User talk:Inoubliable folie

Hi

Pls email me to confirm your attendance Week 2 Sophiemayer (talk) —Preceding undated comment added 13:22, 22 January 2016 (UTC)

The Green Room: To Do

Week Two

1. Organise presentation
2. Check the initial sources used for the wikipedia page
3. Find some more information on the already added talk page points

Inoubliable folie (talk) 22:13, 22 January 2016 (UTC)

Week Three

1. Look at what we need to amend (Baecque book and Toubiana book reference inside a reference, Bergan Book)
2. Get in touch with some french editors/people from the french cinema task force about translation
3. Consider what to add (i.e. look at the idea of listing themes and then adding a see also part, then the Klein article, Bloom article)

Inoubliable folie (talk) 13:28, 29 January 2016 (UTC)

I'd be happy to make concrete all the things to do for the Baecque and Toubiana book because I still have a copy rented out. Also, regarding things to add, I noticed that the page gives external links to rotten tomatoes and IMDB, but the article doesn't mention the film's ratings on those sites at all. This could be something we can add! I'm pretty sure it goes under reliable sources because I rarely see a film article without the sites mentioned A PGoss (talk) 19:14, 31 January 2016 (UTC)

The Green Room Plans

Plan:

1. Diversify the sources
2. Amend the sources
3. Mention of Truffaut as auteur
4. Review nature of written work

REFERENCES/QUOTES/SOURCES

Amend

• Baecque, Antoine de; Toubiana, Serge (1999). Truffaut: A Biography

Add

• Michael Klein Article
• Michael E. Bloom Article
• Bergan Book (Francois Truffaut: Interviews)
• Robert Ingram’s ‘François Truffaut: Film Author, 1932-1983

CONTENT

Add

• Section for a cross-reference to Truffaut as auteur

Week Four

The Green Room Wikipedia Page Editing Plan

Roles during Editing: A number of roles for different members of the group will overlap, be shared between multiple people, and be in sequence with roles performed by others.

Alex

• Amending of sources – finding direct references to replace those that are not already so. Checking of accuracy in quotes throughout the article and amending any mistakes.
• Amendments of quotes which are not exact to their sources.
• Broadening of Reception section – additional details of the film’s contemporary reception, on Rotten Tomatoes and IMDB.

Costanza

• Finding original sources and adding to the bibliography. Bergan Book
• Research of new and varied sources for possible implementations to the article – exploring content based around Truffaut and The Green Room that is original, of scholarly value and relevant to the points of the article.
• Translating of French sources.

Charlotte

• Selecting new entries for bibliography – for the broadening of scholarly content throughout the article, selecting key texts from those researched to be implemented into the article. Expansion and organisation of the bibliography to follow (placement in the article’s structure).
• Translating of French sources.

Katy

• Overseeing and editing input material.
• Alterations to the structuring of the page itself, with the new changes implemented.
• Keeping track of the timetable and deadlines
• Adding a new section or wikilink for the relation between Truffaut and the film.
• Editing the pre-existing written work in the article for clarity and cohesiveness.

Cintia

• Confirmation of sources with regards to fidelity and scholarly value.
• Interacting with course volunteers during queries and any issues.
• Proof reading of the article, before and after editing, for grammar, non-bias etc.

Everyone

• Recording of changes made and progress on Katy’s talk page and in personal documents.

Timetable (dates by which certain tasks are aimed to be done by)

• Monday 8th – Final research and acquiring of sources – Everyone.
• Friday 12th – Expansion of bibliography from amendments of Baecque and Toubiana - Alex. Addition of Truffaut Wiki Link - Katy.
• Sunday 14th – Selecting additional sources from resources we have found Costanza and Charlotte. Browse possible images from ICO – everyone.
• Wednesday 17th – Input of new content and references –Everyone. Those that need translating to be translated – Charlotte and Costanza.
• Thursday 18th – Final structuring of article with changes – Group activity. Compiling of records of changes made - Everyone.
• Friday 19th – Proofreading of all changes and the entire page with changes – Everyone.

Things Alex has flagged up!

• I went through all of the Baecque and Toubiana quotes, and many of the original sources that I have found are only referred to as 'Le Matin de Paris, June 5, 1977', or 'L'Express, March 13, 1977', which isn't suitable to put in the bibliography I would have thought I can't find any archives anywhere either, so I'm checking with Sophie but at the moment what I'll be doing is making it more specific in the article the publications are being indirectly referenced to
• Also, this might have already been covered, but I went to do the same thing for the Insdorf book in the bibliography, and it's only in French so I can't really get through it.

The Green Room Notes!

Relevant quotes from Michael Klein’s article « Truffaut’s Sanctuary : The Green Room 

• ‘The Green Room is a meditation on contemporary culture and society. Truffaut’s critique is traditional and humanist rather than revolutionary, stoical rather than engaged, doggedly unfashionable rather than avant-garde.’ p. 16
• ‘The quietude of the film masks an exploration of human isolation in an inhuman society and of the strength and limitations of moral and aesthetic purity.’ p. 16
• ‘The Green Room, the story of a man who devotes himself to creating an altar to the past, makes us aware of how often the male characters in Truffaut’s films are isolated from human contact, incapable of sustaining friendships with either men or women, and driven by romantic obsessions that lock them into themselves.’ p. 16
• ‘The themes of estrangement from human contact and romantic obsession have been primary in most of the films that Truffaut has made over a period of twenty years.’ p. 16
• ‘In the semi-autobiographical Antoine Doinel series the Truffaut persona, portrayed by Jean-Pierre Léaud, grows from child to man: at age 30 he is as isolated from others as was the child of The 400 Blows.’ p. 16-17
• ‘In the Green Room François Truffaut plays the role of the Truffaut persona: the auteur and his concerns are directly objectified within the film.’ p. 17
• ‘Julien’s obsessions isolate him from other people, Julien’s alienation is more than the result of a personal or romantic obsession.’ p. 17
• ‘The preface significantly expands the work’s theme of concern for the dead beyond Julien’s memory of his wife, and thus transforms Jame’s material from a story about a personal obsession to a parable about meaning and value in the modern world. The images of the trenches are familiar to us. They are part of our collective social memory – ‘’our Dead.”” p. 18
• ‘Truffaut’s Julien withdraws from life, preserving the memory of his dead who live by codes that are being destroyed in a world that is increasingly competitive, manipulative, and functionalist. He withdraws to preserve their values by means of a privatistic or self-enclosed creative act that few can fully comprehend or appreciate, which further isolates him from other people. Thus his actions are at once affirmative of life and self-isolating or anti-life.’ p. 18
• ‘Julien seldom appears in the film outside of a confining space: heavily furnished rooms, the walled and gated cemetery, his black car, inside the altar gates. Close-focus shots further enclose him. Even his eyes are framed inside severe rec- tangular glasses. Julien inhabits carefully enclosed space throughout the film. While the locales are often sanctuariesthey also confine in an oppressive way, like space in a prison.’ p. 18
• ‘Truffaut appears to be noting the human cost of a quest for meaning and value in the world. The dead are celebrated, the meaning and memory of their lives affirmed. But as an idea-not in Julien's experience nor, by implication, for most of us. The comfort is Romantic and Keatsian: art and memory preserve what time attenuates and destroys.
Julien’s altar is a personal heterocosm, a refuge against the dominant culture.’ p. 19
• ‘The cost of moral vision is isolation, a failure to fully sustain communication, a failure of rhetoric. In a sense, Truffaut incorporates this criticism into his work, making a film that is, at times, a negative example, risking estrangement from a general audience in order to affirm his vision.
Often the film communicates to us primarily through references to other Truffaut films-that is, only to those who share a fund of common cinematic images and memories.’ p. 19
• ‘The Green Room is replete with inward-turning allusions which make sense often only if we are familiar with the green room of Truffaut's imagination with the images and concerns that recycle throughout his complete oeuvre.’ p. 19
• ‘In filling his film with these and other strongly felt but somewhat esoteric references Truffaut risks becoming obscure. He insists, however, upon calling our attention to the process of art as inherently self-referential. The references are a way of affirming meaning, of re-encoding signs from culture and experience.’ p. 19
• ‘He identifies with Julien, up to a point: "without going as far as Davenne, who is obsessed, loving the dead more than the living, I find that remembering the dead permits one to struggle against the transience of life.’ p. 19
• ‘In the final sense Davenne's altar is a statement of resistance against the dominant culture that is represented not only by the overt barbarism of World War I but by the ruthless, competitive, manipulative and conformist aspects of public life in modern society.’ p. 19
• ‘In moments of deeply felt isolation and loneliness Truffaut's characters often reach out on their own for a kind of cultural communion (in The 400 Blows Antoine creates an altar for Balzac, in Two English Girls Claude sees Rodin's sculptures as a touchstone of a passing age). The many allusions to film, art and literature in Truffaut's works are kindred attempts to commemorate and thus link with traditions and values which have become subcultural and privatistic and in so doing reflect a larger crisis, one that hovers on the margins of the film.’ p. 20

Relevant ideas from an extract of Robert Ingram’s ‘François Truffaut: Film Author, 1932-1983’ (2003) (London: Taschen GmbH)

• Like his character, Truffaut wanted to keep alive the memory of those he had lost by preserving their memory in any ways.
• As viewers, we don’t really sympathize with Julien (e.g. his self-centerdness deprives him from the possibility of a new love with Cécilia, he strikes the young mute child Georges)
• Truffaut shows once again the damaging and vain resulting from the pursuit of the absolute.
• P. 159 He wanted The Green Room to connect with the audience
• P. 156: "The idea for a film on the dead had preoccupied him for several years and had been accentuated by the deaths of numerous friends and colleagues"

Relevant information from Michel Marie’s ‘La Nouvelle Vague: Une Ecole Artistique’

• During his career Truffaut collaborates in total with 5 scriptwriters with which he will co-write his films. Jean Gruault was his collaborator for ‘Jules et Jim’, ‘L’Enfant Sauvage’, ‘Les Deux Anglaises et le Continent’ and ‘La Chambre Verte’.

Amending of Sources in the Article

Bergan Book (Francois Truffaut: Interviews)

• This book has been mentioned on the talk page, and I thought it would be useful to compile some of the quotes in it with their relevance to our assignment.
• P. 124: “The story was difficult to construct, but at the same time, I was attracted to the subject.” This can be linked to the personal expressionism of Truffaut’s films as an auteur to mention, and his own relationship to the film.
• P. 124: “It’s [the contradiction between the cult of death and the love of life] the theme of the film” gives a reliable quote on how we may want to talk about the film’s themes.
• P. 125: “If you write by hand, it isn’t perfect, the writing may be shaky, but it is you, your writing.” This is a fully translated version of the quote that I think has been asked about in the Talk Page, as it has been recorded in the interview. We could reference the quote to either books with this translation as well I think.
• P. 126: “How wrong we were to think that colour was an improvement and not a handicap...Perfection in the cinema consists in the knowledge that whatever happens there is a barrier between the film and “reality”. Colour has removed this last barrier. If there is nothing false in a film, it is not a film” This refers to the stylisation of the film and Truffaut’s general approaches to film style throughout his career. During this answer in an interview the interviewer has also asked about Truffaut’s “general nostalgia” in his films, again referencing his style and themes which we might be exploring.
• P. 137: “[referring to The Green Room as a film with a difficult subject] Films like that where I “get out of trouble”, an expression I prefer to use rather than say I “succeed.”” This can relate to the film’s critical acclaim, but financial flop mentioned in the article, as he saw himself just about pulling through in the project.

Book reference: Bergan, Ronald (ed.) (2008), Francois Truffaut: Interviews (Jackson: University Press of Mississippi).

Michael Klein Article

• This is an article from Film Quarterly we can use as another additional source in the article. It is a reliable scholarly source that gives more useful information on the thematic elements of the film. The article is called Truffaut's Sanctuary: "The Green Room" and it’s available on the QM library website.

Michael E. Bloom’s Article

• This article is also available on the library website, called Pygmalionesque Delusions and Illusions of Movement: Animation from Hoffmann to Truffaut. It points out how the pictures in the actual green room in the film include those of Truffaut’s friends and family and inspirations. This has been done in the article already, but is a repetitive use of the Baecque and Toubiana book. Here, we have an alternative source that we can reference to. On the page we can also mention this feature in the film as again reflecting Truffaut’s personal attachment and relationship with the film.

Welcome

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Sources for Thematic Points

To make a note of possibly useful sources regarding themes of the film, Michael Klein's article refers to "The themes of estrangement from human con- tact and romantic obsession" which have continued throughout Truffaut's career. This can be linked into the article and also help adds a respected scholarly source.

Klein, Michael (1980), 'Truffaut's Sanctuary: The Green Room', Film Quarterly, 34/1: 15-20. — Preceding unsigned comment added by 86.136.83.183 (talk) 08:48, 4 February 2016 (UTC)

Charlotte and Costanza's selected quotes

The Green Room notes to include in Wikipedia page

Bergan Book (Francois Truffaut: Interviews)

• This book has been mentioned on the talk page, and I thought it would be useful to compile some of the quotes in it with their relevance to our assignment.
• P. 124: “The story was difficult to construct, but at the same time, I was attracted to the subject.” This can be linked to the personal expressionism of Truffaut’s films as an auteur to mention, and his own relationship to the film.
• P. 124: “It’s [the contradiction between the cult of death and the love of life] the theme of the film” gives a reliable quote on how we may want to talk about the film’s themes.
• P. 125: “If you write by hand, it isn’t perfect, the writing may be shaky, but it is you, your writing.” This is a fully translated version of the quote that I think has been asked about in the Talk Page, as it has been recorded in the interview. We could reference the quote to either books with this translation as well I think.
• P. 126: “How wrong we were to think that colour was an improvement and not a handicap...Perfection in the cinema consists in the knowledge that whatever happens there is a barrier between the film and “reality”. Colour has removed this last barrier. If there is nothing false in a film, it is not a film” This refers to the stylisation of the film and Truffaut’s general approaches to film style throughout his career. During this answer in an interview the interviewer has also asked about Truffaut’s “general nostalgia” in his films, again referencing his style and themes which we might be exploring.
• P. 137: “[referring to The Green Room as a film with a difficult subject] Films like that where I “get out of trouble”, an expression I prefer to use rather than say I “succeed.”” This can relate to the film’s critical acclaim, but financial flop mentioned in the article, as he saw himself just about pulling through in the project. — Preceding unsigned comment added by 161.23.78.49 (talk) 13:15, 12 February 2016 (UTC)

From Michael Klein’s article ‘’Truffaut’s Sanctuary : The Green Room’’

• P16 ‘The Green Room is a mediation on contemporary culture and society.’
• P16‘The quietude of the film masks an exploration of human isolation in an inhuman society and of the strength and limitations of moral and aesthetic purity.’
• P16 ‘The Green Room makes us aware of how often the male characters in Truffaut’s films are isolated from human contact, incapable of sustaining friendships with either men or women, and driven by romantic obsessions that lock them into themselves.’
• P19 ‘Truffaut appears to be noting the human cost of a quest for meaning and value in the world. The dead are celebrated, the meaning and memory of their lives affirmed. But as an idea-not in Julien's experience nor, by implication, for most of us. The comfort is Romantic and Keatsian: art and memory preserve what time attenuates and destroys.
Julien’s altar is a personal heterocosm, a refuge against the dominant culture.’
• P20 ‘In moments of deeply felt isolation and loneliness Truffaut's characters often reach out on their own for a kind of cultural communion (in The 400 Blows Antoine creates an altar for Balzac, in Two English *Girls Claude sees Rodin's sculptures as a touchstone of a passing age). The many allusions to film, art and literature in Truffaut's works are kindred attempts to commemorate and thus link with traditions and values which have become subcultural and privatistic and in so doing reflect a larger crisis, one that hovers on the margins of the film.’

From an extract of Robert Ingram’s ‘François Truffaut: Film Author, 1932-1983’'

• Like his character, Truffaut wanted to keep alive the memory of those he had lost by preserving their memory in any ways. He wanted The Green Room to connect with the audience

From Michel Marie’s ‘La Nouvelle Vague: Une Ecole Artistique’'

• Jean Gruault was his collaborator for ‘Jules et Jim’, ‘L’Enfant Sauvage’, ‘Les Deux Anglaises et le Continent’ and ‘La Chambre Verte’.

From Mouren’s ‘Etudes Cinématograpiques’

‘Cette decision n’est pas simplement prise parce que Truffaut incarne le personage, mais parce que l’obsession de Davenne, ce qu’il fait tout le long du film, ce qui le définit, à savoir, garder la mémoire des morts, refuser l’oubli, rejoint en un sens, l’activité du cineaste.’

From Anne Gillained’s ‘Le Cinéma Selon François Truffaut’'

• ‘J'ai choisi de transporter les thèmes d'Henry James en 1928, parce-que je les voulais directement in liaison avec le souvenir de la Première Guerre Mondiale. L'idée de massacre, de millions de morts, n'est pas évoquée avec autant de force par la dernière guerre. [...] il fallait établir un contraste très vif entre les scènes de la vie quotidienne et celles de la chapelle.’
• ‘Ce n’est pas le culte de la mort. C’est effectivement une extension de l’amour des gens qu’on a connus et qui ne sont plus, et l’idée qu’ils on tune permanence. Je n’adhère pas complètement au personage, et il m’arriv de le critique. C’est un demi-fou, avec une idée fixe, mais ce qui importe c’est qu’il refuse l’oubli. Pour moi, c’est important ce refus.’
• ‘[About Massigny’s character] Il symbolise tout ce qui nous empêche de dormer, sur quoi se concentre toute notre aggréssivité.’
• ‘[About the reception Truffaut is expecting for the film] Enfin je crois à l’émotion retenue, à l’émotion non par paroxysme mais par accumulation.Je voudrais que l’on regarde la chambre verte la bouche ouverte, qu’on aille d’étonnement en étonnement, et que l’émotion ne nous étreigne qu’à la fin, grâce au seul lyrisme de la musique de Jaubert. J’ai essayé de dérouler un fil sans le casser et d’obtenir une ligne, la plus pure possible.’
• ‘[About the genre of the film] La Chambre Verte est construite comme une comédie musicale qui ne danse et qui ne chante pas. (…) C’est un film antihollywoodien en ce sens qu’à Hollywood, on travaille avec une grande générosité narrative. Il est plus résolument Européen parce qu’il repose sur l’idée classique de faire quelque chose avec presque rien, avec des petites choses qu’on doit amplifier pour les amener à la hauteur de l’évènement.’

From (1988) François Truffaut, Jean-Luc Goddard et G. de Givray’s ‘Correspondance (1945-1984)’'

• ‘Comme vous le savez, La Chambre Verte a bonne reputation, mais du point de vue des distributeurs de salles, le vrai titre serait: La Chambre Vide!’

From A. Insdorf’s ‘Le Cinéma est-it Magique?’'

• La Chambre Verte Truffaut uses Jaubert's music for the fourth time in his films
• ‘[About film’s style] Malgré l’émotion pesante de la Chambre Verte, le style de la mise-en-scène de Truffaut est d’une légèreté et d’une simplicité qui rendent le film moins lugubre.’ — Preceding unsigned comment added by 161.23.78.49 (talk) 12:14, 12 February 2016 (UTC)

Gruault and Truffaut

I've found an ebook online which I think is just a translation of the Marie book that Charlotte and Costanza had been translating.

Marie, Michel and Neupert, Richard John (2003), The French new wave: an artistic school (Malden: Blackwell).

I'm under the impression that we had got this translated from the French version anyway, but couldn't find a quote regarding Gruault having worked with Truffaut before The Green Room. In this copy, which is accessible through the library website, page 73-74 gives exactly that information. I thought I'd say on here in case anyone wants to add it themselves, but I'm also happy to put this in the article.

A PGoss (talk) 21:57, 17 February 2016 (UTC)