2017년 3월 16일 목요일

Andre S ラバルト

Andre S ラバルト

AndréS. Labarthe
Andre S ラバルト
Andre S ラバルト
2008 photography
The real name Andre = sill station wagon ラバルト
(André-Sylvain Labarthe)
The date of birth (1931-12-18) 1931December 18(85 years old)
Birthplace French flag France, Pyrenees-Atlantiques オロロン = サント = Mary
Occupation Critic、Film producer、Movie director、Scriptwriter、Actor
Activity period 1950s -
Main work
『Cineasts of our times』
Indication

Andre S ラバルト (AndréS. Labarthe, real name André-Sylvain Labarthe, December 18, 1931 オロロン = サント = Mary -) is French critic, film producer, movie director, scriptwriter, actor. I am known as a legendary TV producer, supervisor of documentary "cineasts of our times".

Table of contents

Origin, person

On December 18, 1931, I am born in France Pyrenees-Atlantiques オロロン = サント = Mary.

I started the carrier as the film critic in the 1950s. I met Andre Bazin in screening society and asked to participate in the editing of the magazine "cahier デュ cinema" which バザン established jointly in 1951. The knowledge that was cinematographic like part of the magazine and Jacques Rivette that it was or Francois Truffaut had the ebullience for the seventh art, and, according to the place that oneself talked about, oneself was not anymore. His review-like eyes only let Andre Bazin make up the mind that a friend let him.

The vision peculiar to ラバルト does great contribution for positioning of criticizing it of "cahier" effectively. Like joint editing, writers, I shared Jean Renoir, Howard Howks, similar praise for constant movie writers such as John Ford. In addition, I turned great attention to the movie which appeared and participated in nouvelle vague and John カサヴェテス, the promotion of new independence system movie writers of the United States such as Shirley Clark. The preparations about this matter for him occasionally objected to some opinions of the co-worker and might bring it to support an Italian young movie.

In 1964, I start the "cineasts Cinéastes de notre temps series of our times". The series was joint produce with ジャニーヌ バザン, and ラバルト directed some works, too. The series that passed more than 40 years, and continued constituted the 52-minute portrait about famous cineasts. The first product was given to Luis Bunuel, and ラバルト adhered to Bunuel and did great contribution in letting you realize it again within the review. The series was televised through TV, and the vision of criticizing it of "cahier" and his lecture of the film history colonized more.

The steps of the documentary of ラバルト are anti-spectacle marks. The direction purified it without looking for a scoop, and even a simple commentary was absent. Documentary series "cineasts of our times" copy the world of the director and invite you to let you forget the existence of the interviewer. The series stops it in the 1980s. I start the situation again in the name of "movie, Cinéma, de notre temps of our times" in アルテ (ARTE) at the beginning of a shift, the 1990s. The change of this title is tied to the will of the writer warning this tear in plural movie writers taken for the movie which has already died as well as a continuity and the birth of the new times, one of the present of the series during time.

During the period of the stop of the series, I was not with ラバルト being non-active. I did collaboration by broadcast called "Cinéma, cinémas" and "Égale cinéma". I directed the different subjects about his favorite cineasts there. I directed documentary "William Forsythe au travail" about William Forsythe of the this Ogura fur and adopted a principle same as "cineasts of our times" there.

ラバルト continued being all film critics alone before. He went through an occupation even if he met behind a camera even if I met in an article. It is the mind of the analysis, and it is always setting of the perspectives.

It is a sworn friend of Jean = rucksack Godard. "Do long article initial work of Godard without permission", and the initial work including "the paved road where woman and man are" appears on "JLG/ self-portrait" even recently for "new Germany 0 years", and や plays the leading part in a movie of the young person supervision including Jean-Pierre リモザン, a short piece of the anonymity supervision, and the appearance careers of the movie have already exceeded the level of "余芸 of the critic" brilliantly.

Quotation

Introduce a camera in the range of talks device while considerably revising an effect. Everything which removed transcription to paper. Silence, eyes, laughter, gesture, an intonation. Everything and thing, all to attach a punctuation mark, and to reach puberty in the expression of the idea, and to do likewise occasionally polluted. A camera returns to the first plan and terminates by constituting materials. Therefore the director must take profit. If a director does not want to be satisfied that it continues being a registered simple organ so that Al toe says.

It is not a machine to organize more that the device captures luck and fixes these trifling details. It is strange whether these details are insufficient if they take it or is anecdotal, or I may notice a merely stupid thing, however it is a series of cloth as well as the movie which is going to be completed. What the enemy is in the root is to intend. For me, direction (mise en scène) is to allow to let all the traces of the intention fall down. Please compare chance, luck, the value of the concept such as the experiment that I agree to. These attract my interest enormously, and there is it in a thing waking up a reflection to lasting nature of the movie. — Andre ラバルト, "Entretien avec AndréS. Labarthe" Paris, January 29, 2005 [1]

Filmography

Supervision

From 1960s to 1970s

1980s -

Script

Appearance

Related matters

Note

  1. ^ "Entretien avec AndréS. Labarthe," it is supervision Luc Lagier, Paris, January 29, 2005.

Outside link

It is acquired by "https://ja.wikipedia.org/w/index.php?title= Andre S ラバルト &oldid=57247250"

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