Andrew Dudley - A companion to Francois Truffaut

The Wiley-Blackwell Companions to Film Directors survey key directors whose work together constitutes what we refer to as the Hollywood and world cinema canons. Whether on Haneke or Hitchcock, Bigelow or Bergman, Capra or the Coen broth ers, each volume comprises 25 or more newly commissioned essays written by leading experts, explores a canonical, contemporary, and/or controversial auteur in a sophisticated, authoritative, and multidimensional capacity. Individual volumes interrogate any number of subjects the directors oeuvre; dominant themes, well-known, worthy, and underrated films; stars, collaborators, and key influences; reception, reputation, and above all, the directors intellectual currency in the scholarly world.

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A Companion to Rainer Werner Fassbinder, edited by Brigitte Peucker

A Companion to Werner Herzog, edited by Brad Prager

A Companion to Pedro Almodvar, edited by Marvin DLugo and Kathleen Vernon

A Companion to Woody Allen, edited by Peter J. Bailey and Sam B. Girgus

A Companion to Jean Renoir, edited by Alastair Phillips and Ginette Vincendeau

A Companion to Franois Truffaut, edited by Dudley Andrew and Anne Gillain

A Companion to Luis Buuel, edited by Robert Stone and Julian Daniel Gutierrez-Albilla

This edition first published 2013
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Library of Congress Cataloging-in-Publication Data

A companion to Francois Truffaut / edited by Dudley Andrew and Anne Gillain.
pages cm.
Includes bibliographical references and index.
Includes filmography.

ISBN 978-1-4051-9847-9 (hardback : alk. paper)
1. Truffaut, FrancoisCriticism and interpretation. I. Andrew, Dudley, 1945 editor of compilation.
II. Gillain, Anne, editor of compilation.
PN1998.3.T78C75 2013
791.430233092dc23

2012042143

A catalogue record for this book is available from the British Library.

Cover image: Photo of Francois Truffaut Eva Sereny / Camera Press, London
Cover design by Nicki Averill Design and Illustration

The editors are grateful to Wellesley College for a grant awarded to Anne Gillain to help cover the translation costs for this volume. At a time of fiscal vigilance, Wellesley College displayed once more its commitment to faculty research and publication. Our sincere appreciation goes to Madeleine Morgenstern who expressed active interest in our work and warmly welcomed us into her home to discuss it. Her support has been a great encouragement. We must single out Arnaud Desplechin for graciously spending two afternoons of his busy professional life to share with us his insights on Franois Truffaut. It was a privilege to watch segments of the films with him and to be there to catch the fervor as well as the intuitive aptness of his spontaneous reactions. His dedication not just to Truffaut but to a serious, yet never ponderous, idea of cinema ought to inspire young filmmakers and scholars the way it has us. Thanks go to Liam Andrew and especially to Madeline Whittle for assisting with the countless details and versions of so many chapters that have been in production for so many months. Madelines care and her quickness of both intelligence and execution kept this multilingual, two-year enterprise on track. In the home stretch we were ably assisted by Jeremi Szaniawski, Michael Cramer, Stephanie Andrew, and especially Dana Benelli. We salute Jayne Fargnoli, cheerful optimist, and our forgiving editor, who has shown herself ready to bend protocol for the health of this particular volume. We hope we to have been worthy of her trust.

Dudley Andrew is Professor of Film and Comparative Literature at Yale. He began his career with three books commenting on film theory, including the biography of Andr Bazin, whose thought he explored in the recent What Cinema Is! and the edited volume Opening Bazin. His interest in aesthetics and hermeneutics led to Film in the Aura of Art (1984), and his fascination with French film and culture resulted in Mists of Regret (1995) and the coauthored Popular Front Paris (2005). He is currently completing Encountering World Cinema.
Alain Bergala, former editor in chief of Cahiers du cinma, has written articles and books on filmmakers such as Godard, Rossellini, Kiarostami, and Buuel. Having taught at Universit Sorbonne Nouvelle (Paris III), he served as cinema advisor to the French Ministry of Education from 2000 to 2002. Currently he teaches cinema at La Femis. He has directed numerous films for cinema and television. He has also curated two important expositions: Correspondances: Kiarostami-Erice (CCCB de Barcelone 2006; Beaubourg 2007) and Brune Blonde (Cinmathque franaise 2011).
Michel Chion is a composer of concrete music, a writer, a researcher, and a director of short films and videos. Currently a senior fellow at the IKKM at the University of Bauhaus, he has published some 30 books, several of which have been translated into English: Audio-Vision (1994), Voice in Cinema