François Truffaut: The Lost Secret

Index

329 Adjani, Isabelle, 225 Almendros, Nestor, 111, 208, 220, 265, 282 Andrew, Dudley, xi Ardant, Fanny, 279 Argentieri, Simona, xxxv Arsène Lupin (Leblanc), 69 Aumont, Jean-Pierre, 183 Aurel, Jean, 175, 280 authorship, xxxvi Aznavour, Charles, 52 Bach, Dirk (comedy actor), 4 Balzac, Honoré de, 7, 29, 113, 119, 135, 139, 245 Barthes, Roland, xxvii Bataille, Georges, 14 Baud, Linda, 64 Baudry, Jean-Louis, xxvii Bazin, André, xviii, 103, 180, 212, 216, 219, 227 Bed and Board (François Truffaut), viii, x, 174, 198–204, 244; adultery as theme in, 199; compared with Mississippi Mermaid, 189–190; Lubitsch’s influence on, 198–199; response to The Soft Skin, as, 200 Bellour, Raymond, xviii–xx, xxvii Berbert, Berbert, xiv Bernanos, Georges, 237 Bertolucci, Bernardo, xxix Bettelheim, Bruno, 227, 241, 244, 256, 282 Bluebeard’s Eighth Wife (Lubitsch), 4 Bollas, Christopher, xviii Bory, Jean-Louis, 174, 175 Bradbury, Ray, 158, 168 The Bride Wore Black (François Truffaut), vii, xxi, xxxii, xxxiii, 141–149, 197, 238, 270, 277; adaptation, as, 158; fairy-tale elements in, 146; images of falling in, 143; motif of childhood in, 142; relation to The Man Who Loved Women of, 253 Brook, Peter, 97 Buñuel, Luis, 252 Caillois, Roger, 168 Campion, Jane, xxv, xxxiv Canby, Vincent, 192 Carcassonne, Philippe, 95 Carné, Marcel, 6 Caron, Leslie, xvii Chaplin, Charles, xxxviii, 3, 4, 7, 18, 226, 227, 292 Chevrie, Marc, 108, 125, 139, 247 Clough, Patricia Clough, xxx Cocteau, Jean, 181, 184, 277 Cohen, Albert, 14 Collet, Jean, 183, 221 Concerto for Mandolin (Vivaldi), 218 Condillac, Étienne Bonnot de, 215 Confidentially Yours (François Truffaut), xxi, 277–282; abstract motifs in, 282 Contempt (Moravia), 59 Correspondence (François Truffaut), 14 Couëdel, Joelle, xii Index 330 Index The Crime of Monsieur Lange (Jean Renoir), 200 D’Alembert, Jean le Rond, 14 Dali, Salvador, 171 Damasio, Antonio, xxx Daney, Serge, xxvi Dasté, Jean, 211, 212, 218, 251 Day for Night (François Truffaut), viii, x, xvii, xx, 107, 108, 128, 157, 161, 174–186, 235, 236, 237, 247; compared with The Man Who Loved Women, 262; compared with The Wild Child, 217; creativity as theme in, 176, 197; paternal figures in, 180, 181; relation to The Green Room of, 269, 271–274; transitional space in, 177–178, 180 Day in the Country (Jean renoir), 84 de Baecque, Antoine, ix de Lauretis, Teresa, xxvii Delerue, Georges, 135, 178, 282 Deneuve, Catherine, xvii, xviii, 81, 137; Truffaut’s relationship with, xvii, 198 Denner, Charles, 146, 147, 153, 252, 253 Dermithe, Édouard, 181 Desailly, Jean, xx Desplechin, Arnaud, xi Doane, Mary Ann, xxvii Dorléac, Françoise, xvii, 66, 72, 137, 184 Duras, Marguerite, xi Dwan, Allan, xxxviii Ehrenzweig, Anton, 287–289 The Eagle Has Two Heads (Jean Cocteau ), 54 The Elementary Structures of Kinship (LéviStrauss ), 22 The Empty Fortress: Infantile Autism and the Birth of the Self (Bettelheim), 227, 256, 282 Fahrenheit 451 (François Truffaut), viii, xxxii, xxxiii, 82, 142, 161–174, 211, 286; adaptation, as, 158; autobiography in, 170; book as fetish in, 169; compared with Day for Night, 186; contrasted with The Green Room, 274; fable, as, 163; maternal figures in, 173, 258, 262; narcissism as theme in, 168; paternal figures in, 100, 164, 173; pre-Oedipal scenario in, 164, 165, 168 Farrell, Henry, 158 Les Films de ma vie (François Truffaut), 7, 185 Fitzgerald, F. Scott, 247 Forbidden Games (Réné Clément), 263 Ford, John, xxxviii Foucault, Michel, xxvii The 400 Blows (François Truffaut), vii, xiv–xvi, xvii, xxxi–xxxii, 5, 13, 15, 21–34; compared with Shoot the Piano Player, 63; compared and contrasted with Small Change, 235–239, 242; compared with The Soft Skin, 75; compared with Stolen Kisses, 119, 123, 198; compared with The Woman Next Door, 42–44, 48–49; delinquency in, 26–27; Fahrenheit 451 as continuation of, 170–171; Love on the Run as continuation of, 245–247; maternal presence in, 28–34; redemptive nature of play in, 26; relation to Jules and Jim of, 89; relation to The Wild Child of, 212, 214, 216; temporalities in, 23; transitional space in, 24–25 Franju, Georges, 23, 100 Freud, Sigmund, xi, xxxiii, xxxiv, xxxv, 22, 77, 88, 98, 101, 103, 105, 163, 165, 233, 251, 270, 287 Garaud, Marie-France, xxxviii Garbo, Greta, 2 Gérard, Nicole, 64 Gide, André, 7 Gish, Dorothy, 186 Gish, Lillian, 186 Godard, Jean-Luc, xi, xxvi, 8 Goodis, David, xx, 53, 54, 62 A Gorgeous Girl Like Me (François Truffaut ), vii...