Wednesday, October 11, 2017

Recrudescence - table of contents

Serge Daney's fourth and last book (published during his lifetime) is Devant la recrudescence des vols de sacs à mains, cinéma, télévision, information. The title is a somewhat mysterious reference to a notice put up in a film theatre warning that 'Due to the increase in handbag thefts in public spaces, we advise our customers to remain vigilant and not place handbags on the floor'.

It brings together a selection of articles from two columns that Daney wrote for the French newspaper Libération (between October 1988 and April 1991) and a lengthy interview with Philippe Roger conducted in January 1991.

Over the years, many of the texts have been translated, especially with the 30 texts published recently on this blog for the Ghosts of Permanence series. So here's the entire table of contents of the book with links to translations (and the film reference where relevant).


GHOSTS OF PERMANENCE - from cinema to television

What Out of Africa produces
(Out of Africa, Syndey Pollack, 1986)

Les Baccantes mises à nu 
(Ah! The Nice Moustache or Peek-a-Boo, Jean Loubignac, 1954)

Three years after the Dragon 
(Year of the Dragon, Michael Cimino, 1985)

The Pirate isn't just decor
(The Pirate, Vincente Minnelli, 1948)

Neo-Tosh
(Marie-Antoinette, W.S. Van Dyke, 1938)

Stella, ethics and existence 
(Stella, Laurent Heynemann, 1983)

Cop in a box
(Un flic, Jean-Pierre Melville, 1982)

Minnelli caught in his web
(Cobweb, Vincente Minnnelli, 1955)

That's cinema
(Witness, Peter Weir, 1985)

The last temptation of the first Rambo 
(First Blood, Ted Kotcheff, 1982)

‘Wings’ to attempt to land
(Wings of desire, Wim Wenders, 1987)

Archimède's TV drama
(Archimède le clochard, Gilles Grangier, 1959)

Le Diable, maître du scénario
(Beauty and the Devil, René Clair, 1949)

Griffith shows us a thing or two
(Orphans of the Storm, D.W. Griffith, 1921)

The star and the leftovers
(And God Created Woman, Roger Vadim, 1956)

Zurlini, the stylist
(Violent Summer, Valerio Zurlini, 1959)

Un bon Lelouch ? Oui.
(Love is a funny thing, Claude Lelouch, 1969)

John Ford for ever
(She Wore a Yellow Ribbon, John Ford, 1950)

Qui aime Maurice Cloche?
(Rooster Heart, Maurice Cloche, 1946)

Beineix, Opus 1
(Diva, Jean-Jacques Beinex, 1981)

Mad Max, Opus 2
(Mad Max 2, George Miller, 1981)

A true fake Bruce
(Game of Death, Bruce Lee - Robert Clouse, 1972)

Clair, grandad of the music video
(Bastille Day, René Clair, 1933)

The essential Buñuel
(That Obscure Object of Desire, Luis Buñuel, 1977)

Leone at war
(The Good, the Bad and the Ugly, Sergio Leone, 1968)

Rossellini, Louis XIV: the first
(The Taking of Power by Louis XIV, Roberto Rossellini, 1966)

Zurlini, from the back
(Family Portrait, Valerio Zurlini, 1962)

Un Verneuil sans espoir
(La vingt-cinquième heure, Henri Verneuil, 1967)

Alien: come what may
(Alien, Ridley Scott, 1979)

Le roi était nu
(The King, Pierre Colombier, 1936)

Doped up Marilyn
(Let's Make Love, George Cukor, 1960)

Deadly dubbing
(Death Trap, Syndney Lumet, 1982)

Lara inn-keeper
(The Red Inn, Claude Autant-Lara, 1951)

Inusables cigognes
(The cranes are flying, Mikhail Kalatozov, 1957)

Downstairs, étude
(Downstairs, Monta bell, 1932)

Zefirelli, tchi tchi
(La Traviata, Franco Zeffirelli, 1982)

Realist Fellini (Ginger and Fred, Federico Fellini, 1986)

In the water
(Island of the Fishmen, Sergio Martino, 1979)

Laura's aura
(Laura, Otto Preminger, 1944)

Heavens, a telefilm!
(Silas Marner, Giles Foster, 2985)

Sissi impératrice
(Sissi, the Young Empress, Ernst Marischka, 1956)

Citizen Cain
(Citizen Kane, Orson Welles, 1941)

The Dumbo case
(Dumbo, Walt Disney production, 1941)

Illegal history
(Moonlighting, Jerzy Skolimowski, 1983)

Walsh draws kings
(The King and four Queens, Raoul Walsh, 1956)

La vie est un Donge
(The Truth about Bebe Donge, Henri Decoin, 1952)

Sink the Herring!
(Sink the Bismarck!, Lewis Gilbert, 1960)

A touch of Hell
(Inferno, Dario Argento, 1986)

Colourful DeMille
(The Ten Commandments, Cecil B. DeMille, 1956)

Liliom's arms
(Liliom, Fritz Lang, 1934)


THE PASSEUR

Interview with Philippe Roger


INFORMATION FANTASIES - from information to war

Les loges des intellectuels

For a cine-demography

Moment critique pour la critique

Autant-Lara n'est (vraiment) pas une merveille

Quand le rythme vient à manquer

Catéchisme audio-visuel

Le cinéma et la mémoire de l'eau

l'"Amour en France", et nous et nous et nous

Nicolae et Elena lèguent leurs corps à la télé

In stubborn praise of information

Le tour de l'info en voiture-balai

Uranus, mourning for mourning

Beauté du téléphone

Montage obligatory


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