Jean-Jacques Annaud Research Articles

From museum aesthetics to everyday aesthetics: Narratives about Saigon in The Lover by Jean-Jacques Annaud and Bar Girls by Le Hoang

Saigon is an urban area that has undergone many political and historical upheavals. This study focuses on aesthetic qualities in an examination of The Lover by Jean-Jacques Annaud and Bar Girls by Le Hoang, which together contrast the image of Saigon during two different periods. I argue that Annaud presents the image of a colonial Saigon from a perspective grounded in nostalgia and memories, utilizing the techniques of museum aesthetics to juxtapose western and eastern spaces. Meanwhile, Le Hoang highlights the contemporary city of Saigon, reflecting in his film the qualities of an everyday aesthetics.

Cross-cultural transactions in the film adaptation of Wolf Totem

Jiang Rong’s novel Wolf Totem incited a debate over the veracity of its representation of the steppe and the Mongolian culture, which accounts for the obsession with the real in its Sino-French film adaptation. Unfolding a historical trajectory from a “war against nature” during the Cultural Revolution to the present “war of pollution,” the film delves into trans-media rendezvous with polymorphous facets of a Chinese story. The French director Jean-Jacques Annaud can be seen as the simulacra of the Westerner, an envisioned symbol the novel associates with the nomadic spirit of the Mongol in its attempts to reflect on the “weak” Chinese national character. The film fosters its interpretation of the wolf totem towards a new set of social relations through creating a loop of transcultural appropriation. As the Chinese production team anticipates a blockbuster for a global audience which evades the controversial Han viewing position of Jiang Rong’s writing, the French team’s cultural sensibilities register a European imagination of the Mongol that once dominated Eurasia. That said, the western re-territorialization of the borderland resonates with Jiang Rong’s strategy of otherness, transposing a socio-cultural anxiety onto the gendered body of the other.

Meditação da Técnica e A Guerra do Fogo: algumas considerações e aproximações

No presente texto apresentamos uma resenha do livro Meditação da Técnica, de Ortega y Gasset que, em 1963, decidiu publicar suas notas de aula de um curso que o autor ministrou sobre o assunto na Universidade Internacional de Verão de Santander. Utilizamos também o filme A guerra do fogo, de 1981, dirigido por Jean-Jacques Annaud, como fio condutor de aproximações e reflexões a respeito do livro em questão.

Cine y multilingüismo en la abadía subtitulada de Jean-Jacques Annaud

In this text, some basic concepts of audiovisual translation are reviewed, especially in relation to dubbing and subtitling. On the other hand, reference is made to multilingual cinema, in whose stories coexist different languages. When this is internationally exhibited, the content of this kind of cinematography isn't usually dubbed in its entirety, applying the translation, generally, on the main language of the film. The reasons are often diverse, especially in relation to the kind of story that is shown to the audience, and that may alter the essence of the film. Likewise, the film The name of the rose (Der name der rose, Jean-Jacques Annaud, 1986) is introduced as a brief case study in this paper, whose multilingualism defines its verisimilitude, historical contextualization and narratology.

Christian Baron Peter Nicolai Halvorsen Christine CorneaScience Fiction, Ethics and the Human Condition

397 BOOKS IN REVIEW The book would have benefitted from a stronger editorial focus on sf, fantasy, or monstrosity, and the essays might then have had more space to develop discussions more fully. It will nonetheless be a useful book to have in libraries, and the above-mentioned essays could easily be used in courses on the global fantastic.—Bodhisattva Chattopadhyay, University of Oslo The Good, the Bad, and the Scary. Christian Baron, Peter Nicolai Halvorsen, and Christine Cornea, eds. Science Fiction, Ethics and the Human Condition. Cham, Switzerland: Springer, 2017. vi+246 pp. $119.99 hc. This useful collection of papers is distilled from a conference in Denmark that involved scholars and scientists from a range of disciplines, plus input from local sf fandom. The contributors present varied perspectives, including some that are not narrowly academic. In their introductory chapter, Christian Baron, Peter Nicolai Halvorsen, and Christine Cornea outline the book’s concern with the ethical implications of future technologies and whatever social practices they might bring. In that context, as the editors observe, science fiction can provide a laboratory for thought experiments: Indeed, one of the aims of this book is to demonstrate what can be achieved in approaching science fiction as a kind of imaginary laboratory for experimentation , where visions of human (or even post-human) life under various scientific, technological or natural conditions that differ from our own situation can be thought through and commented upon. (2) The remaining chapters are grouped thematically into three parts, though the allocation of particular chapters sometimes appears a touch arbitrary. Part I relates to science, technology, and sf, Part II to questions of identity and what the editors call “the post-human condition,” and Part III to sf’s engagement with political and ethical questions. Part I is focused as much on science and technology themselves as on sf narratives. Christian Baron’s chapter considers the scientific credibility of Alien (dir. Ridley Scott, 1979) and its successors, with brief discussions of other scientifically informed works such as the film Quest for Fire (dir. JeanJacques Annaud, 1981). Baron argues that sf narratives (and their creators) often take sides—sometimes deliberately, sometimes by inadvertence—in live scientific controversies. In a thoughtful contribution to ongoing debates about an anticipated technological singularity, Mikkel Willum Johansen expresses what seems to be well-reasoned skepticism. On his assessment, there is no likelihood that research on artificial intelligence will cause a mind-boggling technological liftoff. Johansen explains the limited ability of computers to do creative work in mathematics that requires sophisticated high-order concepts. He argues that the increase in cognitive advantage brought about by computers has happened far more slowly than the steady doubling and redoubling of raw processing power described by Moore’s Law. Rather than computers developing the field of mathematics through their autonomous problem-solving power, they have become increasingly effective as tools to aid human intelligence. Johansen then ponders the ethical implications. We should, he concludes, abandon our hopes 398 SCIENCE FICTION STUDIES, VOLUME 46 (2019) for (or fears of) a technological singularity, however exactly we define the concept, and instead concentrate attention on real, imminent problems caused by AI applications—which we need to identify, examine, and debate. Peter Westermann’s chapter, “A Greenhouse on Mars,” analyzes the prospects and, importantly, the ethics of colonizing the red planet, including whether we should disturb even bacterial life if we find it there. Westermann makes perceptive comments about Kim Stanley Robinson’s MARS TRILOGY (Red Mars [1992], Green Mars [1993], and Blue Mars [1996]). He is mainly concerned, however, with the actual science of interplanetary travel and colonization. Also in Part I, Gitte Meyer’s chapter bears the longiloquent but rather splendid title “Fascinating! Popular Science Communication and Literary Science Fiction: The Shared Features of Awe and Fascination and Their Significance to Ideas of Science Fictions as Vehicles for Critical Debate About Scientific Enterprises and Their Ethical Implications.” The “science fictions” that Meyer has in mind are not novels, stories, or films; they are sensationalist reports and speculations relating to actual or postulated scientific innovations. These, Meyer argues, merit a level of scrutiny and skepticism that they seldom receive. Part II of...

Ways of Depicting: The Presentation of One’s Self as a Brand

Ways of Depicting: The Presentation of One’s Self as a Brand

Mirthful faces in The Name of the Rose

This paper explores the ‘mirthful face’ in Umberto Eco’s novel The Name of the Rose and Jean-Jacques Annaud’s film adaptation. Debates over the political and moral significance of the mirthful face are at the center of both texts’ interpretations of laughter and humor in medieval culture; but the novel’s withholding of facial description sits in stark contrast to the film’s embrace of contemporary perceptions of what ‘medieval faces’ would have looked like and how they might be read. Comparing Annaud’s visual language of ‘historical physiognomy’ with those of filmmakers Werner Hertzog and Michael Haneke, the essay situates both film and book within a late-twentieth-century use of the Middle Ages to comment on contemporary authoritarian and radical politics.

Beyond Symbolic Rape: The Insidious Trauma of Conquest in Marguerite Duras’s The Lover and Eileen Chang’s “Lust, Caution”

This article contrasts two visions of trauma: a symbolic imaginary on film where women’s violated bodies stand in for philosophical ideas about sex, violence, and politics; and a more complex literary imaginary using what Ann Cvetkovich calls an “archive of trauma.” The starting point for discussion is troubling representations of women on film; The Lover (1992, dir. Jean-Jacques Annaud) and Lust , Caution (2007, dir. Ang Lee) both portray their heroines falling in love with their abusers, men whose shame and vulnerability are expressed through a symbolic rape. Rather than dwelling on this dubious aspect of the films, the main discussion returns to the more nuanced view of trauma in the source texts: The Lover (1984) by Marguerite Duras (1914–1996) and “Lust, Caution” (1979) by Eileen Chang (Zhang Ailing) (1920–1995), neither of which include sexual violence in an obvious way. Duras’s traumatic portrait of French colonialism and Chang’s sinister portrayal of the Japanese occupation of Shanghai refuse symbolic rape as shorthand for conquest. Instead, these stories present an archive of trauma through a series of objects that represent emotional value, and provoke affective responses. Duras and Chang lament what Cvetkovich labels “insidious” or everyday trauma—the impossible histories—carried by women as a result of colonialism and war.

24. Gender and laughter: Comic affirmation and subversion in traditional and modern media.

Gaby Pailer: Introduction I. Gender - Laughter - Media: Theoretical Crossings Stefan Horlacher: Short Introduction to Theories of Humour, the Comic, and Laughter Andreas Bohn: Subversions of Gender Identities through Laughter and the Comic? II. Gender B(l)ending: The Comic Impact of Cross-Dressing and Body Alteration Jessica Hamann: Kiss a white Galathea, she will laugh and blush: Laughter, Blush, and Gender Roles in Gottfried Keller's Novella Cycle Formula for Love. The Epigram (1881) Beth Pentney: A comic turn, turned serious: Humour, Body Modification, and the Natural in Fay Weldon's The Life and Loves of a She Devil Raluca Cernahoschi: From now on, I am Carmen: Imagining Cross-Dressing as Comic Protest in the Life and Work of Romanian-German Author Franz Hodjak Ulrich Scheck: Where No Woman Has Gone Before: Humour and Gender Crossing in Star Trek's Voyager and Enterprise Markus Hallensleben: To be educated is to become a Harlequin: Cross-Skinning as Carnivalesque Hybridity in Michel Serres, Hannah Hoch's Dada, and Orlan's Body Art III. Cross-Cultural Encounters: Race, Gender, and the Comic Gaby Pailer: Multi-Layered Conflicts with the Norm: Gender and Cultural Diversity in Two Comedies of the German Enlightenment Sabine Wilke: Indigenous Laughter: The Voice of the Other in Tales from the South Seas Gabrijela Mecky Zaragoza: Subverting the Pantragic Heroine: Nestroy against Hebbel Jakub Kazecki: Black and White in Color or Black Victory? The Comic Effect of Displacement in the Film Noirs et blancs en couleur (1976) by Jean-Jacques Annaud Karin Lornsen: The City as Stage of Transgression: Performance, Picaresque Reminiscences, and Linguistic Incongruity in Emine S. Ozdamar's The Bridge of the Golden Horn IV. Gender, Genre, and the Comic: Literature, Radio,Television, and Cinema Andreas Seidler: Moral Ideal and Physical Desire: Gender Roles, Sex, and Comic Elements in the Rococo Tales of Christoph Martin Wieland Birte Giesler: Social Satire, Literary Parody, and Gender Critique in French and German Fairy Tales of the Enlightenment: Jean-Jacques Rousseau and Friederike Helene Unger Ellie Kennedy: But I'm a Lady! Undoing Gender Bending in Contemporary British Radio Comedy Peter Stear: Mockumentalism: Re-Casting the Void in Contemporary British TV Comedy Christine Mielke: Couples and Friends: Comic Strategies and Social Structures in German and American Comedy Series Frank Degler: Affirmative Humour in Bully Herbig's Parody of Star Wars/Star Trek: (T)Raumschiff Surprise V. Comic Strategies: Gender and Laughter in Literature, Theory, Communication, and Art Susanne Bach: May I Laugh about Women's Lib? or: The Difficult Relationship of Humour and Feminism in Margaret Atwood, Caryl Churchill, and Helen Fielding Stefan Bornchen: Aletheia as Striptease: Gendered Allegories of Truth in Heidegger, Gorgias, and Barthes Volker Helbig: Judith Butler and the Problem of Adequacy, or: The Epistemological Dimension of Laughter Caroline L. Rieger: Comparing Same-Gender and Opposite-Gender Conversations: a Laughing Matter? Oliver C. Speck: The Joy of Anti-Art: Subversion through Humour in Dada List of Contributors

Reframing the Void: The Cinematographic Aesthetic of Marguerite Duras's Autobiographical Novels

Both a filmmaker and writer, Marguerite Duras imbues her literary works with a notably cinematographic aesthetic. L'Amant , the second and most celebrated of Duras's trio of autobiographical novels about her childhood in French colonial Indochina, is a vividly visual text in its voyeurism, its examination of the colonial gaze, and its presentation of the autobiographical subject through a series of photographs, several of which are "real" and one non-existent. Duras's use of ekphrastic photographs and cinematic scenes serves to decenter, mask, and absent the autobiographical subject insofar as she makes a clean break between image and referent in both cases. Thus, when Jean-Jacques Annaud attempted to suture this break in his film version of L'Amant (1991), he compelled Duras to articulate her aesthetic in even stronger visual terms by rewriting L'Amant yet again in the form of her final novel, L'Amant de la Chine du Nord . This novel proclaims itself "un livre... un film," and remarks on the ways in which the characters are presented as "plus 'pour le cinema' que [ceux] du livre [ L'Amant ]." The essay examines the relationship between Duras's last two autobiographical novels and Annaud's film to reveal the ways in which Duras textualizes photographic and cinematographic images not as a means of fixing an image, but as a means of casting it into the interpretive interregnum of visual and written textuality. In trying to present a singular visual image of Duras's self-portrait in his film, Annaud sparked a battle between his biographical vision and the author's autobiographical vision, as well as Duras's need to splinter the film's images by writing her own cinematographic account of L'Amant . In her final novel, then, Duras hones her visual aesthetic and displaces the autobiographical referent in her use of multiple, unfixed, and even inaccessible sites of subjectivity.

Two Brothers

ABSTRACT This review of Jean-Jacques Annaud's 2004 tale about a pair of tiger cubs in Southeast Asia details the film's formal and narrative similarities to the supposedly “non-fiction” wildlife films on nightly television. Despite working within the boundaries of formula (outlined here), Annaud's execution is nevertheless brilliant and moving.

“Unhappy all the Time”: Religion in Anthony Burgess's Earthly Powers

I like Somerset Maugham's stuff tremendously [...,] but I should think he was unhappy all the time, wouldn't you? He was an unpleasant man. --P. G. Wodehouse, 1975 interview W. Somerset Maugham appears in thin disguise as Kenneth Marchal Toomey in Anthony Burgess's Earthly Powers (1980), the supposed memoirs of a literary lion who derides himself as an indifferent and overrewarded scribbler (278). Although Maugham was particularly religious and certainly Roman Catholic, Burgess gives his protagonist a strong Catholic background. Toomey says that he was born into the faith but, not able to believe (338), proposes to die out of it. Meanwhile he has a friend who becomes the Pope. In fact, the book begins with Toomey's being asked to help make the dead Pope a saint. The way in which religion shapes the principal character (and the literature he produces) in Burgess's satiric masterpiece is file main focus of this essay. Using only his middle names, John Anthony Burgess Wilson (1917-1995) wrote more than 60 books, including television and film scripts as well as his own memoirs (Little Wilson and Big God [1987] and You've Had Your Time [1990]). In 1983 Garland Press published Paul Boytinck's Anthony Burgess: An Enumerative Bibliography with Selected Annotations, which ran about as long as Earthly Powers--some 600 pages. Earthly Powers is a title that betrays Burgess's constant preoccupation with word play. Earthly Powers, however, is more than playing with language, as Burgess did when he invented Primitive Indo-European for Jean-Jacques Annaud's film The Quest for Fire (1982) or a Russian-influenced British jargon for A Clockwork Orange (1963) or an Elizabethan dialect for a memoir of William Shakespeare's time, Nothing Like the Sun (1964). In Earthly Powers Burgess's lifelong interests in music (he was a talented composer, an erudite music critic, and the author of a 1974 novel about Ludwig Beethoven, Napoleon Symphony), in the works of James Joyce (he wrote an excellent introduction to that difficult author), and in religion (he stunned us in 1985 with The Kingdom of the Wicked, which is nothing less than a retelling of the Acts of the Apostles) all appear in the satire of an octogenarian author looking back over his career and the literary society in which he achieved fame. Other authors have spoken through first-person narrators--from the Emperor Hadrian to Huck Finn, from Felix Krull to Holden Caulfield. Burgess lets the subject of the satire indite and indict himself. All the while Burgess is engaged in what he said was his constant aim in literature: to clarify moral choice in dealing with life's problems. Here and elsewhere he takes an Augustinian tack in recognizing our fallen human nature. We see the flawed character of the central character and the many shortcomings of his lifestyle as the rather nasty old man gives the raspberry, the finger, or the ax. Toomey is supposed to be as successful as Maugham, and he certainly is as curmudgeonly as Evelyn Waugh and as homosexual as Angus Wilson. (Waugh once said he would have been even nastier had he converted to Catholicism.) Toomey teaches, as it were, by bad example, and we cannot but feel some sympathy with this anti-hero. The Bad Guys, whether Richard III or Macbeth or lesser mortals, are always interesting and often truer to life than most of the Good Guys depicted in literature. Toomey has spent a long life nursing his nastiness. Now he has decided to strike out against a whole range of targets, many of them quite deserving of excoriation. As in all truly successful satire, we do entirely despise him; we rather like him. In fact, we are pushed toward loving him because we want to tell him that lack of love is his basic problem. As with all the most trenchant satire, however extreme he may be, Toomey is merely farcical; he is human and tragic. …

<sc>Enemy At the Gates</sc>. Produced by Jean-Jacques Annaud and John D. Schofield; written and directed by Jean-Jacques Annaud. 2000; color; 125 minutes. Distributed by Paramount Pictures

<sc>Enemy At the Gates</sc>. Produced by Jean-Jacques Annaud and John D. Schofield; written and directed by Jean-Jacques Annaud. 2000; color; 125 minutes. Distributed by Paramount Pictures

<sc>Seven Years in Tibet</sc>. Produced and directed by Jean-Jacques Annaud; screenplay by Becky Johnston, based on the book by Heinrich Harrer. 1997; color; 139 minutes. Distributor: Sony Pictures Entertainment/TriStar and <sc>Kundun</sc>. Produced by Barbara De Fina; directed by Martin Scorsese; screenplay by Melissa Mathison, based on the life story of the Dalai Lama. 1997; color; 128 minutes. Distributor: Buena Vista

<sc>Seven Years in Tibet</sc>. Produced and directed by Jean-Jacques Annaud; screenplay by Becky Johnston, based on the book by Heinrich Harrer. 1997; color; 139 minutes. Distributor: Sony Pictures Entertainment/TriStar and <sc>Kundun</sc>. Produced by Barbara De Fina; directed by Martin Scorsese; screenplay by Melissa Mathison, based on the life story of the Dalai Lama. 1997; color; 128 minutes. Distributor: Buena Vista

<bold>Indochine</bold>. Produced by Eric Heumann and Jean Labadie; directed by Régis Wargnier; screenplay by Régis Wargnier, Catherine Cohen, Erik Orsenna, and Louis Gardel. 1991; color; 165 minutes. French with English subtitles. Video distributor: Columbia TriStar and <bold>The Lover</bold> [<italic>L'amant</italic>]. Produced by Jean-Claude Bohrlat; directed by Jean-Jacques Annaud. 1992; color; 112 minutes. In English. Video distributor: MGM/UA Home Video

<bold>Indochine</bold>. Produced by Eric Heumann and Jean Labadie; directed by Régis Wargnier; screenplay by Régis Wargnier, Catherine Cohen, Erik Orsenna, and Louis Gardel. 1991; color; 165 minutes. French with English subtitles. Video distributor: Columbia TriStar and <bold>The Lover</bold> [<italic>L'amant</italic>]. Produced by Jean-Claude Bohrlat; directed by Jean-Jacques Annaud. 1992; color; 112 minutes. In English. Video distributor: MGM/UA Home Video

: Quest for Fire .

American AnthropologistVolume 84, Issue 4 p. 991-992 Free Access Quest for Fire. 1982. Directed by Jean-Jacques Annaud Philip Lieberman, Philip Lieberman Department of Linguistics, Brown UniversitySearch for more papers by this author Philip Lieberman, Philip Lieberman Department of Linguistics, Brown UniversitySearch for more papers by this author First published: December 1982 https://doi.org/10.1525/aa.1982.84.4.02a00910AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume84, Issue4December 1982Pages 991-992 RelatedInformation