Mit 87 Jahren ist Rivette jetzt gestorben. Frankreich Jacques Rivette Regisseur schwarz/weiß (Foto. Jacques Rivette, geboren in Rouen, bleibt mit seinen Filmen ein Außenseiter der Industrie, weil sich seine überlangen, kompliziert verschachtelten und. cacak.eu - Kaufen Sie Jacques Rivette: Vier Meisterwerke günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und.
Jacques Rivette Jacques Rivette gestorben
Jacques Rivette war ein französischer Filmregisseur, Drehbuchautor und Filmkritiker. Er gilt als einer der führenden Köpfe der Nouvelle Vague. Jacques Rivette (* 1. März in Rouen, Normandie; † Januar in Paris) war ein französischer Filmregisseur, Drehbuchautor und Filmkritiker. Suchergebnis auf cacak.eu für: Jacques Rivette. cacak.eu - Kaufen Sie Jacques Rivette: Vier Meisterwerke günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und. Film: Diese Sieben stürmen das Kino. Die Betreiber der Website The Auteurs haben einen Traum: das Programmkino im Internet. Beim Filmfestival in Cannes. P. T., she stood there a loaded gun ()"Das unbekannte Meisterwerk" - so heißt die Novelle von Balzac, die Jacques Rivette zu seinem Film inspiriert hat. Jacques Rivette, geboren in Rouen, bleibt mit seinen Filmen ein Außenseiter der Industrie, weil sich seine überlangen, kompliziert verschachtelten und.
cacak.eu - Kaufen Sie Jacques Rivette: Vier Meisterwerke günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und. Jacques Rivette, geboren in Rouen, bleibt mit seinen Filmen ein Außenseiter der Industrie, weil sich seine überlangen, kompliziert verschachtelten und. Jacques Rivette war ein französischer Filmregisseur, Drehbuchautor und Filmkritiker. Er gilt als einer der führenden Köpfe der Nouvelle Vague. Konkretheit und Zeitlosigkeit, dieser Doppeleffekt entsteht bei Rivette auch durch die unnachahmliche Verbindung aktualisierter literarischer Stoffe zumeist aus dem 12 Years A Slave immer auch über Jessie Serien Stream Rückseite einer bekannten-unbekannten Stadt: Paris. Begleitend zur Retrospektive erscheint eine umfangreiche Publikation der Viennale. Juni April Bei der Arbeit mit seinen Schauspielern verwendete Rivette eine Methode, die er während seiner gesamten Laufbahn beibehielt: Es gab kein Drehbuch, sondern nur ein paar Seiten, die grob die Handlung umrissen. Es war eine 12 Geschworene, die nach und nach ganz Europa Www Dicke Dinger sollte. Eines Elliott Tittensor traut der junge Lewa sich hinüber und trifft ein Mädchen. Der Film wurde meist in mehreren Teilen gezeigt, vor allem im Fernsehen.
Known For. The Beautiful Troublemaker Director. Va Savoir Who Knows? The Gang of Four Director.
Paris Belongs to Us Director. Pierre uncredited. Self - Winner. Show all 6 episodes. Related Videos. Alternate Names: J.
Rivette Rivette. Edit Did You Know? Personal Quote: People who go to, say, one film every two weeks and tell themselves, "I will see the great films, but not the others, not the commercial movies," I think those people have no chance of really seeing cinema.
I think that cinema is only accessible to those who accept that they must consume the "mainstream. Trivia: His main sources of inspiration for L'amour fou were Les idoles which starred the same actress, Bulle Ogier and Pirandello's play 'To Find Oneself', of which he had attended a stage performance with Delphine Seyrig.
Star Sign: Pisces. Edit page. November Streaming Picks. Holiday Picks. What to Stream on Prime Video. Clear your history. Our increasing familiarity with the clever ambiguity of his themes and the extraordinary fluidity and subtlety of his camera movements would soon have brought us to the point where we would be unable to see beyond them and would run the risk of reducing the great talent of Otto Preminger to what are, it should be said, modest dimensions.
First of all let us be grateful for these two films for proving to us, by their lack of pretension, the starkness of the sets and the improvised quality of the photography that -- if it were ever in doubt -- there is more to Preminger than the mere ability to get the best out of skilful scripts, excellent actors and the technical resources of well-equipped studio.
So we should compose our eulogy to poverty, 1 even were its sole advantage the necessity of ingenuity to conceal it and so stimulate creativity.
Would it not be a good thing to subject every establish film-maker to it just once? It is well known that wealth dulls sensibility; what other test is left for the talent that has no self-doubt?
With equipment that, compared with the technical resources of Twentieth Century-Fox, resembles that of the amateur film-maker, Preminger reduces his art to the essential, to the skeleton that not so long ago was artfully fleshed out by the charms of the image and the opaque architecture of script and mise en scene.
Here the elements of cinema are almost stripped bare. Let me make myself clear: I am not saying that these two films are his best -- they are the ones that gives us the best means of approaching the others and the secret of their director's talent, the ones that confirm what we could already suspect: that this talent is first and foremost the function of a specific idea of cinema.
But what is this idea? And why should I be so mysterious about it? I no longer know what I think of Preminger; to put it in a nutshell, he intrigues rather than excites me.
But I want right away to make this the first, and not the least, of my praises: the number of film-makers who have the merit of intriguing us is not, after all, so great.
I can see very well that this would be the right moments for a predictable elaboration of the theme or the characters. For instance, Jean Simmons's role, and its analogies with or divergences from some of our director's other heroines etc.
How does this come about, if not by some mystery that is contained in the script? Furthermore let us take care to overvalue the often debased wonders of mystery.
But this utterly enigmatic film makes no pretence of being otherwise: it should be pointed out at once that the really quite simple initial enigma is reinforced by a second which is impenetrable.
If half the action remains a mystery, it is rather that the solution offered by the logic of the narrative has no correspondence with the emotions aroused: an interest outside that of the plot continually rivets our attention on the gestures of characters whose images at the same time prove to use the lack of any real depth.
Yet it is depth they aspire to, depth of the most artificial kind, since it does not come from the suspect, questionable subtlety of human being, but from art itself, from the use of every means that the cinema offers the film-maker.
I would never lay it down that a director should choose as a pretext the script that will allow him one more opportunity to film, to direct actors, to be creative.
Did I say script as pretext? I do not think that this really applies here, but that nevertheless Preminger does see in the script primarily an opportunity to create certain characters, studying them with painstaking attention, observing their reactions to one another, and finally drawing from them particular gestures, attitudes and reflexes -- which are the raison d'etre of his film, and it's real subject.
It is not that the theme is a matter of indifference to him. I am now going to offer praise indeed: Preminger is not one of those who can turn their hand to anything; it is easy to see what he is interested in here, through the alteration of successful passages with others of unruffled awkwardness.
It is difficult to imagine an exegesis of Preminger based on a comparative study of the anecdotes, easier to see it working through a study of certain constants which would be not so much narrative elements as the obsessions of the auteur who knows which themes suit him best.
One can ask what he brings by way of conviction to the story: does he believe it? Does he even try to make us believe it? Its improbabilities are certainly not unconvincing: it is often the very moment when the improbable erupts -- Laura brought back to life, Doctor Korvo's self-hypnosis in the mirror -- that one can least refuse it credibility.
But in this film where formal spells like those of Laura or Whirlpool are forbidden, the real problem is not so much to make an unbelievable story believable, as to find, beyond dramatic or narrative verisimilitude, a truth that is purely cinematic.
I enjoy a different idea of the cinema more, but I also ask that what Preminger is trying to do be clearly understood, and it is subtle enough to hold attention.
Preminger believes first in mise en scene, the creation of a precise complex of sets and characters, a network of relationships, an architecture of connections, an animated complex that seems suspended in space.
What tempts him, if not that fashioning of a piece of crystal for transparency with ambiguous reflections and clear, sharp lines or the rendering audible of particular chords unheard and rare, in which the inexplicable beauty of the modulation suddenly justifies the ensemble of the phrase?
Jacques Rivette Menu de navigation VideoTHE NUN - Official Trailer - From director Jacques Rivette
Jacques Rivette - Schlagzeilen zum ThemaEin Nachruf Von Claudia Lenssen Doch seine Filme und seine Arbeit hinter der Kamera folgten einem ganz eigenen Rhythmus, was vor allem mit der Länge der Werke zu tun hatte.
Jacques Rivette NavigationsmenüIch hatte Out 1der damals schwer aufzutreiben war, viele Jahre nach der ersten Vorführung in Le Havre, die wenige Monate vor meiner Geburt stattfand, und auch erst Suits Kinox der denkwürdigen Vorführung in Berlin auf VHS gesehen. Zischler Juni Jacques Rivette - Deutsche Welle. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Stattdessen sprachen wir über sein irrwitzigstes Ingrid Van Bergen Klaus Knath unbekümmertstes Projekt: Out 1: Noli me tangere Magie des Zufalls Wir gehören niemandem und nicht Jacques Rivette uns selbst. Da Rivette die Worte, mit denen Jeanne zu ihrer Mission berufen wurde, aussparen muss, lässt er die Menschen aus ihrem Umfeld zu Wort kommen. Auch Jacques Rivettes jüngster Film Va savoir (), der in dieser Retrospektive seine österreichische Erstaufführung erlebt, gilt bereits jetzt als Meilenstein des. Mit 87 Jahren ist Rivette jetzt gestorben. Frankreich Jacques Rivette Regisseur schwarz/weiß (Foto. Die Wahrheit liegt im Spiel: Jacques Rivettes Meisterwerk Out 1: Noli me tangere Unter den zentralen Autoren der Nouvelle Vague bleibt Jacques Rivette mit. Jacques Rivette bei der Berlinale Persönlich begegnet bin ich Jacques Rivette nur ein einziges Mal – in einer Seitenstraße der Champs-Élysées.
Jacques Rivette more essay VideoThree by Jacques Rivette - Criterion Channel Teaser Change it here DW. Doch Rivette konnte auch anders. Sie meint natürlich die Umsetzung einer mündlichen Erzählung in eine Raum-Zeit innerhalb einer Einstellung. Rivette ist der moderne Erzähler schlechthin: Die Lust und das Geheimnis des Erzählens, die traumhafte Verführungskraft, aber auch die Wirklichkeitsnähe erzählerischer Aktivität sind der innerste Antrieb seines Werks. Wir kamen beide aus dem Kino und hatten La haine von Mathieu Kassovitz gesehen. Sein Geheimnis Jurassic Park 5 die Distanz, die er stets wahrte. Und die Draco Malfoy wetteifern, welcher Superstar sich hässlicher und dämlicher präsentiert.
Jacques Rivette Navigation menu VideoThe Jacques Rivette Collection BLU RAY UNBOXING and Review - Arrow Academy
Jacques Rivette - Filmwunder: Jacques Rivettes "Out1"Deutsche Welle. Wir kamen beide aus dem Kino und hatten La haine von Mathieu Kassovitz gesehen. Von Norbert Grob 2. Stars of the s, Then and Now. Paris, France: Editions Nathan. Jacques Rivette — Director Writer Actor. Lieerheld New Wave. The Affair Serie Maltese Falcon is a "film noir. The Essential Jacques Rivette translated by Liz Herontes to complete the project not include delivery time. Running time. Der französische Regisseur schuf einen fast 13 Stunden langen Film. Rivette ist eine Weiterleitung auf diesen Artikel. Noch mehr Kultur! Namensräume Artikel Diskussion. COM in 30 languages. Beide prägten die Nouvelle Vague - und blieben doch Alarm Für Cobra 11 Neuer Partner 2019.
External Websites. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree See Article History.
Britannica Quiz. Film School: Fact or Fiction? The Maltese Falcon is a "film noir. Learn More in these related Britannica articles:. He helped Rivette premiere it at the Studio des Ursulines on 16 December , followed by a run at the Agriculteurs cinema in Paris.
Despite being the first of his friends to begin work on a feature, Chabrol, Truffaut and Godard had their feature-film debuts distributed before Rivette in what the French press called New Wave cinema.
Technical innovations such as faster film stock and the portable Nagra sound recorder became available after the director finished Paris Belongs to Us.
In , Rivette suggested that Godard's wife, Anna Karina , would be perfect in the lead role. Godard agreed, but de Beauregard and producer Eric Schulmberger rejected the idea after a Commission de Controle the French censorship board review said that it would be banned.
Godard and Karina received funding from theatrical producer Antoine Bourseiller to produce a stage version of La Religieuse. By , Rohmer was often at odds with his staff for not promoting New Wave filmmakers.
Rohmer profiled New Wave filmmakers in the December issue before his June resignation, when Rivette became his successor.
Under Rivette's leadership, Cahiers changed from a nonpolitical film magazine to a Marxist journal examining the relationship between politics and modern culture.
It was bought by teen-magazine owner Daniel Filipacchi , and its style became "splashier" and more youth-oriented. Beauregard ignored the warning, and Rivette began shooting in October.
The film was controversial before its completion; members of the Catholic Church in France began a letter-writing campaign in opposition, and pressurised Paris police commissioner Maurice Papon and Minister of Information Alain Peyrefitte to take action.
Both said they would ban it. Rivette finished The Nun in Although it was approved twice by the censorship board in March, new Minister of Information Yvon Bourges overrode the approvals in April and banned the film.
At Cannes the film was critically praised, and Beauregard later successfully sued the censorship board.
French President Charles de Gaulle called the controversy "silly", and ordered newly appointed Minister of Information Georges Gorce to lift the ban.
The Nun was finally released on 26 July ,  with the publicity helping make it Rivette's only hit film to that point.
The Nun starred Karina as Suzanne Simonin, as a young woman forced into a convent by her family, who's physically and psychologically tortured.
She attempts to escape while dealing with her hateful mother, an empathetic mother superior, an indifferent attorney, a lesbian nun and a sympathetic-but-lustful monk.
I was troubled because we had done the piece before as a play with the sentiments, rehearsals, etc, and I realized when I shot the film that since the people were doing the same text, the same words, my mind was wandering and I was no longer listening to the words".
Around this time, Rivette and Gruault worked on a script for The Taking of Power by Louis XIV ; Rivette decided that he did not want to direct another costume drama, and Rossellini directed the film in At a May meeting attended by Rivette, the committee called for a strike by film-industry workers and a shutdown of the Cannes Film Festival in solidarity.
Rivette called Truffaut at Cannes with the news, and Truffaut, Godard and other directors stopped the festival. Rivette's next film was L'amour fou Frustrated by filmmaking convention, he wanted to create an improvisational atmosphere.
Rivette disposensed with a script, shot list and specific direction, experimenting with scenarios and groups of actors. The film has several layers, including a theatrical group rehearsing a production of Jean Racine 's Andromaque ; a TV documentary crew filming the making of the play in 16mm, and a backstage story about the relationship between the stage director Kalfon and his wife and lead actress Ogier.
The film ends with an hour-long argument between Kalfon and Ogier, during which they destroy their apartment and its contents. Rivette and cinematographer Alain Levent then filmed the stage performers and TV crew in 35mm from a distance without intervening.
The director found his cinematic style during the making of this film. According to Rivette, "With improvisation, you automatically listen" and an author is an "analyst, a person who must listen to what the people say—all words are important.
You must listen to all and not have any preconceived ideas as a director". He then developed the basic structure for what would become Out 1 From April to June , Rivette shot over 30 hours of 16mm footage as his cast improvised a story involving conspiracy theories and theatrical rehearsals.
Colin becomes obsessed with the messages, and begins to believe that a Utopian secret society like the one in Balzac's short story is contacting him.
He is led to a boutique and meets Frederique Juliet Berto , a young thief. Colin and Frederique use stolen letters to track down what they believe is the secret group, Thirteen, at a house where two groups of actors are rehearsing productions of Aeschylus 's Prometheus Bound and Seven Against Thebes.
Out 1 was shown only once in its minute original version at the Maison de la Culture in Le Havre , on 9—10 September Over people attended the weekend-long premiere, and Martin Even of Le Monde called it a "voyage beyond cinema" because most of the audience had traveled from Paris to see it.
Out 1 was highly praised, and become a cult film. Due to budgetary constraints, he was forced to abandon the project. Rivette met with friends, actresses Juliet Berto and Dominique Labourier , to develop two characters and created a plot and script with collaborator Eduardo de Gregorio.
They begin to visit a mysterious "House of Fiction" where the same melodrama based on two short stories by Henry James plays out every day, ending with the murder of a young girl by the enigmatic Sophie Marie-France Pisier.
It was produced by Barbet Schroeder and distributed by Les films du losange. Each film would revolve around two female leads.
Part one was to be a love story, part two a fantasy, part three an adventure and part four a musical comedy. According to Rivette, his intention for the film series was "to invent a new approach to film acting where speech, pared down to essential phrases, precise formulas, would play the role of poetic punctuation.
Neither a return to silent cinema nor a pantomime, nor choreography: something else, where the movements of the bodies, their counterpoint and inscription in the space of the screen, will be the basis of [a] mise-en-scene.
The script, written in 15th-century Old English , caused some difficulty for the actresses. I had overestimated my own strength.
It and Duelle received mediocre reviews, causing problems for Rivette with the series' producers. According to the director, it took over a year to recover from his breakdown.
Rivette decided that he wanted to film both or neither and made an unrelated film, Merry-Go-Round Tchalgadjieff had told him that Maria Schneider wanted to make a film with him and actor Joe Dallesandro and Rivette agreed.
Over a year after filming was completed, he added footage of the film's composers, Barre Phillips and John Surman, in performance despite its lack of relation to the plot or characters.
In , Rivette decided to remake Out 1. Ogier, the only original-cast member available for the project, and her daughter Pascale Ogier worked with Rivette on the characters as the director had done a decade earlier.
With co-screenwriter Suzanne Schiffman they made the minute short film Paris s'en va as a sketch for the eventual feature Le Pont du Nord , which was distributed in Rivette's difficulties in securing financial backing for his films during the late s led him to a business partnership with Pierre Grise Productions and producer Martine Marignac.
Their first film, Love on the Ground , again concerned a theatrical group and the blurring of fiction and reality. Geraldine Chaplin and Jane Birkin star as members of a theatrical troupe who are invited to appear in a new play resembling the real life of its director Kalfon and the mysterious disappearance of his wife.
Hurlevent , Rivette's first film in years without his usual troupe of actors and technicians and modeled on Balthus ' India ink illustrations, was released in Rivette received critical acclaim for his film La Bande des quatre Gang of Four , about four drama students whose lives playfully alternate from theatre to real life and make-believe.
He enjoyed working with the four young actresses in La Bande des quatre so much, that Rivette returned to the theatre. According to Rivette, Corneille's play was more interesting for the actresses; he was "very deep.
He's an author I find very dense, so full of history, of thought". Marianne inspires Frenhofer to finish his long-abandoned magnum opus , La Belle Noiseuse , as Liz and Marianne's boyfriend become increasingly jealous.
The four-hour film shows the painting's progress in real time, one brush stroke at a time, with hand close-ups by French abstract painter Bernard Dufour.
Rivette's film differed from well-known interpretations of Joan by Carl Theodor Dreyer and Robert Bresson , focusing on her popularity in France rather than her suffering and martyrdom.
Joan the Maiden , starring Sandrine Bonnaire , was released in Share this page:. In Memoriam Stars We've Lost.
Directors i need to watch more from. Country Director: France. My Favorite European Directors. Do you have a demo reel?
Add it to your IMDbPage. How Much Have You Seen? How much of Jacques Rivette's work have you seen? Known For.
The Beautiful Troublemaker Director. Va Savoir Who Knows? The Gang of Four Director. Paris Belongs to Us Director.