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Cinema has been long associated with France, dating back to 1895, when Louis and Auguste Lumi_re screened their works, the first public viewing of films anywhere. Early silent pioneers Georges MZli_s, Alice Guy BlachZ and others followed in the footsteps of the Lumi_re brothers and the tradition of important filmmaking continued throughout the 20th century and beyond. In Encyclopedia of French Film Directors, Philippe Rège identifies every French director who has made at least one feature film since 1895. From undisputed masters to obscure one-timers, nearly 3,000 directors are cited here, including at least 200 filmmakers not mentioned in similar books published in France. Each director's entry contains a brief biographical summary, including dates and places of birth and death; information on the individual's education and professional training; and other pertinent details, such as real names (when the filmmaker uses a pseudonym). The entries also provide complete filmographies, including credits for feature films, shorts, documentaries, and television work. Some of the most important names in the history of film can be found in this encyclopedia, from masters of the Golden Age_Jean Renoir and RenZ Clair_to French New Wave artists such as Fran_ois Truffaut and Jean-Luc Godard.
This volume presents the impressive range of scholarly affinities, approaches, and subjects that characterize today's word and image studies. The essays, a selection of papers first presented in 2005 at the seventh international conference of the International Association of Word and Image Studies/Association Internationale pour l'Etude des Rapports entre Texte et Image that took place in Philadelphia, are case studies of the diverse configurations of the textual and the iconic. "Elective affinities" - a notion originally borrowed by Goethe for his 1809 novel of the same title from eighteenth-century chemistry - here refers to the active role of the two partners in the relationship of the pictorial and the verbal. Following the experimental modalities opened up by Goethe, the present volume is divided into three sections, which explore, respectively, how words and images can merge in harmony, engage in conflicts and contestations, and, finally, interact in an experimental way that self-consciously tests the boundaries and relations among verbal and visual arts. New perspectives on word and image relationships emerge, in periods, national traditions, works, and materials as different as (among many others) an installation by Marcel Duchamp and the manual accompanying it; the impact of artificial light sources on literature and art; nineteenth-century British illustrations of Native Americans; the contemporary comic book; a seventeenth-century Italian devotional manuscript uniting text, image, and music; Chinese body and performance art..
Curieusement, si les ouvrages consacrés aux femmes abondent, ils n'offrent que peu d'éléments sur la relation conjugale. En Asie, comme ailleurs, les enjeux du mariage sont culturellement construits et délimitent la faible marge de manoeuvre laissée à la femme. Les auteurs se sont attachés à comprendre si, malgré les limites qui leur sont assignées, les femmes disposent d'un pouvoir comparable à celui des hommes. Les sources écrites et les matériaux ethnographiques utilisés traitent principalement des groupes majoritaires de la région : Birmans, Chinois Han, Coréens, Lao, Thaïs, Vietnamiens et Bengalis.
Divers textes sur les mysteres du monde, les lieux etranges..."

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