Podcast appearances and mentions of jean narboni

durée : 01:01:21 - Les Nuits de France Culture - par : Albane Penaranda - En 1988, la personnalité d'André Bazin est évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". - réalisation : Virginie Mourthé - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma

durée : 01:00:07 - Jean Narboni, critique de cinéma et historien - par : Priscille Lafitte - Ancien rédacteur en chef des Cahiers du Cinéma, Jean Narboni est aussi un auditeur attentif de l'utilisation au cinéma des musiques de Brahms et de Schönberg, de Martial Solal et de Charlie Chaplin. Un Musique Emoi devant grand écran ! - réalisé par : Françoise Cordey

durée : 01:01:19 - Les Nuits de France Culture - par : Philippe Garbit - En 1988, la personnalité d'André Bazin est évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma

durée : 00:50:54 - Les Nuits de France Culture - par : Philippe Garbit - Dans "Le cinéma des cinéastes", Jean Narboni présente la biographie d'André Bazin écrite par l'universitaire américain Dudley Andrew alors que "Les Cahiers du cinéma" se préparent à rendre hommage à André Bazin, vingt-cinq ans après sa disparition survenue en 1958. - invités : Jean Narboni Historien, théoricien et critique de cinéma; Caroline Champetier Directrice de la photographie

durée : 01:29:59 - Les Nuits de France Culture - par : Albane Penaranda - Portrait du cinéaste japonais Nagisa Oshima (1932-2013), figure de proue de La Nouvelle Vague du cinéma japonais, dans un numéro du "Ciné-club" de France Culture de février 1998. C'est avec L'Empire des sens en 1976 que le cinéaste japonais Nagisa Oshima se rendit célèbre auprès du grand public international. Présenté à Cannes, dans "La Quinzaine des Réalisateurs", le film rencontra un grand succès commercial, à la hauteur du scandale qu'il provoqua au Japon. Après lui, L'Empire de la passion, Furyo, avec David Bowie, et Max mon amour ne feront que conforter le statut mondial de Nagisa Oshima comme "réalisateur japonais vedette". "Tout comme Pasolini ou Fassbinder, Nagisa Oshima a été marqué par le passé impérialiste de son pays, et n'a eu de cesse d'interroger ce passé enfoui." Pourtant, l'essentiel de sa production cinématographique, qui commence en 1959, reste encore aujourd'hui largement méconnue du plus grand nombre. En 1998, pour le "Ciné-club" de France Culture, Pascale Lismonde proposait de mieux connaître la personnalité et l'ouvre de ce grand cinéaste, considéré comme l'un des chefs de file de la Nouvelle Vague japonaise. "Ciné-club. Nagisa Oshima". avec Jean Claude Carrière, Christine Buci-Glucksmann, Vincent Ostria, Max Tessier, Yoichi Umemoto et Jean Narboni. Production : Pascale Lismonde Réalisation : Claude Giovannetti Ciné-club - Nagisa Oshima 1ère diffusion : 04/02/1998 Edition web : Documentation de Radio France Retrouvez l'ensemble de la Nuit : Naissance, mort et renaissance du cinéma au Japon

Dans le paysage gris et bétonné de la banlieue parisienne habite Juliette Janson, une jeune mère au foyer. L'après-midi, lorsque son mari travaille et que son fils Christophe est à l'école, Juliette se prostitue pour arrondir ses fins de mois. Elle se donne ainsi à des inconnus, dans des hôtels de la capitale mais aussi dans des appartements de la cité HLM.Avec : Marina Vlady, Anny Duperey, Roger Montsoret, Raoul Levy, Jean Narboni, Joseph GehrardBonus DVD :Analyse de séquence par Alain Bergala (2019, 12')Entretien avec Aurélie Cardin (2019, 19')"Signé : Stella", lecture de la lettre anonyme publiée dans leNouvel Observateur du 4 mai 1966 (2019, 7')Le film vu par Sylvain George, cinéaste (2019, 30')Bande-annonce réalisée par Jean-Luc Godard (3')Audio : Français DTSHD-MA 2.0mono, Audiodescription (pour Malvoyants) DTSHD-MA 2.0 - Sous-titrage : FrançaisImage : 16/9 - Format cinéma : 2:35Combo Blu-ray zone B et DVD zone 2

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote. In this conversation with host Annie Berke, Dr. Fairfax describes the beginnings of his love of cinema, breaks down the most pivotal essays from this moment in Cahiers' history, and argues for the "annees rouge"'s continuing relevance to contemporary film and cultural criticism. Note: This interview was conducted on May 16, three days before the passing of Jean-Louis Comolli at the age of 80. One of the most influential figures of Cahiers' Red Years (and, indeed, of the entire journal's run), Comolli made a tremendous impact on film theory and criticism, and he will be missed by cinephiles all over the world.  Daniel Fairfax is Assistant Professor of Film Studies at the Goethe-Universität Frankfurt. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

durée : 00:30:00 - Les Nuits de France Culture - Par Michel Zéraffa et Raymond Bellour - Avec Jacques Rivette et Jean Narboni

durée : 00:50:59 - Les Nuits de France Culture - L'émission "Le cinéma des cinéastes", à l'occasion de la parution d'une biographie d'André Bazin de Dudley Andrew recevait Jean Narboni qui en avait été à l'initiative, alors que "Les Cahiers du cinéma" se préparaient à rendre hommage à André Bazin, vingt-cinq ans après sa disparition. "Comment cacher la joie que cette biographie d'André Bazin par Dudley Andrew m'a donnée ? J'ai lu ce livre comme un roman dans lequel je savais que tout était vrai. Bien qu'il n'y ait pas eu énormément d''événement' dans la trop courte vie d'André Bazin, c'était, vous le découvrirez, une personnalité, un personnage. On peut tout à fait imaginer une fiction développée autour de ce personnage de Bazin : un homme célèbre par sa bonté." * C'était ce que François Truffaut écrivait dans la préface de la traduction française de la biographie d'André Bazin écrite par l'universitaire américain Dudley Andrew, qu'éditaient conjointement, en 1983, les Cahiers du Cinéma et la Cinémathèque française. Dans Le Cinéma des cinéastes, à l'occasion de cette parution, Claude-Jean Philippe et Caroline Champetier recevaient Jean Narboni qui en avait été à l'initiative. Jean Narboni :  André Bazin ne pouvait pas supporter que quelque chose soit figé, qu'il y ait des images pieuses... Il a toujours aimé ce qui était équivoque, ambiguë, c'est-à-dire vivant. Par Claude-Jean Philippe et Caroline Champetier Le cinéma des cinéastes - Jean Narboni à propos de la biographie d'André Bazin par Dudley Andrew (1ère diffusion : 17/04/1983) Indexation web : Odile Joëssel, Documentation de Radio France Archive Ina-Radio France

durée : 00:50:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Le cinéma des cinéastes", à l'occasion de la parution d'une biographie d'André Bazin de Dudley Andrew recevait Jean Narboni qui en avait été à l'initiative, alors que "Les Cahiers du cinéma" se préparaient à rendre hommage à André Bazin, vingt-cinq ans après sa disparition. - réalisation : Virginie Mourthé - invités : Jean Narboni Historien, théoricien et critique de cinéma; Caroline Champetier Directrice de la photographie

durée : 01:34:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Mardis du cinéma - La Grande Illusion (1ère diffusion : 02/07/1985) Par Noël Simsolo - Avec les critiques Jean Narboni et Jean Collet - Avec la voix de Jean Renoir et des extraits de "La Grande Illusion" - Réalisation Maurice Audran - réalisation : Virginie Mourthé

durée : 00:50:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - L'émission "Le cinéma des cinéastes", à l'occasion de la parution d'une biographie d'André Bazin de Dudley Andrew recevait Jean Narboni qui en avait été à l'initiative, alors que "Les Cahiers du cinéma" se préparaient à rendre hommage à André Bazin, vingt-cinq ans après sa disparition. - réalisation : Virginie Mourthé - invités : Jean Narboni Historien, théoricien et critique de cinéma; Caroline Champetier Directrice de la photographie

durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - En 1988, la personnalité d'André Bazin était évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". Deuxième volet. - réalisation : Virginie Mourthé - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma; Alain Resnais Réalisateur; Jean-Charles Tacchella Cinéaste français né le 23 septembre 1925.

durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - En 1988, la personnalité d'André Bazin était évoquée par Agnès Varda, Jean Narboni, Jean Collet, Jacques Doniol-Valcroze et Jean-Charles Tacchella dans une émission en deux parties de la collection "Profils perdus". - réalisation : Virginie Mourthé - invités : Agnès Varda Cinéaste, photographe et plasticienne (1928-2019); Jean Narboni Historien, théoricien et critique de cinéma; Alain Resnais Réalisateur; Jacques Doniol-Valcroze Réalisateur, acteur et scénariste français (1920-1989)

durée : 00:49:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Claude-Jean Philippe - Avec Suzanne Schiffman, Claude de Givray, William Lubtchansky, Yann Dedet, Caroline Champetier et Jean Narboni - réalisation : Virginie Mourthé

durée : 00:49:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Claude-Jean Philippe - Avec Suzanne Schiffman, Claude de Givray, William Lubtchansky, Yann Dedet, Caroline Champetier et Jean Narboni - réalisation : Virginie Mourthé

New Books at the Heyman Center: a podcast featuring audio from events at Columbia University, and interviews with the speakers and authors. Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Rancière, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics.

durée : 00:59:09 - Plan large - par : Antoine Guillot - Plan Large sur le légendaire Samuel Fuller, cinéaste, reporter, journaliste, inventeur de formes avec la réalisatrice Samantha Fuller, l'historien Jean Narboni et les critiques de cinéma Fernando Ganzo et Charlotte Garson. - invités : Samantha Fuller, Jean Narboni, Fernando Ganzo, Charlotte GARSON - Samantha Fuller : Réalisatrice, fille du cinéaste Samuel Fuller Jean Narboni : Historien, théoricien et critique de cinéma Fernando Ganzo : Rédacteur en chef du magazine So Film Charlotte Garson : Critique de cinéma - réalisé par : Somany Na

durée : 00:59:09 - Plan large - par : Antoine Guillot - Plan Large sur le légendaire Samuel Fuller, cinéaste, reporter, journaliste, inventeur de formes avec la réalisatrice Samantha Fuller, l'historien Jean Narboni et les critiques de cinéma Fernando Ganzo et Charlotte Garson. - invités : Samantha Fuller, Jean Narboni, Fernando Ganzo, Charlotte GARSON - Samantha Fuller : Réalisatrice, fille du cinéaste Samuel Fuller Jean Narboni : Historien, théoricien et critique de cinéma Fernando Ganzo : Rédacteur en chef du magazine So Film Charlotte Garson : Critique de cinéma - réalisé par : Somany Na

durée : 00:58:06 - Les Grandes Traversées - Débat. En quoi se mesure l'engagement de Truffaut ? Est-il un archétype du cinéaste engagé ? Débat avec Carole Le Berre, historienne du cinéma, Claude de Givray, scénariste, Jean Douchet et Jean Narboni, critiques, et Olivier Assayas, cinéaste.