Jacques Tati

"A first translation was originally published with Guernica in 1997"--Page 4 of cover.

Jacques Tati is widely regarded as one of the greatest postwar European filmmakers. He made innovative and challenging comedies while achieving international box office success and attaining a devoted following. In Play Time, Malcolm Turvey examines Tati’s unique comedic style and evaluates its significance for the history of film and modernism. Turvey argues that Tati captured elite and general audiences alike by combining a modernist aesthetic with slapstick routines, gag structures, and other established traditions of mainstream film comedy. Considering films such as Monsieur Hulot’s Holiday (1953), Mon Oncle (1958), Play Time (1967), and Trafic (1971), Turvey shows how Tati drew on the rich legacy of comic silent film while modernizing its conventions in order to encourage his viewers to adopt a playful attitude toward the modern world. Turvey also analyzes Tati’s sardonic view of the bourgeoisie and his complex and multifaceted satire of modern life. Tati's singular and enduring achievement, Turvey concludes, was to translate the democratic ideals of the postwar avant-garde into mainstream film comedy, crafting a genuinely popular modernism. Richly illustrated with images from the director’s films, Play Time offers an illuminating and original understanding of Tati’s work.

The full story of one of France's greatest cinema legends, a clown whose film-making innovation was to turn everyday life into an art form. Jacques Tati's Monsieur Hulot, unmistakable with his pipe, brolly and striped socks, was a creation of slapstick genius that made audiences around the world laugh at the sheer absurdity of life. This biography charts Tati's rise and fall, from his earliest beginnings as a music hall mime during the Depression, to the success of Jour de Fête and Mon Oncle, to Playtime, the grandiose masterpiece that left the once celebrated director bankrupt and begging for equipment to complete his final films. Analysing Tati's singular vision, Bellos reveals the intricate staging of his most famous gags and draws upon hitherto inaccessible archives to produce a unique assessment of his work and its context for film lovers and film students alike.

Jacques Tati's Monsieur Hulot, unmistakeable with his pipe, brolly and striped socks, was a creation of sheer slapstick genius that made audiences around the world laugh at the sheer absurdity of life. This biography charts Tati's rise and fall, from his earliest beginnings as a music hall mime during the Depression, to the success of Jour de Fete and Mon Oncle, to Playtime, the grandiose masterpiece that left the once delebrated director bankrupt and begging for equipment to complete his final films. Analysing Tati's singular vision, Bellos reveals the intricate staging of his most famous gags and draws upon hitherto inaccessible archives to produce a unique assessment of his work and its context for film lovers and film students alike.

'Spatial images', wrote the German cultural theorist, Siegfried Kracauer, 'are the dreams of society. Wherever the hieroglyphics of any spatial image are deciphered, there the basis of social reality presents itself.' But how exactly are these spatial images to be deciphered? Hieroglyphics of Space addresses this question with a series of insightful essays on some of the great metropolitan centres of the world. From political interpretations to gendered analyses, from methods of mapping to filmic representations, and from studies in consumption to economic surveys, the volume offers a range of strategies for reading and experiencing the modern metropolis.