![]() ![]() His family, his mother in particular, undertook this legal action in 1844, for a simple and apparently justifiable reason: at his maturity, in 1842, Baudelaire inherited a good amount of money, close to one hundred thousand francs (probably only about seventy-five thousand), from his (biological) father and in a space of eighteen months spent almost half of it. ![]() ![]() While it is not the ultimate cause of Baudelaire's destiny, it nevertheless represents the outward manifestation of that cause. The dominant event in the ineluctable dramatic conflict in Baudelaire's life was "le conseil judiciaire," the legal guardianship. A reader or a critic cannot well understand one without the other and those who would separate the two or deny the existence of the self in favour of an abstract semiotic movement of language cannot do justice to the drama implicit in Baudelaire's oeuvre. The dynamics of Baudelaire's struggle to reach his identity as a human being is intimately connected to the urgency of defining his mission as a poet. Relying on studies of memory in neuroscience and on Baudelaire's own views of memory and imagination, this essay studies the concept of the Baudelairean self. “But what they forgot was that these films were the fruit of work started five years before.”Success has not gone to his head.Baudelaire points to "le conseil judiciaire," the legal guardianship, as the central event that defined his self and the course of his life. “After the success of the first two pictures we were approached by a lot of people and received a lot of scripts,” he says. In 1990, Lazennec teamed up with Christian Vincent for his first film “La Discrete,” which has received wide critical acclaim and drawn over 500,000 Parisians to the cinema this year.In the wake of these opening hits, Rocca was seen by some as the golden boy of French production, the man with the Midas touch. Rocca had been producing Rochant’s short films since 1985. Fortunately, the first two helmers to emerge from this strategy came up trumps.Eric Rochant’s debut pic “Un Monde Sans Pitie” was released in December 1989 and went on to sell over 400,000 tickets in Paris alone. Their philosophy is firmly based on the idea that new directors should be “revealed” to the world and that working with a young production company is a useful baptism of fire for both parties.“All the work we did with the shorts was to see who we could collaborate with when it came to full-length films,” Rocca recalls. Rocca and partner Adeline Lecallier set up Lazennec in 1985 and went on to produce some 50 shorts over the next four years. ![]()
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