Master Classes: De Oliveira's Belle Toujours and Von Trotta's I Am the Other Woman
Notice bibliographique
Résumé
Each year the Toronto International Film Festival screens several hundred films, features and shorts, within the space of a week. While I like the fact that so much is available, it becomes very difficult to select which films to attend. In the course of the 2006 festival, I saw a number of excellent works by filmmakers whose work I know: Nuri Bilge Ceylan's Climates, Benoit Jacquot's L'Intouchable, Jia Zhang-ke's Dong, Abbas Kiarostami's Roads of Kiarostami, Jay Rosenblatt's Afraid So and Tsai Ming-liang's I Don't Want to Sleep Alone. In addition I was introduced to the work of Christoph Girardet and Matthias Muller; Kristall, which consists solely of mirror shots taken from Hollywood and European feature films, is fascinating, illustrating the many ways in which a mirror reflection can be used to comment on its subject and, by extension, the film's thematic. Yet the films that gave me the most pleasure were Manoel de Oliveira's Belle Toujours and Margarethe von Trotta's I Am the Other Woman. De Oliveira conceived Belle Toujours in admiration of Luis Bunuel and Jean-Claude Carriere and their 1967 film Belle de Jour. Although von Trotta may not have undertaken I Am the Other Woman expressly because of its connections to Vertigo, she has crafted a film that unequivocally demonstrates the impact Hitchcock's film has had on her. De Oliveira and von Trotta prove themselves to be worthy of the artists they so lovingly evoke. The rewards of watching Belle Toujours and I Am the Other Woman are twofold, appreciating the films in their own right and as creative tributes to great filmmakers. [ILLUSTRATION OMITTED] A word of caution: if you don't want to know about the plots of these films, stop reading. Belle Toujours In the 70 minute Belle Toujours, which de Oliveira wrote and directed, Michel Piccoli reprises his role of the worldly Henri Husson and Bulle Ogier replaces Catherine Deneuve as Severine, who in Belle de Jour is the young and sexually repressed wife of one of Henri's best friends, Pierre/Jean Sorel. The setting of de Oliveira's film is present day Paris and the premise is simple: Henri, attending a classical music concert, spies Severine in the audience and decides to contact her. Henri and Severine haven't seen each other since they parted thirty-nine years ago as he was about to inform Pierre of Severine's secret afternoon life as a brothel prostitute. (Pierre, blind and crippled, didn't know that the man who shot him was a jealous client of Severine's). As Severine leaves the concert hall, she recognizes Henri, but, instead of acknowledging him, flees. Henri is determined to catch her and, after several failed attempts, does so and gets Severine to agree to attend a dinner at his hotel. She agrees on the condition that he will tell her whether or not he told Pierre about her double life. As the above description of Belle Toujours indicates, its pleasures involve a familiarity with and appreciation of the Bunuel-Carriere film. On the other hand, de Oliveira's film has its own distinctive identity. For instance, the tone of Belle Toujours is playful and affectionate whereas Belle de Jour is more sombre and disquieting. While de Oliveira provides his film with surrealist elements--the premise itself utilizes the notion of chance, Henri's hectic pursuit of Severine suggests a classical Hollywood madcap comedy, Bulle Ogier, to evoke Deneuve's Severine, wears an ill-fitting blonde wig, the dinner ends with the appearance of a live rooster in the hallway as seen through the opened front door of Henri's hotel suite immediately after Severine, in exasperation, has bolted out of the room--he isn't interested in using surrealism, as did Bunuel and Carriere, as a means to acknowledge the unconscious. In fact, Belle Toujours strikes a tone that is more akin to the absurdity that underlies The Discreet Charm of the Bourgeoisie (1972), another Bunuel-Carriere collaboration. (The Discreet Charm of the Bourgeoisie, in addition to featuring both Piccoli and Ogier, contains a wickedly funny performance by Ogier. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,001 | 0,000 |
| Études des sciences et des technologies | 0,008 | 0,002 |
| Communication savante | 0,004 | 0,003 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,078 | 0,017 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».