1993
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Raymond Bellour, Alexandre Astruc, Paris, Seghers, Collection Cinéma d'aujourd'hui, 1963. Philippe François, « Alexandre Astruc », in Patrick Cabanel and André Encrevé (dir.), Dictionnaire biographique des protestants français de 1787 à nos jours, tome 1 : A-C, Les Éditions de Paris Max Chaleil, Paris, 2015, (p. 105) ISBN 978-2846211901
Alexandre Astruc (July 13th 1923 – May 19th 2016 ) is best known today as an influential film theorist whose essay ‘Birth of a new avant-garde: la camera-stylo’, written in 1948 for L’Ecran, advocated a more personal cinema and a new film language. Critic David Thomson has described the article as, ‘the most important critical theory the cinema has yet produced’.
Alexandre Astruc. Director: Les mauvaises rencontres. Born in Paris on July 13th 1923, Alexandre Astruc is the son of a couple of journalists. Very good at school, he attended a preparatory school for Polytechnique but finally became both a law and an arts graduate.
Alexandre Astruc, né le 13 juillet 1923 à Paris 16 e, où il est mort le 19 mai 2016 [1], est un réalisateur, scénariste et écrivain français. Biographie [ modifier | modifier le code ] Cette section est vide, insuffisamment détaillée ou incomplète.
Other articles where Alexandre Astruc is discussed: auteur theory: …theories of André Bazin and Alexandre Astruc. A foundation stone of the French cinematic movement known as the nouvelle vague, or New Wave, the theory of director-as-author was principally advanced in Bazin’s periodical Cahiers du cinéma (founded in 1951).
Alexandre Astruc. Director: Les mauvaises rencontres. Born in Paris on July 13th 1923, Alexandre Astruc is the son of a couple of journalists. Very good at school, he attended a preparatory school for Polytechnique but finally became both a law and an arts graduate. First a literary critic, he soon specialized as a film critic and worked for various papers and magazines such as "Combat", "La Gazette du Cinéma", "L'Ecran...
Alexandre Astruc, who died on 19 May 2016 in France at the age of 92, is best known throughout the world for a single essay that he wrote in 1948, when he was only 25: “The Birth of a New Avant- Garde: La Caméra-Stylo,” first published in Nino Frank’s popular tabloid format, left-leaning magazine, L’Écran français. 1 He is less known for his subsequent work as a filmmaker, beginning with The Crimson Curtain in 1952, and later mainly pursued within the context of television production.
