A Companion to François Truffaut (Wiley Blackwell Companions to Film Directors)

University of Stirling
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Loading, please wait Free 2-Day Shipping. This item isn't sold in stores. Help us improve this page. About this item. Specifications Number of Pages: Description Hitchcock's People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock's films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically.

Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. As Bickle applies for a job at the apparent reason slams his fists into the half-eaten cake in front of him and cab depot, the personnel officer interrogates ftim as two cab drivers have a attacks the woman, trying to rip off her clothes. The other characters pull him heated but not aggressive conversation in the window behind them. Bickle away, one saying, "Take it easy jerry. Take it easy. This is America.

May Repeatedly in this scene, the camera tilts up from Bickle's waste to reveal a Taxi Driver was Scorsese's first critical and commercial success.

A companion to Jean Renoir

It won the "King Kong Company" patch on his military jacket. The patch has King Kong Palme d'Or at the Cannes Film Festival in and grossed 28 million dollars in a camouflage helmet, and the camera, focused on the personnel officer from in its first theatrical run from a budget of less than two million. States National Film Preservation Board has selected it for preservation in the Bickle's history is sparse, his answers are imprecise, and the personnel Library of Congress, and it consistently ranks in the top films of all time officer goes from irritation at his sarcasm CMy record is dean More importantly, it has garnered a singular science" to incredulity when he answers the education question with, "A place in American cultural history: many of its images and lines have become little Their York city as a place of isolation, danger, and depravity, a representation that exchange illustrates the kind of easy connection Bickle is incapable of, and the would continue throughout the s and early s; and most notoriously, film will show Bickle at several times estranged from the other cabbies.

He is it inspired, or was at least used as a defense for, John Hinckley Jr. And yet its success, as Amy Taubin notes in her book on the film, stems from failure: the defeat of the United States in Vietnam, the collapse of the coumercultural movement, and the breakdown of hegemonic masculinity structure not only the historical moment within the film, but also the trials of the character.

Bickle's srory is of unspecified yet constantly indicated war trauma. The trauma manifests as alienation and impotence, a decentering of the subject, and is only overcome in the film by a repetition of violence a further failure. Countercultural failure is diffused throughout the film, focusing on the deg- radation of the free love movement into rampant prostitution, the naive flower power of Iris Uodie Foster as shown in her sentiments and wardrobe, and the empty populist rhetoric of Senator Palamine Leonard Harris , whose slogan is "We are the people. Taxi Driver Directed by Martin Scorsese.

High Taxi Driver and Veteran Trauma always ill at ease in the conversation, captured at the edge of the frame, sepa- This exchange offers provocative insight into Bickle's rime in Vietnam and the rated, or shot by himself, while the others are shown as a group. Andy, of Taxi Driver inscribes Viemam indirectly, as in the application scene, through- course, does not register Bickle's comments, focused only on what Vietnam our the film.

It is written on the character's body; as revealed in the workout means in relation to his needs i. Bickle's hospitalization, scene by the long, three-inch wide shrapnel scar along the left side of his back.

Awe Director Prashanth Varma Exclusive Interview - Frankly With TNR #104 - Talking Movies

Company" military jackets in almost every scene outside his apartment. The Scorsese, on the other hand, could not be more direct: costuming communicates his military service to each person he encounters, as if the character's repressed history returns through his dress. He wears a It was crucial to Travis Bickle's character that he had experienced life and death brown jacket as he drives around the city each night, patrolling much like the around him every second he was in south-east Asia.

That way it becomes more soldiers in Vietnam Fuchs, , and dons another, longer dark green jacket heightened when he comes back; the image of the street at night reflected in the for his assassination attempts. The mohawk Bickle shaves into his head, besides dirty gutter becomes more threatening. I think that's something a guy going linking the film to the Western, is a reference taken from Victor Magnotta, an through a war, any war, would experience when he comes back to what is suppos- actual Vietnam veteran who appeared as a secret service photographer in the edly 'civilization.

Magnotta related ro the crew how in Saigon Special Forces troops shaved Mohawks before missions to signal their preparation: "You didn't even go near Scorsese links Bickle's experience to those of the veterans in his neighbor- them. They were ready ro kill" quoted in Rausch, He emphasizes not only the violent experience of Vietnam, One possible reason for the critical reluctance to foreground Bickle's mili- and how this would cause increased paranoia, but also how the experience of tary service lies with the competing claims of the screenwriter and the director.

It's assumed he has some kind of searing dier's other experiences, throwing into disarray supposedly concrete internal memory and that he's had some familiarity with weapons, bur it's not meant structures. While no one event can summarize a complex character, the refer- to be a story about Vietnam and Vietnam is never discussed" Schrader, a: ences in the film, screenplay, preproduction research, and opinions of the For Schrader, Bickle is existentially lost, like Antoine, rhe protagonist of filmmakers point to a shared desire to represent Bickle's military service as an Jean Paul Sartre's Nausea.

Can't help but notice your j"acket? I saw it on your jacket. Where were you? Bet you got to handle a lot of weapons out there. I was all around. One hospital, then the next. A real shit-eatin' war. I'll say this, of analyzing this aspect, reviews and analyses of the film focus on psychopa- though: it's btinging back a lot of fantastic guns. The market's flooded. Pockets the money. Taubin, 49; Thurman, ; Wernblad, They'd have to shoot me first. Patterson apparently set the trend in when they described Bickle as Schrader, Gb a "misfit psychotic" Farber and Patterson, High Taxi Driver and Veteran Trauma attempts to frame Bickle's behavior through various psychological categories understanding of how representations dialogue with cultural experience.

Taxi Driver is an early attempt to intuit and represent the Contradicting these diagnoses, others have stressed affinity with Bickle's psychological effeets of traumatic experience, creating a startling portrait of perceptions and desires. I know this guy Travis.

I"ve had feelings that he has, and those feelings have to be explored, taken out and examined. I know the feeling of rejection that Travis feels, of not being able to make relationships survive. I know the killing feeling, the feeling of really being angry. Like the creators of The Searchers, Scorsese and company have not Quart, Robert Phillip Kolker even claims that Bickle "can be viewed as included the specific details of its causes Sharrett, Instead, the film a radically alienated urban castoff, a mutant produced by the incalculable documents its symptoms, the repetition compulsion, and Bickle's violent dehumanization of post-industrial society" Kolker, These views therapy.

The desire to drive a taxi is itself a manifesta- In one of the only essays to centrally situate Bickle's Vietnam service, tion of the flirtation with danger; anyone can get in behind him, any of the Cynthia]. Fuchs analyzes how the film blends Vietnam and film nair to rep- others he finds so threatening. He reports, "Each night when I rerum the cab resent the veteran's experience at the home front.

Specifically, she finds that to the garage I have to clean the cum off the back seat. Some nights I clean the "correlation berv. Though he claims he underlines the cultural mechanisms that made Vietnam possible, unwirmable, will "go anywhere, anytime,'' he does not. The film only shows him in Harlem, and even inevitable"; that is, the "madness" of the war relates to the "madness" Times Square, and the East Village, repeating his "patrols" of the places he of America's obsession with the difference of gender and race Fuchs, finds most dangerous because of their racial and sexual others Wemblad, 34, Through a deft close reading, Fuchs charts how otherness shifts In addition to danger, driving a cab promises both contact with other throughout the film as Bickle positions himself against the city, blacks, repre- people and very little connection: the riders are present, but not engaged with sentatives of the government candidate Palatine , women, and finally himself.

Schrader The film, unlike Vietnam War films of the s, "reveals the disordering in fact claims that this isolation with others is the key to the script: "floating effects and the disordered foundations of Vietnam, representing not the war, around in [a] metal coffin, seemingly in the middle of people, but absolutely, but its dispersion" Fuchs, I would like to build on this analysis, its focus on Vietnam, though moving Bickle's job flirts with social relationships and allows for a rearview-mirror away from its focus on personal madness as a reflection and dispersion of voyeurism that aligns with his compulsive viewing of television and pornog- cultural madness.

A Companion to Francois Truffaut by John Wiley and Sons Ltd (Hardback, 2013)

Madness implies that a norm is deviated; but difference, raphy. Through his rearview mirror, he possesses the passengers, their power othering, and violence are constants in human experience and society. The or sexual prowess notably, the film only focuses on passengers of his who have madness of the film, therefore, is the norm of both modern and ancient socie- these tv. As julian Rice notes, the film "is about ties. The trauma of Bickle, however, is the result of a specific experience. Or isn't he? We fantasy" Rice, Give a seventeen-year old kid a His interactions with Betsy and Iris similarly begin as voyeuristic stalking, gun, get him into a battle situation, God knows what happens to him" Schickel, first with Betsy outside the Palatine headquarters and later again with Iris While the director, even such a recognized auteur, is not the final along the streets of the East Village.

Voyeurism, as the character's dominant authority on the film, his opinion can lead to greater critical insight and a better interaction with others, stresses the lack of connection betv. High Taxi Driver and Veteran Trauma is wistful, intimate, and completely one-sided, a stand-in for the desired object the film.

In the first, he appears with the introduction of Betsy, staring at her Fuchs, Notably, it is v. He is a civilian, so to speak, only when he is chasing patriarchal ideals: like an Angel, out of this filthy mess. They cannot touch her. Out of his military jacket, that, with the prostitute and the black other. It is notable though that racial he can also only imitate cultural types: the courting male, v.

He attempts in the bodega he is not satisfied. Violence, in itself, is not his goal. I believe that one should become a person like should be at home now.

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A Companion to Contemporary French Cinema. I have published articles and dossiers in journals such as Screen, Yale French Studies, and Diacritics. Remove From Wishlist Cancel. From the manufacturer No information loaded. Want to Read Currently Reading Read. Historicizing Contemporary French Blockbusters.

You should be dressed up. You should be going out other people," Bickle needs to conform, to accept cultural dictates. Bickle is v. You should be going to school.

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His attitude toward them is typical caught between desiring to be like others and failing to coherendy engage v. Instead of imitating idealization and contempt: she is at once innocent and ignorant" Herman, others he admires, his models come from reactionary, traditional politics and The selection of weapons in the gun-purchasing scene, for In his limited attempts to reconstruct his world, Bickle adopts a Manichean instance, relies on the iconic weapons of movie protagonists Dirty Harry's schema, in which sexual and racial difference dominates, in which subtleties.

A key instance is the advice he seeks from Wizard all fetishized by the camera in loving close-ups and slow pans to overcompen- Peter Boyle , after Bickle admits, Tve got some bad ideas in my head. Norman Matlock , a black cab driver, and a group for a continuity and reflexivity of thought, but instead demonstrate displace- of black youths.

Wizard advocates finding oneself in one's work, getting drunk, ment and repression; his rants against the "whores, skunk pussies, buggers, getting laid, accepting that everyone, in the end, is "fucked, more or less, you queens, fairies, dopers, junkies, sick, venal" conceal his fascination with the sex know;" to which Bickle replies, "That's about the dumbest thing I ever heard.

Even the apocalyptic rhetoric, which The advice is hackneyed, but its essence is sound: identification in labor, enjoy- seems schizoid and particularly American, is connected to dominant, Western ment of the body physical engagement instead of voyeurism , and accepting strategies of othering. David Sibley links the film to a "history which casts everyone's shared plight.

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Bickle finds it unacceptable, even unintelligible, minorities, 'imperfect' people, and a list of others who are seen to pose a threat because he lacks self-definition, physical safety I autonomy, and empathy. The repressed is the obsessive point him from the backseat. The fare has Bickle pull over the cab to view his sil- of the disavowed self for both Bickle and society , the site onto which all houetted wife through a window, asking, ''You know who lives there? A negative qualities are displaced. The differentiation Bickle makes between nigger lives there. You ever see what a.

I mean for sexual pleasure and differences, is revealed, through the narrative, as his it would fucking destroy her Now; did you ever see what it can do to a real, repressed desire. That you should see. The scene combines several of Bickle's preoccupations: voyeurism, racism, Violence and Power and sexual difference, adding the answer to impotence: violence.

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