfast), Winter 1984–85. Bromet, Frans, and M. J. A. Holland, in Skoop (Amsterdam), Febru￾ary 1985. Scharres, B., ‘‘Robby Müller and Paris, Texas,’’ in American Cinema￾tographer (Los Angeles), February 1985. Freitag, I., in Filmfaust (Frankfurt), February-March 1985. De Gaetano, R., and P. Lughi, in Cinema Nuovo (Bari), June 1985. Fantauzzi, S., ‘‘Wenders e il suo angelo,’’ in Quaderni di Cinema (Florence), March-April 1989. Russell, D., ‘‘The American Trauma: Paris, Texas,’’ in Movie, no. 34–35, Winter 1990. Saint-Ellier, A., ‘‘L’epuisement du droit au secours des pirates?’’ in Film Exchange (Paris), vol. 51, no. 3, 1990. Denzin, N.K., ‘‘Paris, Texas and Baudrillard on America,’’ in Theory, Culture and Society, vol. 8, no. 2, 1991. Van Oostrum, D., ‘‘Wim Wender’s Euro-American Construction Site: Paris, Texas or Texas, Paris,’’ in Florida State University Conference on Literature and Film, vol. 16, 1991. Luprecht, Mark, ‘‘Freud at Paris, Texas: Penetrating the Oedipal Sub-Text,’’ in Literature/Film Quarterly (Salisbury), vol. 20, no. 2, 1992. Aldarondo, R., in Nosferatu (San Sebastian), no. 16, October 1994. Edwards, C., ‘‘Dean Stockwell,’’ in Psychotronic Video (Narrowsburg), no. 21, 1995. Smith, R.C., ‘‘Open Narrative in Robbe-Grillet’s Glissements progressifs du plaisir and Wim Wender’s Paris, Texas,’’ in Literature/Film Quarterly (Salisbury), vol. 23, no. 1, January 1995. Reitinger, D.W., ‘‘Too Long in the Wasteland: Visions of the American West in Film, 1980–1990,’’ in Film and History (Cleve￾land), vol. 26, no. 1/4, 1996. Falkowska, J., ‘‘American and European Voices in the Films of European Filmmakers Wim Wenders, Percy Adlon and Aki Kaurismaki,’’ in the Canadian Journal of Film Studies (Ottawa), vol. 6, no. 1, 1997. Tunney, Tom, ‘‘Paris, Texas,’’ in Sight and Sound (London), vol. 8, no. 1, January 1998. *** It is not just the title of this film which suggests a meeting between Europe and America. Production involved collaboration between the director Wim Wenders, who caught the critical eye as part of the new German cinema of the 1970s, and the scriptwriter Sam Shepard, the American author of The Motel Chronicles, poems and prose about highway culture in the United States. There was a deliberate policy of substantially developing the script as shooting progressed (indeed the script was completed by Kit Carson when Shepard departed for another commitment during production). Wenders has always been fascinated with Hollywood as a mode of representation. Many of his films approach the legacy of American cinema through a strategy of quotation. Yet Paris, Texas invests directly in an emotional folkloric tale of white America. At the same time the film opts for complexity: in particular, the present lives of the main characters are shown to be psychologically haunted by past events, and contained within the story is a special emphasis on the power of images in their own right. Paris, Texas knowingly reworks elements from both classical Holly￾wood and European art cinema. Whether it exhausts these categories or expresses a contemporary condition of nihilism is open to debate. Road movies and family melodramas are the chief genres on which Paris, Texas draws. However, the way in which mise-en-scène establishes a sharp contrast between humanity and nature, during the opening stages in particular, is highly reminiscent of the western. The startling drama of the opening sequence depends on the way Travis, the main character, is counterposed with the desert. Yet he lacks the clear cut motivation to triumph over this wilderness. When collected by his brother Walt, Travis is incongruously dressed in a battered suit with a trucker’s cap. He is silent, refusing to explain why he disappeared four years previously, and where he has been. In Paris, Texas the mythical conquest of nature involves recalling the hero himself from the wilderness. The latter is also a mental condition. Travis has regressed from social values, and in a sense the rest of the film is about his reintegration with American society. Travis’s first articulated memory is Paris, Texas, a plot of land which he purchased and where he claims to have been conceived. One could say that Travis’s return to civilisation is marked by his recall of land ownership and the nuclear family. But Paris, Texas is a painful memory. The land remains unoccupied because Travis’s own family is broken. Family reunion becomes the narrative goal. The film renews a type of plot which theorists, notably Peter Wollen, have located within classical cinema. In this kind of plot the central protagonists search for an object of value which has disap￾peared in the past. The object may often be a woman. In Paris, Texas she is Jane, Travis’s wife. Father and son quest for her after being

FILMS. 4th EDItION UNE PARTIE DE CAMPAGNE reunited themselves, a development which tears Hunter away from Producer: Pierre Braunberger; executive producer: Jacques B he stable and caring guardianship of Walt and Annie. The quest Brunius, with Roger Woog: screenplay: Jean Renoir, from the story provides a sense of purpose lacking from Wenders's previous films. by Guy Maupassant: photography: Claude Renior; editor: Marguerite Jane's discovery promises to reveal the past and save Travis. When Houle-Renoir, final version: Marienette Cadix under Marguerite they finally meet in a peepshow we learn that Travis's violent desire Houle-Renoir's supervision, assisted by Marcel Cravenne; sound: to own Jane was an initial cause of rupture Courme de bretagne and Joseph de bretagne: production designer: Travis is the voyeur looking in, while Jane is confined to the sound Robert Gys; music: Joseph Kosma and Germaine Montero; assistant of his vo d her reflection in a one way mirror. Somehow to the director: Jacques Becker and Henri Cartier-Bresson, other a second meeting here, they achieve a degree of mutual recognition, contributors to this film include: Claude Heymann, Luchino Visconti finding catharsis through confession to one another. The narrative and Y ves Allegret winds down as the film alternates between them, finally moving to her side of the partition. Slight changes of camera angle open up the Cast: Sylvia Bataille(Henriette ) Georges Darnoux(Henri): Jeanne oppressed space. Quick cuts between them express the return of Marken(Madame Dufour); Jacques Borel(Rodolphe);Paul Temps a bond. and at the end of the scene travis turns off his booth light so (Anatole); Gabrielle Fontan(Grandmother); Jean Renoir (Father the ghostly but overwhelming memory which has returned to Jane. Dufour): Pierre Lestringuez(Old priest) Thus, in a powerful fashion, through a cinematic array of devices, we are presented with an imaginary realm within the fiction. Throughout, a form of dominance is attributed to the image itself Paris, Texas remains a crumpled photograph; the family is only seen Publications united, enjoying themselves in a super film Meanwhile America elf appears to be filtered through the processes of representation. Not only is the country portrayed as the endless space of the road movie, but also through such motifs as the Statue of Liberty, which pops up in the background of one shot as a mural. This detail connotes Renoir, Jean, Une Partie de campagne, in Image et Son(Paris), April- Americana, a symbolic substitute for the nation. While, the action is May 1962: excerpts in Jean Renoir: An Investigation into His strictly kept to the periphery of cities, the identity of America remains Films and Philosophy, by Pierre Leprohon, New York, 1971 mysterious, a miragelike entity viewed from the distant perspective of Travis, the outsider. Maybe one reason why a European filmmaker books can deal with American mythology in the 1980s is because Holly- wood,'s stable representations of the nation are increasingly worked through high-tech science fiction, spectacle, and more marginal Davay, Paul, Jean Renoir, Brussels, 1957 discourses than in the classical era. Paris, Texas is surely aware of Cauliez, Armand-Jean, Jean Renoir, Paris, 1962 this. After all, Hunter is depicted as a Star Wars fan. With the older Renoir, Jean, Renoir, My Father,Boston,196 mythologies vacated by the heavyweights of Hollywood, Paris, Chardere, Bernard, editor, Jean Renoir, Lyons, 1962 Texas is left free to renew a language which is more imaginary Bennett. Susan. Study Unit 8: Jean Renoir. London. 1967. than ever Poulle, Francois, Renoir, 1938, Paris, 1969 Gregor, Ulrich, editor, Jean Renoir und seine Film: Eine Dokumentation. Bad Ems. 1970. Daniel williams Cuenca, Carlos, Humanidad de jean Renoir, valladolid 1971 Braudy, Leo, Jean Renoir: The World of His Films, New York, 1972 Bazin, Andre, Jean Renoir, Paris, 1973 Durgnat, Raymond, Jean Renoir, Berkeley, 1974. UNE PARTIE DE CAMPAGNE Harcourt, Peter, Six European Directors: Essays on the Meaning of Film style. Baltimore. 1974 Beylie, Claude, Jean Renoir: Le Spectacle, la vie, Paris, 1975 (A Day in the Country) Gilliatt, Penelope, Jean Renoir: Essays, Conversations, Reviews, New York. 1975 france. 1946 Faulkner, Christopher, Jean Renoir: A Guide to References and Resources. Boston. 1979 Sesonske. Alexander. Jean Renoir: The French Films 1924-1939 Director: Jean renoir Cambridge massachusetts. 1980 Gauteur Claude Jean renoir: Oeuvres de cinema inedites. Paris. 1981 Production: Pantheon-Production; black and white, 35mm; running McBride, Joseph, editor, Filmmakers on Filmmaking: The American ime: 45 minutes; length: 1 100 meters, originally 1232 meters. Film Institute seminars on Motion Pictures and Television, vol. 2 Released 8 May 1946, Paris. Filmed July-August 1936 near Montigny Los Angeles, 1983 and Marlotte Sarceau. Daniel. Jean Renoir. Paris. 1985 919

FILMS, 4 UNE PARTIE DE CAMPAGNE th EDITION 919 reunited themselves, a development which tears Hunter away from the stable and caring guardianship of Walt and Annie. The quest provides a sense of purpose lacking from Wenders’s previous films. Jane’s discovery promises to reveal the past and save Travis. When they finally meet in a peepshow we learn that Travis’s violent desire to own Jane was an initial cause of rupture. Travis is the voyeur looking in, while Jane is confined to the sound of his voice and her reflection in a one way mirror. Somehow on a second meeting here, they achieve a degree of mutual recognition, finding catharsis through confession to one another. The narrative winds down as the film alternates between them, finally moving to her side of the partition. Slight changes of camera angle open up the oppressed space. Quick cuts between them express the return of a bond, and at the end of the scene Travis turns off his booth light so that Jane can see him. He is resigned, distant, an illuminated image, the ghostly but overwhelming memory which has returned to Jane. Thus, in a powerful fashion, through a cinematic array of devices, we are presented with an imaginary realm within the fiction. Throughout, a form of dominance is attributed to the image itself: Paris, Texas remains a crumpled photograph; the family is only seen united, enjoying themselves in a super 8 film. Meanwhile America itself appears to be filtered through the processes of representation. Not only is the country portrayed as the endless space of the road movie, but also through such motifs as the Statue of Liberty, which pops up in the background of one shot as a mural. This detail connotes Americana, a symbolic substitute for the nation. While, the action is strictly kept to the periphery of cities, the identity of America remains mysterious, a miragelike entity viewed from the distant perspective of Travis, the outsider. Maybe one reason why a European filmmaker can deal with American mythology in the 1980s is because Holly￾wood’s stable representations of the nation are increasingly worked through high-tech science fiction, spectacle, and more marginal discourses than in the classical era. Paris, Texas is surely aware of this. After all, Hunter is depicted as a Star Wars fan. With the older mythologies vacated by the heavyweights of Hollywood, Paris, Texas is left free to renew a language which is more imaginary than ever. —Daniel Williams UNE PARTIE DE CAMPAGNE (A Day in the Country) France, 1946 Director: Jean Renoir Production: Pantheon-Production; black and white, 35mm; running time: 45 minutes; length: 1100 meters, originally 1232 meters. Released 8 May 1946, Paris. Filmed July-August 1936 near Montigny and Marlotte. Producer: Pierre Braunberger; executive producer: Jacques B. Brunius, with Roger Woog; screenplay: Jean Renoir, from the story by Guy Maupassant; photography: Claude Renior; editor: Marguerite Houle-Renoir, final version: Marienette Cadix under Marguerite Houle-Renoir’s supervision, assisted by Marcel Cravenne; sound: Courme de Bretagne and Joseph de Bretagne; production designer: Robert Gys; music: Joseph Kosma and Germaine Montero; assistant to the director: Jacques Becker and Henri Cartier-Bresson, other contributors to this film include: Claude Heymann, Luchino Visconti, and Yves Allegret. Cast: Sylvia Bataille (Henriette); Georges Darnoux (Henri); Jeanne Marken (Madame Dufour); Jacques Borel (Rodolphe); Paul Temps (Anatole); Gabrielle Fontan (Grandmother); Jean Renoir (Father Poulain); Marguerite Renoir (The servant); Gabriello (M. Cyprien Dufour); Pierre Lestringuez (Old priest). Publications Script: Renoir, Jean, Une Partie de campagne, in Image et Son (Paris), April￾May 1962; excerpts in Jean Renoir: An Investigation into His Films and Philosophy, by Pierre Leprohon, New York, 1971. Books: Davay, Paul, Jean Renoir, Brussels, 1957. Cauliez, Armand-Jean, Jean Renoir, Paris, 1962. Renoir, Jean, Renoir, My Father, Boston, 1962. Chardère, Bernard, editor, Jean Renoir, Lyons,1962. Bennett, Susan, Study Unit 8: Jean Renoir, London, 1967. Poulle, François, Renoir, 1938, Paris, 1969. Gregor, Ulrich, editor, Jean Renoir und seine Film: Eine Dokumentation, Bad Ems, 1970. Cuenca, Carlos, Humanidad de Jean Renoir, Valladolid, 1971. Braudy, Leo, Jean Renoir: The World of His Films, New York, 1972. Bazin, André, Jean Renoir, Paris, 1973. Durgnat, Raymond, Jean Renoir, Berkeley, 1974. Harcourt, Peter, Six European Directors: Essays on the Meaning of Film Style, Baltimore, 1974. Beylie, Claude, Jean Renoir: Le Spectacle, la vie, Paris, 1975. Gilliatt, Penelope, Jean Renoir: Essays, Conversations, Reviews, New York, 1975. Faulkner, Christopher, Jean Renoir: A Guide to References and Resources, Boston, 1979. Sesonske, Alexander, Jean Renoir: The French Films 1924–1939, Cambridge Massachusetts, 1980. Gauteur, Claude, Jean Renoir: Oeuvres de cinéma inédites, Paris, 1981. McBride, Joseph, editor, Filmmakers on Filmmaking: The American Film Institute seminars on Motion Pictures and Television, vol. 2, Los Angeles, 1983. Sarceau, Daniel, Jean Renoir, Paris, 1985

UNE PARTIE DE CAMPAGNE FILMS. 4 EDITIoN P Faulkner, Christopher, The Social Cinema of Jean Renoir, Prince- Durgnat, Raymond, Eroticism in Cinema-Part 7: Symbolism- on,1986 Another Word for it, in Films and Filming(London), April 1962. Vincendeau, Ginette, and Keith Reader, La Vie est a nous: French Beylie, Claude, Cette male gaite, in Avant-Scene du Cinema Cinema of the Popular Front 1935-1938, London, 1986 (Paris), 15 December 1962. Viry-Babel, Roger, Jean Renoir: Le Jett et la regle, Paris, 1986 Howard R G, in Film Journal(New York), July 1964 Kael, Pauline, in Kiss Kiss Bang Bang, Boston, 1968 Articles. Nogueira, Rui, and Francois Truchaud, ""Interview with Jean Renoir, in Sight and Sound (London), Spring 1968 Bodelsen, A, in Kosmorama( Copenhagen), October 1972. Crowther, Bosley, in New York Times, 13 December 1950 Wiese, Epi, Visconti and Renoir: Shadowplay, in Yale review Variety(New York), 20 December 1950 (New Haven), December 1974 Cahiers du Cinema(Paris), January 1952. Bagh, P. von, ""Kaski kertaa Une Partie de campagne, in Filmihullu Berangert, Jean, The Illustrious Career of Jean Renoir, in Yale (Helsinki), no. 7, 1976 French Studies, (New Haven), Summer 1956 Magny, Joel, " Partie de campagne: Les Bas-fonds, ' in Telecine Cahiers du Cinema (Paris), Christmas 1957. (Paris), April 1977. Sadoul, Georges, The Renaissance of the French Cinema-Feyder, Comolli, J. L,"Jean Renoir: En revoyant Une Partie de Renoir, Duvivier, Carne, in Film: An Anthology, edited by Strebel, Elizabeth grotte, " Jean Renoir and the popular Front, in Dyer, Peter John, "Renoir and realism, in Sight and Sound ( on Feature Films as History, edited by K.R. M. Short, London, 1981 don), Summer 1960 Whitehall, Richard, in Films and Filming (London), June and July 1960 de campagne in filmcritica (Florence June 1982. ne rare

UNE PARTIE DE CAMPAGNE FILMS, 4th EDITION 920 Une partie de campagne Faulkner, Christopher, The Social Cinema of Jean Renoir, Prince￾ton, 1986. Vincendeau, Ginette, and Keith Reader, La Vie est à nous: French Cinema of the Popular Front 1935–1938, London, 1986. Viry-Babel, Roger, Jean Renoir: Le Jeu et la règle, Paris, 1986. Articles: Crowther, Bosley, in New York Times, 13 December 1950. Variety (New York), 20 December 1950. Cahiers du Cinéma (Paris), January 1952. Bérangert, Jean, ‘‘The Illustrious Career of Jean Renoir,’’ in Yale French Studies, (New Haven), Summer 1956. Cahiers du Cinéma (Paris), Christmas 1957. Sadoul, Georges, ‘‘The Renaissance of the French Cinema—Feyder, Renoir, Duvivier, Carné,’’ in Film: An Anthology, edited by Daniel Talbot, New York, 1959. Dyer, Peter John, ‘‘Renoir and Realism,’’ in Sight and Sound (Lon￾don), Summer 1960. Whitehall, Richard, in Films and Filming (London), June and July 1960. Durgnat, Raymond, ‘‘Eroticism in Cinema—Part 7: Symbolism— Another Word for it,’’ in Films and Filming (London), April 1962. Beylie, Claude, ‘‘Cette mâle gaité,’’ in Avant-Scène du Cinéma (Paris), 15 December 1962. Howard R. G., in Film Journal (New York), July 1964. Kael, Pauline, in Kiss Kiss Bang Bang, Boston, 1968. Nogueira, Rui, and François Truchaud, ‘‘Interview with Jean Renoir,’’ in Sight and Sound (London), Spring 1968. Bodelsen, A., in Kosmorama (Copenhagen), October 1972. Wiese, Epi, ‘‘Visconti and Renoir: Shadowplay,’’ in Yale Review (New Haven), December 1974. Bagh, P. von, ‘‘Kaski kertaa Une Partie de campagne,’’ in Filmihullu (Helsinki), no. 7, 1976. Magny, Joel, ‘‘Partie de campagne: Les Bas-fonds,’’ in Téléciné (Paris), April 1977. Comolli, J. L., ‘‘Jean Renoir: En revoyant Une Partie de campagne. . . ,’’ in Cahiers du Cinéma (Paris), April 1979. Strebel, Elizabeth Grottle, ‘‘Jean Renoir and the Popular Front,’’ in Feature Films as History, edited by K. R. M. Short, London, 1981. Odin, R., ‘‘Strategia del desiderio in un’ ‘inquadratura di’ Une Partie de campagne,’’ in Filmcritica (Florence), June 1982

FILMS. 4th EDItION LA PASSION DE JEANNE D'ARO Baron, R. F,""Renoirs Neglected Masterpiece: Une Partie de Maupassant's tale, it is an understandable, if mistaken, conclusion. campagne, in Post Script (Jacksonville, Florida), Fall 1983 Published versions of the Pescatore. G, " La grana del cinema, in Cinema Cinema (bolo- further confused the issue. However, closer examination of the gna), January-August 1989 relationship between the story and the film will dispel such miscon- Webster, R M, ""Renoirs Une partie de campagne: Film as the Art of ceptions. Renoir wrote in his autobiography, My Life and My Films, Fishing in French Review, vol 64. no. 3, 1991 that when he was asked to increase the original footage to feature Tesson, Charles, "La robe sans couture, la danse, le patron, in length. he refused because he felt that it would have been Cinematheque(Paris), no 5, Spring 1994. the intent of Maupassant's story and to his screenplay to lengthen it. Magny, J, ""Partie de campagne deuxiem! " in Cahiers du Cinema Moreover, what many critics have failed to notice is that Renoir, ( Paris),no.479-80,May1994. although he adapted the events of the fiction faithfully, greatly altered Benoliel, Bernard, " Autour d Une partie de campagne, in Mensuel the story s tone, which allowed him to drop the final scenes from the du Cinema(Paris), no. 18, project incomplete Curchod, Oliver, and others, Partie de campagne de Jean Renoir, Maupassant's tantalizingly brief tale is largely satiric in tone. He in Positif( Paris), no. 408, February 1995 makes fun of the pretensions and foibles of his bourgeoisie often rather harshly: the natural setting is kept in the background; and the atmosphere of the country is diminished. Renoir not only places greater emphasis in the rural atmosphere and setting but also makes Andre Bazin, in his unfinished study of Jean Renoir, described a film that by bringing such natural elements into the foreground turns Une partie de campagne as a"perfectly finished work, one that is Maupassant's rather strident attack on the Dufort family into a com- not only faithful in letter and spirit to the Maupassant story from passionate and understanding film about unrecoverable moments and which it was adapted but also actually improved by Renoirs additions he inevitable sadness of the loss of innocence and love. As andre and refinements to the original tale. This is high praise, indeed, when Bazin has noted, such changes do improve the original. The story is one realizes that the films completion was highly problematic. Many given a resonance, the characters motivation, and the ending a poignance of Renoir's films have had checkered careers, but none was quite so lacking in the fictional source. As Pierre Leprohon has described it fusing as Une partie de campagne. Renoir originally intended to there is an overflowing tenderness, and extraordinary responsive- just as if it were a full-length film. Renoir chose a gentle, 19th-century e ss to the existence of things, and a transformation of the common- shoot a 35-or 40-minute story which he would make, he wrote later, e into the sublime. In Une partie de campagne, Renoir has tale and planned to spend a relaxed summer filming along the banks of created a poetic compression of those things that he holds dear,which the Loin near Marlotte, an area he knew extremely well. The entire is one of the reasons the film evokes such fond memories and experience should have provided him, as Alexander Sesonske has responses from its viewers. Although unhappy and somewhat ironic described it, with a""brief and pleasant respite in mid-career he ending is nevertheless not unhopeful. Life and the river will both Despite the rainiest summer in memory an extremely volatile politi- flow on and be renewed cal climate, tensions on the set and the fact that the film sat for nearly 10 years waiting for its final editing, Une partie de campagne is harles l. p. silet a remarkably fine film, some say a masterpiece: Sesonske thinks that no Renoir film seems"more unstudied, more a pure flow of life aught unaware There are sound reasons for the films critical success: it is a film THE PASSENGER of uncommon gentleness and beauty, and it forms less of a"respite See PRoFESSIONe: REPORTER in Renoirs career than a concentration of his most important themes and images: the river, the countryside, the loving scrutiny of bour- geois life. Une partie de campagne forms a poetic centre for renoir French films. Rather than a sense of diversion. the film reflects LA PASSION DE JEANNE D'ARC a completeness. Renoirs rendering of his subject matter is incisive, his style mature, his vision complete: it is a seamless work of art. CThe Passion of Joan of Arc) Many critics have called attention to the films impressionistic quality, suggesting that it is a homage to the director's father, the Fra painter Pierre Auguste Renoir. Indeed, impressionistic moments do grace the film--but for one to try to understand it as an attempt by the Director: Carl Theodor Dreyer dly underestimate the qualities of the movie. The""look Production: Societe generale des Films(Paris); black and white, of the films of Renoir fils have done much to strengthen his popular 35mm, silent; running time: originally 110 minutes, later 86-88 director of surfaces. much to the detriment of his standin as a filmmaker of depth and perception. Copenhagen. Re-released 1952 in sound version produced by Gaumont The shortness of the film also has strengthened the perception of Actualite and supervised by Lo Duca, musical accompaniment from Renoir as an impressionistic filmmaker, and many critics today still works by Scarlatti, Albinoni, Gemianani, Vivaldi, and Bach. Filmed respond to the film as incomplete, an interesting but unfinished May-October 1927 in Paris experiment. The fact that Renoir left two scenes from the Maupassant tory unshot has been used as evidence for regarding the film as Screenplay: Carl Theodor Dreyer and Joseph Delteil, from a book by a fragment, and considering Renoirs relative fidelity to the events of Joseph Delteil; titles: Carl Theodor Dreyer; photography: Rudolph

FILMS, 4 LA PASSION DE JEANNE D’ARC th EDITION 921 Baron, R. F., ‘‘Renoir’s Neglected Masterpiece: Une Partie de campagne,’’ in Post Script (Jacksonville, Florida), Fall 1983. Pescatore, G., ‘‘La grana del cinema,’’ in Cinema & Cinema (Bolo￾gna), January-August 1989. Webster, R.M., ‘‘Renoir’s Une partie de campagne: Film as the Art of Fishing,’’ in French Review, vol. 64, no. 3, 1991. Tesson, Charles, ‘‘La robe sans couture, la danse, le patron,’’ in Cinémathèque (Paris), no. 5, Spring 1994. Magny, J., ‘‘Partie de campagne deuxiem!’’ in Cahiers du Cinéma (Paris), no. 479–80, May 1994. Bénoliel, Bernard, ‘‘Autour d’Une partie de campagne,’’ in Mensuel du Cinéma (Paris), no. 18, June 1994. Curchod, Oliver, and others, ‘‘Partie de campagne de Jean Renoir,’’ in Positif (Paris), no. 408, February 1995. *** André Bazin, in his unfinished study of Jean Renoir, described Une partie de campagne as a ‘‘perfectly finished work,’’ one that is not only faithful in letter and spirit to the Maupassant story from which it was adapted but also actually improved by Renoir’s additions and refinements to the original tale. This is high praise, indeed, when one realizes that the film’s completion was highly problematic. Many of Renoir’s films have had checkered careers, but none was quite so confusing as Une partie de campagne. Renoir originally intended to shoot a 35- or 40-minute story which he would make, he wrote later, just as if it were a full-length film. Renoir chose a gentle, 19th-century tale and planned to spend a relaxed summer filming along the banks of the Loin near Marlotte, an area he knew extremely well. The entire experience should have provided him, as Alexander Sesonske has described it, with a ‘‘brief and pleasant respite in mid-career.’’ Despite the rainiest summer in memory, an extremely volatile politi￾cal climate, tensions on the set and the fact that the film sat for nearly 10 years waiting for its final editing, Une partie de campagne is a remarkably fine film, some say a masterpiece; Sesonske thinks that no Renoir film seems ‘‘more unstudied, more a pure flow of life caught unaware.’’ There are sound reasons for the film’s critical success: it is a film of uncommon gentleness and beauty, and it forms less of a ‘‘respite’’ in Renoir’s career than a concentration of his most important themes and images: the river, the countryside, the loving scrutiny of bour￾geois life. Une partie de campagne forms a poetic centre for Renoir’s French films. Rather than a sense of diversion, the film reflects a completeness. Renoir’s rendering of his subject matter is incisive, his style mature, his vision complete; it is a seamless work of art. Many critics have called attention to the film’s impressionistic quality, suggesting that it is a homage to the director’s father, the painter Pierre Auguste Renoir. Indeed, impressionistic moments do grace the film—but for one to try to understand it as an attempt by the son to do what the father had already done with paint and canvas is to sadly underestimate the qualities of the movie. The ‘‘painterly’’ look of the films of Renoir fils have done much to strengthen his popular image as a director of surfaces, much to the detriment of his standing as a filmmaker of depth and perception. The shortness of the film also has strengthened the perception of Renoir as an impressionistic filmmaker, and many critics today still respond to the film as incomplete, an interesting but unfinished experiment. The fact that Renoir left two scenes from the Maupassant story unshot has been used as evidence for regarding the film as a fragment, and considering Renoir’s relative fidelity to the events of Maupassant’s tale, it is an understandable, if mistaken, conclusion. Published versions of the screenplay for those ‘‘missing’’ scenes have further confused the issue. However, closer examination of the relationship between the story and the film will dispel such miscon￾ceptions. Renoir wrote in his autobiography, My Life and My Films, that when he was asked to increase the original footage to feature length, he refused because he felt that it would have been contrary to the intent of Maupassant’s story and to his screenplay to lengthen it. Moreover, what many critics have failed to notice is that Renoir, although he adapted the events of the fiction faithfully, greatly altered the story’s tone, which allowed him to drop the final scenes from the completed film without leaving the project incomplete. Maupassant’s tantalizingly brief tale is largely satiric in tone. He makes fun of the pretensions and foibles of his bourgeoisie often rather harshly; the natural setting is kept in the background; and the atmosphere of the country is diminished. Renoir not only places greater emphasis in the rural atmosphere and setting but also makes a film that by bringing such natural elements into the foreground turns Maupassant’s rather strident attack on the Dufort family into a com￾passionate and understanding film about unrecoverable moments and the inevitable sadness of the loss of innocence and love. As André Bazin has noted, such changes do improve the original. The story is given a resonance, the characters motivation, and the ending a poignance lacking in the fictional source. As Pierre Leprohon has described it: ‘‘there is an overflowing tenderness, and extraordinary responsive￾ness to the existence of things, and a transformation of the common￾place into the sublime.’’ In Une partie de campagne, Renoir has created a poetic compression of those things that he holds dear, which is one of the reasons the film evokes such fond memories and responses from its viewers. Although unhappy and somewhat ironic, the ending is nevertheless not unhopeful. Life and the river will both flow on and be renewed. —Charles L. P. Silet THE PASSENGER See PROFESSIONE: REPORTER LA PASSION DE JEANNE D’ARC (The Passion of Joan of Arc) France, 1928 Director: Carl Theodor Dreyer Production: Société Générale des Films (Paris); black and white, 35mm, silent; running time: originally 110 minutes, later 86–88 minutes; length: 2400 meters. Released 21 April 1928, Paladsteatret, Copenhagen. Re-released 1952 in sound version produced by Gaumont Actualité and supervised by Lo Duca, musical accompaniment from works by Scarlatti, Albinoni, Gemianani, Vivaldi, and Bach. Filmed May-October 1927 in Paris. Screenplay: Carl Theodor Dreyer and Joseph Delteil, from a book by Joseph Delteil; titles: Carl Theodor Dreyer; photography: Rudolph

LA PASSION DE JEANNE D'ARC FILMS. 4 EDITIoN La passion de jeanne d'arc late; editor: Carl Theodor Dreyer, art directors: Hermann Warm Books and Jean Hugo; costume designer: Valentine Hugo; historical consultant: Pierre Champion: assistants: Paul la Cour and Ralph Holm. Neergaard, Ebbe, Carl Theodor Dreyer: A Film Director's Work, Cast: Maria Falconetti (oan): Eugene Silvain (Pierre Cauchon): Trolle, Borge, The Art of Carl Theodor Dreyer: An Analysis, Copen Andre Berley (Jean d Estiver): Maurice Schutz(Nicolas Loyseleur) hagen, 1955. Antonin Artaud (Jean Massieu): Michel Simon (Jean Lemaitre): Jean Bowser. Eileen. The Films of Carl Dreyer, New York, 1964 d' Yd( Guillaume Evrard): Ravet (ean Beaupere ) Andre lurville Jacques Arma: Alexandre Mihalesco: R. Narlay: Henri Gaultier: Dreyer, Carl Theodor, Om Filmen, Copenhagen, 1964 Paul Jorge Monty, Ib, Portrait of Carl Th. Dreyer, Copenhagen, 1965 Dyssegaard, Soren, editor, Carl Th. Dreyer, Danish Film Director, Publications Ayfre, Amedee, Le Cinema et sa verite, Paris, 1969. Perrin, Claude, Carl Th Drever, Paris, 1969 Scnp Milne, Tom, The Cinema of Carl Dreyer, New York, 1971 Emst, Helge, Dreyer: Carl Th. Dreyer-en dansk filmskaber, Copen Dreyer, Carl Theodor, "La passion de Jeanne d'Arc, in Four Screen hagen, 1972. lays. London. 1970. Schrader, Paul, Transcendental Style in Film: Ozl, Bresson, Dreyer, Drouzy, Maurice, and Charles Tesson, editors, Carl Theodor Dreyer: Los Angeles. 1972. Oeuvres cinematographiques 1926-1923, Paris 1983 Bordwell, David, editor, Filmguide to La Passion de jeanne d'Arc, La Passion de Jeanne d'Arc Issueof Avanl-Scene Cinema (Paris). Bloomington, Indiana, 1973 January- February 1988. Skoller, Donald, editor, Dreyer in Double Reflection, New York, 1973

LA PASSION DE JEANNE D’ARC FILMS, 4th EDITION 922 La Passion de Jeanne D’Arc Maté; editor: Carl Theodor Dreyer; art directors: Hermann Warm and Jean Hugo; costume designer: Valentine Hugo; historical consultant: Pierre Champion; assistants: Paul la Cour and Ralph Holm. Cast: Maria Falconetti (Joan); Eugéne Silvain (Pierre Cauchon); André Berley (Jean d’Estivet); Maurice Schutz (Nicolas Loyseleur); Antonin Artaud (Jean Massieu); Michel Simon (Jean Lemaître); Jean d’Yd (Guillaume Evrard); Ravet (Jean Beaupére); André Lurville; Jacques Arma; Alexandre Mihalesco; R. Narlay; Henri Gaultier; Paul Jorge. Publications Script: Dreyer, Carl Theodor, ‘‘La passion de Jeanne d’Arc, in Four Screen￾plays, London, 1970. Drouzy, Maurice, and Charles Tesson, editors, Carl Theodor Dreyer: Oeuvres cinématographiques 1926–1923, Paris 1983. ‘‘La Passion de Jeanne d’Arc Issue’’ of Avant-Scène Cinéma (Paris), January-February 1988. Books: Neergaard, Ebbe, Carl Theodor Dreyer: A Film Director’s Work, London, 1950. Trolle, Børge, The Art of Carl Theodor Dreyer: An Analysis, Copen￾hagen, 1955. Bowser, Eileen, The Films of Carl Dreyer, New York, 1964. Dreyer, Carl Theodor, Om Filmen, Copenhagen, 1964. Monty, Ib, Portrait of Carl Th. Dreyer, Copenhagen, 1965. Dyssegaard, Soren, editor, Carl Th. Dreyer, Danish Film Director, Copenhagen, 1968. Ayfré, Amédée, Le Cinéma et sa vérité, Paris, 1969. Perrin, Claude, Carl Th. Dreyer, Paris, 1969. Milne, Tom, The Cinema of Carl Dreyer, New York, 1971. Ernst, Helge, Dreyer: Carl Th. Dreyer—en dansk filmskaber, Copen￾hagen, 1972. Schrader, Paul, Transcendental Style in Film: Ozu, Bresson, Dreyer, Los Angeles, 1972. Bordwell, David, editor, Filmguide to La Passion de Jeanne d’Arc, Bloomington, Indiana, 1973. Skoller, Donald, editor, Dreyer in Double Reflection, New York, 1973

FILMS. 4 EDITIoN LA PASSION DE JEANNE D'ARC Nash, Mark, Dreyer, London, 1977 Kosmorama( Copenhagen), June 1968. Tone, Pier Giorgio, Carl Theodor Dreyer, Florence, 1978 Cahiers du Cinema (Paris), December 1968 Bordwell, David, The Films of Carl Theodor Dreyer, Berkeley, 1981 Delahaye, Michael, in Interviews with Film Directors, edited by Pipolo, Anthony P, Carl Dreyer's La Passion de Jeanne d'Arc Andrew Sarris. New York. 1969. A Comparison of Prints and Formal Analysis, Ann Arbor, Michi- Potamkin, Harry Alan, in The Emergence of Film Art, by Lewis gan,1981 Jacobs. New York. 1969 Bazin, Andre, The Cinema of Cruelty: From Buriuel to Hitchcock, Avant-Scene du Cinema(Paris ), February 1970 Bunuel, Luis, in Positif(Paris), February 1973 Carney, Raymond, Speaking the Language of Desire: The Films of Vaughan, Dai, ""Carl Dreyer and The Theme of Choice, "in Sight and Carl Dreyer, New York, 1989 Sound (London), Summer 1974. Jensen, Jytte, editor, The Films of Carl Theodor Dreyer, New Wood, Robin, Carl Dreyer, "in Film Comment(New York), March- York. 1989 Dreyer, Carl Theodor, Dreyer in Double Reflection: Carl Dreyer's Van Ness, Wilhelmina, "Joseph Delteil: The Passion of Joan of Writings on Film, Cambridge, 1991 Drum, Jean, and Dale D Drum, My Only Great Passion: The Life and Arc, in Literature/Film Quarterly (Salisbury, Maryland Films of Carl Theodor Dreyer, Lanham, 2000 no.4,1975 Petric, Vlada, ""Dreyers Concept of Abstraction, in Sight an Sound London), Spring 1975 Articles. Bordwell, David, ""Dreyers Joan, in Sight and Sound(London), Autumn 1975 Close Up (London), July 1928 Hugo, V.,J. de lacretelle, and P morand in Avant-Scene du cinema Variety(New York), 10 April 1929 ( Paris), I December 1977. Theatre Arts(New York), 13 May 1929 Oudart, Jean-Pierre, "Une Peur active. in Cahiers du cinema Ecran Francais(Paris), 11 November 1947. ( Paris),no.292,1978. Winge, John,""Interview with Dreyer, in Sight and Sound(Lon- Cros, J. L. in Image et Son(Paris), September 1978 don), January 1950 Linderman, Deborah, ""Uncoded Images in the Heterogeneous Text, in Manvell, Roger, in Sight and Sound (London), December 1950 Ayfre, Amedee, in Cahiers du Cinema(Paris), no 17, 1952 Wide Angle(Athens, Ohio), no 3, 1980 Tesson, Charles, Jeanne d'Arc sauve des flammes in Cahiers du Marker, Chris, in Regards neufs sur le cinema, edited by Jacques Chevallier. Paris. 1953 Cinema(Paris), December 1984 Enberg, M, in Kosmorama( Copenhagen), May 1985 Terzi, Corrado, in Cinema Nuovo (Turin), no 17, 1953 Everson, william K, ""Rudy Mate--His Work with Carl Dreyer, Drouzy, Maurice, " Jeanne d' Arc livre aux borreaux, in Films and Filming(London), no 2, 1955 Cinematographe(Paris), June 1985. Dreyer, Carl, " Thoughts on My Craft, "in Sight and Sound (London).""Special Issue"of Cahiers de la Cinematheque(Perpignan),Sum- Trolle, Borge, The World of Carl Dreyer, in Sight and Sound ash, M, Joan Complete, in Sight and Sound (London), Sum- (London Winter 1955-56 er1985 Luft, Herbert, " Dreyer, in Films and Filming(London), June 196 Neyt, G, in Film en Televisie(Brussels), October 1985 Stanbrook, Alan, in Films and Filming(London), June 1961 Jeanne d'Arc Section of Skrien(Amsterdam). November-Decem- Semolue, Jean, Douleur, Noblesse Unique, ou, La Passion chez ber 1985 Carl Dreyer, 'in Etudes Cinematographiques(Paris), Fall 1961 Meyer, M. P, "La Passion de Jeanne d'Arc: Muziek als hindernis, Semolue, Jean, ""Passion et proces(de Dreyer a Bresson), in Etudes in Skrien(Amsterdam), winter 1985-86. Cinematographiques(Paris), nos. 18-19, 1962. La passion de Jeanne d'Arc, " in a Special Issue of Avanl-Scene du Luft,Herbert,""Rudolph Mate: Photographed Dreyer's Passion of Joan of Arc and Became Director on His Own, in Films in A. Cinema(Paris), no 367-368, January-February 1988 Review(New York). no8, 1964 Theatre to Cinema, in Discourse(Bloomington, Indiana), Spring- Delmas, Jean, in Jeune Cinema(Paris), no 5, 1965 Zurbuch, Werner, ""Interview med Herman Warm. "in Kosmorama Martensen-Larsen, B,"Inspirationen fra middelalderens miniature Copenhagen), no. 71, 1965 in Kosmorama( Copenhagen), Summer 1993. Bond, Kirk, The World of Carl Dreyer, in Film Quarterly (Berke DeBartolo, J, " Video Tape Reviews, in Classic Images(Muscatine) ley), Fall 1965. 0.5,May199 Milne, Tom, "Darkness and Light: Carl Dreyer, in Sight and Sound Dupre la Tour, C,, " The Written Word and Memory in Griffith's (London), Autumn 196 Intolerance and Dreyers La passion de Jeanne d'Arc, in Iris Lerner, Carl, My Way of Working Is in Relation to the Future (lowa City), no 19, Autumn 1995 A Conversation with Ca Dreyer, in Film C ew Kauffman, S, ""French Saint: French Mortals, " in New Republic, vol York), Fall 1966 213. 20 November 1995 Amengual, Barthelemy, "Fonctions du gros plan et du cadrage dans Potter, Nicole, The Passion of Joan of Arc/oices of Light, in La passion de Jeanne d'Arc, in Etudes Cinematographiques Films in Review(New York), vol 47, no 3-4, March-April 1996 ( Paris),no.53-56,196 Brien, Charles, Rethinking National Cinema: Dreyer's La pas Duperly, Denis, Carl Dreyer: Utter Bore or Total Genius?, in nne d'Arc and the Academic Aesthetic, in Cinema Films and Filming (London), February 1968 Jounal(Austin), vol 35, no 4, Summer 1996

FILMS, 4 LA PASSION DE JEANNE D’ARC th EDITION 923 Nash, Mark, Dreyer, London, 1977. Tone, Pier Giorgio, Carl Theodor Dreyer, Florence, 1978. Bordwell, David, The Films of Carl Theodor Dreyer, Berkeley, 1981. Pipolo, Anthony P., Carl Dreyer’s La Passion de Jeanne d’Arc: A Comparison of Prints and Formal Analysis, Ann Arbor, Michi￾gan, 1981. Bazin, André, The Cinema of Cruelty: From Buñuel to Hitchcock, New York, 1982. Carney, Raymond, Speaking the Language of Desire: The Films of Carl Dreyer, New York, 1989. Jensen, Jytte, editor, The Films of Carl Theodor Dreyer, New York, 1989. Dreyer, Carl Theodor, Dreyer in Double Reflection: Carl Dreyer’s Writings on Film, Cambridge, 1991. Drum, Jean, and Dale D. Drum, My Only Great Passion: The Life and Films of Carl Theodor Dreyer, Lanham, 2000. Articles: Close Up (London), July 1928. Variety (New York), 10 April 1929. Theatre Arts (New York), 13 May 1929. Ecran Français (Paris), 11 November 1947. Winge, John, ‘‘Interview with Dreyer,’’ in Sight and Sound (Lon￾don), January 1950 Manvell, Roger, in Sight and Sound (London), December 1950. Ayfré, Amédée, in Cahiers du Cinéma (Paris), no. 17, 1952. Marker, Chris, in Regards neufs sur le cinéma, edited by Jacques Chevallier, Paris, 1953. Terzi, Corrado, in Cinema Nuovo (Turin), no. 17, 1953. Everson, William K., ‘‘Rudy Maté—His Work with Carl Dreyer,’’ in Films and Filming (London), no. 2, 1955. Dreyer, Carl, ‘‘Thoughts on My Craft,’’ in Sight and Sound (London), Winter 1955–56. Trolle, Børge, ‘‘The World of Carl Dreyer,’’ in Sight and Sound (London), Winter 1955–56. Luft, Herbert, ‘‘Dreyer,’’ in Films and Filming (London), June 1961. Stanbrook, Alan, in Films and Filming (London), June 1961. Sémolué, Jean, ‘‘‘Douleur, Noblesse Unique’, ou, La Passion chez Carl Dreyer,’’ in Etudes Cinématographiques (Paris), Fall 1961. Sémolué, Jean, ‘‘Passion et procès (de Dreyer à Bresson),’’ in Etudes Cinématographiques (Paris), nos. 18–19, 1962. Luft, Herbert, ‘‘Rudolph Maté: Photographed Dreyer’s Passion of Joan of Arc and Became Director on His Own,’’ in Films in Review (New York), no. 8, 1964. Delmas, Jean, in Jeune Cinéma (Paris), no. 5, 1965. Zurbuch, Werner, ‘‘Interview med Herman Warm,’’ in Kosmorama (Copenhagen), no. 71, 1965. Bond, Kirk, ‘‘The World of Carl Dreyer,’’ in Film Quarterly (Berke￾ley), Fall 1965. Milne, Tom, ‘‘Darkness and Light: Carl Dreyer,’’ in Sight and Sound (London), Autumn 1965. Lerner, Carl, ‘‘My Way of Working Is in Relation to the Future: A Conversation with Carl Dreyer,’’ in Film Comment (New York), Fall 1966. Amengual, Barthélemy, ‘‘Fonctions du gros plan et du cadrage dans La passion de Jeanne d’Arc,’’ in Etudes Cinématographiques (Paris), no. 53–56, 1967. Duperly, Denis, ‘‘Carl Dreyer: Utter Bore or Total Genius?,’’ in Films and Filming (London), February 1968. Kosmorama (Copenhagen), June 1968. Cahiers du Cinéma (Paris), December 1968. Delahaye, Michael, in Interviews with Film Directors, edited by Andrew Sarris, New York, 1969. Potamkin, Harry Alan, in The Emergence of Film Art, by Lewis Jacobs, New York, 1969. Avant-Scène du Cinéma (Paris), February 1970. Buñuel, Luis, in Positif (Paris), February 1973. Vaughan, Dai, ‘‘Carl Dreyer and The Theme of Choice,’’ in Sight and Sound (London), Summer 1974. Wood, Robin, ‘‘Carl Dreyer,’’ in Film Comment (New York), March￾April 1974. Van Ness, Wilhelmina, ‘‘Joseph Delteil: The Passion of Joan of Arc,’’ in Literature/Film Quarterly (Salisbury, Maryland), no.4, 1975. Petric, Vlada, ‘‘Dreyer’s Concept of Abstraction,’’ in Sight and Sound (London), Spring 1975. Bordwell, David, ‘‘Dreyer’s Joan,’’ in Sight and Sound (London), Autumn 1975. Hugo, V., J. de Lacretelle, and P. Morand, in Avant-Scéne du Cinéma (Paris), 1 December 1977. Oudart, Jean-Pierre, ‘‘Une Peur active,’’ in Cahiers du Cinéma (Paris), no. 292, 1978. Cros, J. L., in Image et Son (Paris), September 1978. Linderman, Deborah, ‘‘Uncoded Images in the Heterogeneous Text,’’ in Wide Angle (Athens, Ohio), no. 3, 1980. Tesson, Charles, ‘‘Jeanne d’Arc sauvé des flammes,’’ in Cahiers du Cinéma (Paris), December 1984. Enberg, M., in Kosmorama (Copenhagen), May 1985. Drouzy, Maurice, ‘‘Jeanne d’Arc livrée aux borreaux,’’ in Cinématographe (Paris), June 1985. ‘‘Special Issue’’ of Cahiers de la Cinémathèque (Perpignan), Sum￾mer 1985. Nash, M., ‘‘Joan Complete,’’ in Sight and Sound (London), Sum￾mer 1985. Neyt, G., in Film en Televisie (Brussels), October 1985. ‘‘Jeanne d’Arc Section’’ of Skrien (Amsterdam), November-Decem￾ber 1985. Meyer, M.P., ‘‘La Passion de Jeanne d’Arc: Muziek als hindernis,’’ in Skrien (Amsterdam), Winter 1985–86. ‘‘La passion de Jeanne d’Arc,’’ in a Special Issue of Avant-Scène du Cinéma (Paris), no. 367–368, January-February 1988. Willmott, G., ‘‘Implications for a Sartrean Radical Medium: From Theatre to Cinema,’’ in Discourse (Bloomington, Indiana), Spring￾Summer 1990. Martensen-Larsen, B., ‘‘Inspirationen fra middelalderens miniaturer,’’ in Kosmorama (Copenhagen), Summer 1993. DeBartolo, J., ‘‘Video Tape Reviews,’’ in Classic Images (Muscatine), no. 5, May 1995. Dupre la Tour, C., ‘‘The Written Word and Memory in Griffith’s Intolerance and Dreyer’s La passion de Jeanne d’Arc,’’ in Iris (Iowa City), no. 19, Autumn 1995. Kauffman, S., ‘‘French Saint: French Mortals,’’ in New Republic, vol. 213, 20 November 1995. Potter, Nicole, ‘‘The Passion of Joan of Arc/Voices of Light,’’ in Films in Review (New York), vol. 47, no. 3–4, March-April 1996. O’Brien, Charles, ‘‘Rethinking National Cinema: Dreyer’s La pas￾sion de Jeanne d’Arc and the Academic Aesthetic,’’ in Cinema Journal (Austin), vol. 35, no. 4, Summer 1996

PASSPORT TO PIMLICO FILMS. 4 EDITIoN Stackpole, J, "One Hardly Expects Language to Be a Contributing not in the least monotonous. The sets and the costumes were con- Factor, in Audience (Simi Valley), no. 192, December/Janu sciously created in a way that furthered the balance between the ary 1997. historical and the modern. The lighting the overall whiteness of the Nichols, Peter M,""In a Joan of Arc Season, One Telling is images, contributes to the films emphasis on the simple and the lucid Timeless in New York Times. 24 October 1999 Dramatically, La passion de Jeanne d'Arc is composed as one Smith, Gavin, "The Passion of Joan of Arc/Jeanne la Pucelle, in long scene. This is Jeanne's last struggle, and the battle is for her life Film Comment(New York), vol 35, no. 6, November/Decem- and her soul. The film is dramatically and psychologically intensified ber1999. in two scenes. The first when Jeanne breaks down mentally and, to save her life, signs a confession as a heretic. The second is the scene in which she regrets what she has done and withdraws the confession She knows then that her death is certain but she saves her soul. and Carl Dreyers last silent film is one of the most famous films in the she triumphs in her faith history of cinema. It is seldom missing on"World's Ten Best Films La passion de Jeanne d'Arc is an intense description of the lists. Few films have been studied and analyzed as thoroughly in suffering of an individual, the drama of a soul transformed into articles and books, and one sometimes feels that the real film is buried images. It is a"cool""look, and Dreyer called his method""realized in the theory and aesthetics. But, a true classical work of art, La mysticism.With his sober objectivity Dreyer succeeded in making passion de Jeanne d'Arc appeals to and moves the spectator with its the difficult understandable and the irrational clear The film is about beautiful simplicity. It is a pure tragedy of a young suffering woman the necessity of suffering for the liberation of the individual human fighting in a hostile world. The finest homage to the film is perhaps being. As do all of Dreyer's heroines, Jeanne suffers defeat, but for that of Jean-Luc Godard: in his film Vivre sa vie the prostitute (played Dreyer defeat or victory in this world is of no importance. The by Anna Karina) is deeply moved by Dreyers portrait of the essential thing is the souls victory over life. Dreyer's view of the legendary heroine when she sees the film in a Paris cinema in the historical facts is of course. not a balanced one jeanne is the heroine 960s. She can identify with the tormented young woman in this and Dreyer is on her side in a struggle against a cruel, official world timeless film From the time he started his script in October 1926 until the film In Dreyers oeuvre La passion de Jeanne d'Arc brings together all the resources of the cinema at that time, and is the most pure and was finished, Dreyer worked on it for a year and a half. The historical perfect expression of his art Of none of his films is his own statement trial of Jeanne lasted for more than a year. Dreyer concentrated the more fitting: " The soul is revealed in the style, which is the artists actual 29 interrogations into one long interrogation, and in the film it expression on the way he regards his material takes place on 30 May 1431, the last day of Jeanne's short life: Dreyer The film was well received when it was released. but it was not thus keeps to the unities of time, place and story The style of the film, which has been called a film in close-ups, a commercial success. Since then the films reputation has grown, and for many years it has been continuously shown in film archives and derived directly from his sources and evokes the protocol of the trial. film clubs all over the world. The original negative of La passion de When the film was released, the close-up technique was regarded as Jeanne d Arc was destroyed in a fire in 1928 at UFA in Berlin Film a shattering impression on the ways in which the trial was a conspir archeologists are still working on a restoration of the film, which has acy of the judges against the solitary Jeanne, bravely defending version should not drastically change our impression of this masterpiece their net. This conspiracy could be conveyed on the screen only nrough the huge close-ups, that exposed, with merciless realism, the -Ib Monty callous cynicism of the judges hidden behind hypocritical compassio and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God. As in all of Dreyers major films the PASSPORT TO PIMLICO style grew out of the theme of the film. In La passion de jeanne d'Arc Dreyer wanted"to move the audience so that they would themselves UK, 1949 feel the suffering that Jeanne endured. "It was by using close-up that Dreyer could"lead the audience all the way into the hearts and guts Director: Henry Cornelius Jeanne and the judges. he close-up technique is the core of the film, because it lifts the drama above a given place and a given time. It is a satisfactory way of Production: Ealing Studios: black and white, 35mm; running time abstracting from an historically defined reality without abandoning a respect for authenticity and realism. But this striving for timelessness is reflected in all the components of the film. And there is more to the Producer: Michael Balcon; associate producer: E.V.H.Emm film than close-ups. Dreyer uses medium close-ups, tilts, pans, screenplay: T. E. B. Clarke: photographer: Lionel Banes; art travelling shots and intricate editing. Cross-cutting is used to great direction: Roy Oxley; music: Georges Auric: editor: Michael Tr effect, especially in the last part of the film, and the hectic rhythm and swiftly changing shots towards the end of the film are as masterfully Cast: Stanley Holloway(Arthur Pemberton): Betty Warren(Connie controlled as the close-ups. The visual language is very complex and Pemberton); Barbara Murray(Shirley Pemberton); Paul Dupui 924

PASSPORT TO PIMLICO FILMS, 4th EDITION 924 Stackpole, J., ‘‘One Hardly Expects Language to Be a Contributing Factor,’’ in Audience (Simi Valley), no. 192, December/Janu￾ary 1997. Nichols, Peter M., ‘‘In a Joan of Arc Season, One Telling is Timeless,’’ in New York Times, 24 October 1999. Smith, Gavin, ‘‘The Passion of Joan of Arc/Jeanne la Pucelle,’’ in Film Comment (New York), vol. 35, no. 6, November/Decem￾ber 1999. *** Carl Dreyer’s last silent film is one of the most famous films in the history of cinema. It is seldom missing on ‘‘World’s Ten Best Films’’ lists. Few films have been studied and analyzed as thoroughly in articles and books, and one sometimes feels that the real film is buried in the theory and aesthetics. But, a true classical work of art, La passion de Jeanne d’Arc appeals to and moves the spectator with its beautiful simplicity. It is a pure tragedy of a young suffering woman fighting in a hostile world. The finest homage to the film is perhaps that of Jean-Luc Godard: in his film Vivre sa vie the prostitute (played by Anna Karina) is deeply moved by Dreyer’s portrait of the legendary heroine when she sees the film in a Paris cinema in the 1960s. She can identify with the tormented young woman in this timeless film. From the time he started his script in October 1926 until the film was finished, Dreyer worked on it for a year and a half. The historical trial of Jeanne lasted for more than a year. Dreyer concentrated the actual 29 interrogations into one long interrogation, and in the film it takes place on 30 May 1431, the last day of Jeanne’s short life; Dreyer thus keeps to the unities of time, place and story. The style of the film, which has been called a film in close-ups, is derived directly from his sources and evokes the protocol of the trial. When the film was released, the close-up technique was regarded as shocking. Dreyer defended his method by stating: ‘‘The records give a shattering impression on the ways in which the trial was a conspir￾acy of the judges against the solitary Jeanne, bravely defending herself against men who displayed a devilish cunning to trap her in their net. This conspiracy could be conveyed on the screen only through the huge close-ups, that exposed, with merciless realism, the callous cynicism of the judges hidden behind hypocritical compassion— and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God.’’ As in all of Dreyer’s major films the style grew out of the theme of the film. In La passion de Jeanne d’Arc Dreyer wanted ‘‘to move the audience so that they would themselves feel the suffering that Jeanne endured.’’ It was by using close-up that Dreyer could ‘‘lead the audience all the way into the hearts and guts of Jeanne and the judges.’’ The close-up technique is the core of the film, because it lifts the drama above a given place and a given time. It is a satisfactory way of abstracting from an historically defined reality without abandoning a respect for authenticity and realism. But this striving for timelessness is reflected in all the components of the film. And there is more to the film than close-ups. Dreyer uses medium close-ups, tilts, pans, travelling shots and intricate editing. Cross-cutting is used to great effect, especially in the last part of the film, and the hectic rhythm and swiftly changing shots towards the end of the film are as masterfully controlled as the close-ups. The visual language is very complex and not in the least monotonous. The sets and the costumes were con￾sciously created in a way that furthered the balance between the historical and the modern. The lighting, the overall whiteness of the images, contributes to the film’s emphasis on the simple and the lucid. Dramatically, La passion de Jeanne d’Arc is composed as one long scene. This is Jeanne’s last struggle, and the battle is for her life and her soul. The film is dramatically and psychologically intensified in two scenes. The first when Jeanne breaks down mentally and, to save her life, signs a confession as a heretic. The second is the scene in which she regrets what she has done and withdraws the confession. She knows then that her death is certain, but she saves her soul, and she triumphs in her faith. La passion de Jeanne d’Arc is an intense description of the suffering of an individual, the drama of a soul transformed into images. It is a ‘‘cool’’ look, and Dreyer called his method ‘‘realized mysticism.’’ With his sober objectivity Dreyer succeeded in making the difficult understandable and the irrational clear. The film is about the necessity of suffering for the liberation of the individual human being. As do all of Dreyer’s heroines, Jeanne suffers defeat, but for Dreyer defeat or victory in this world is of no importance. The essential thing is the soul’s victory over life. Dreyer’s view of the historical facts is, of course, not a balanced one. Jeanne is the heroine, and Dreyer is on her side in a struggle against a cruel, official world. In Dreyer’s oeuvre La passion de Jeanne d’Arc brings together all the resources of the cinema at that time, and is the most pure and perfect expression of his art. Of none of his films is his own statement more fitting: ‘‘The soul is revealed in the style, which is the artist’s expression on the way he regards his material.’’ The film was well received when it was released, but it was not a commercial success. Since then the film’s reputation has grown, and for many years it has been continuously shown in film archives and film clubs all over the world. The original negative of La passion de Jeanne d’Arc was destroyed in a fire in 1928 at UFA in Berlin. Film archeologists are still working on a restoration of the film, which has survived in many slightly differing versions—but even a definitive version should not drastically change our impression of this masterpiece. —Ib Monty PASSPORT TO PIMLICO UK, 1949 Director: Henry Cornelius Production: Ealing Studios; black and white, 35mm; running time: 84 minutes. Released April 1949. Producer: Michael Balcon; associate producer: E. V. H. Emmett; screenplay: T. E. B. Clarke; photographer: Lionel Banes; art direction: Roy Oxley; music: Georges Auric; editor: Michael Truman. Cast: Stanley Holloway (Arthur Pemberton); Betty Warren (Connie Pemberton); Barbara Murray (Shirley Pemberton); Paul Dupuis