Carol Volk

Bio: Carol Volk is an academic researcher. The author has contributed to research in topics: French New Wave & Painting. The author has an hindex of 1, co-authored 1 publications receiving 15 citations.

The taste for beauty

Abstract: Foreword to French Edition 1. The Critical Years - Interview with Eric Rohmer Jean Narboni Part I. The Classical Age of Cinema Cinema: 2. The art of space 3. For a talking cinema 4. The romance is gone 5. Reflections on color 6. The classical age of cinema 7. Such vanity is painting 8. Isou or Things As They Are? Of three films and of a certain school Of taste and colors The taste for Beauty Letter to a critic - Concerning my moral tales 9. Film and the three levels of discourse? Part II. For an unpure cinema Andre Bazin's 'Summa': 10. Lesson of a failure - Moby Dick John Houston 11. Explanation of a vet - South Pacific Joshua Logan Faith and mountains - Les Etoiles de Midi Marchel Ichac 12. The photogenics of sport Alfred Hitchcock: 13. Vertigo IV. Jean Renoir 14. The American Renoir Elena and Her Man (Venus and the Apes) 15. Renoir's youth 16. The Little Theater of Jean Renoir 17. Filmgraphy of Rohmer films Index.

Cinema and classical texts : Apollo's new light

Abstract: List of illustrations Acknowledgments Introduction: the god of light and the cinema eye 1. A certain tendency in classical philology 2. Divine epiphanies: Apollo and the Muses 3. The complexities of Oedipus 4. Patriotism and war: 'Sweet and fitting it is to die for one's country' 5. Helen of Troy: marriage and adultery according to Hollywood 6. Women in love Epilogues: 'Bright shines the light' Bibliography Index.

Telling memories. Al-Nakba in Palestinian Exilic Narratives

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Rohmer's Triple Agent: Theatricality, Archive and the 1930s

Abstract: accurate representation of his characters’ social idiolect explains Rohmer’s success in finding his public once a year. His characters, a wave of ever-young individuals, constitute an archive of types from one particular social stratum: bourgeois, liberal professionals, artists and intellectuals who are united in being talkative. As they conjecture they reveal a set of values and ideas. A minor but curious absence, that of a filmmaker, in Rohmer’s extensive roster of professionals suggests there may be something to my inquiry on the role of cinema, or more precisely of documentary images in Rohmer’s work. The unprecedented use of newsreel footage in Rohmer’s Triple Agent (2004) leads us to ask whether the inclusion of archival documents of the politically charged 1930s signals a departure for a director who markedly shuns selfreflexivity and who is thought to keep politics at bay. Although Rohmer’s adaptations have incorporated a wide range of artificial materials, including visual and audio references ranging from paintings and plays to cardboard trees, film footage has been conspicuously absent. In Triple Agent, momentous political news and change blast intermittently throughout in stark contrast to this chamber-like espionage drama, the interplay between the archive and theater bringing to the fore ontological issues that have always preoccupied Rohmer, namely, the status of the real and of documentary in cinema. Documents and artifacts have a time-capsule role in Rohmer’s second-degree realism. Cinema, as an instrument of witnessing, preservation, and archiving is inseparable from Rohmer’s attraction to history. He reconstitutes “what would have been produced if cinema existed,” 2 ostensibly compensating for the lack of photographic record of a given time as he does, for instance, when he filters the Paris of the French Revolution through eighteenth-century landscape painting in The Lady and the Duke.

Practicing What He Preaches? Continuities and Discontinuities in Rohmer’s Early Film Criticism and His Conte d’automne

Abstract: Early in his career, Eric Rohmer’s contributions to Arts, Cahiers du cinema, and other cinema journals displayed the enormous range of his interests and served as a testament to his perspicacity and wisdom in assessing the interest and value of the films he critiqued. He wrote with equal acumen about Japanese cinema, the American Western, Italian realism, and, for example, Ingmar Bergman’s early films and Jean Renoir’s later ones. It is interesting to measure his immediate reactions to these films with the place they have come to occupy in the cinematic pantheon and to realize how prophetic were the great majority of his judgments.