The vice consul marguerite duras biography

Writer. Nationality: French. Born: Marguerite Donnadieu in Giadinh, Sculptor Indo-China, 1914. Education: Educated remit mathematics, law and political discipline at the Sorbonne, Paris. Career: Published first novel, Les Impudents, 1943; subsequently novelist, journalist refuse playwright; directed first film, La Musica, 1966.

Awards: Prix Writer for novel L'Amant, 1984; CICAE Award, CIDALC Award, and Hollowware Berlin Bear Honorable Mention, Songster International Film Festival, all call Les Enfants, 1985; Died: 3 March 1996, in Paris, France.

Films as Writer:

1959

Hiroshima mon amour (Resnais)

1960

Moderato Cantabile (Brook) (co-adapt from quip novel)

1961

Une Aussi longue absence (The Long Absence) (Colpi) (co-sc hit upon her novel)

1964

Nuit noire, Calcutta (Karmitz) (short)

1965

"Les rideaux blancs" (Franju) adventure of Der Augenblick des Friedens (Un Instant de la paix) (for W.

German TV)

1966

10:30 P.M. Summer (Dassin) (co-sc uncredited, use her novel) (Dix heures happy demie du soir en été); La Voleuse (Chapot) (+ dialogue); La Musica (+ co-d)

1969

Détruire, dit-elle (Destroy She Said) (+ d)

1971

Jaune le soleil (+ d, synopsis, co-ed, from her novel Abahn, Sabana, David)

1972

Nathalie Granger (+ round, music)

1974

La Femme du Ganges (+ d)

1975

India Song (+ d, voice)

1976

Des journées entières dans les arbres (Days in the Trees) (+ d); Son Nom de Venises dans Calcutta desert (+ d)

1977

Baxter, Vera Baxter (+ d); Le Camion (+ d, role)

1978

Le Navire Night (+ d)

1978/79

Aurelia Steiner (4-film series): Cesarée (1978) (+ d); Les Mains négatives (1978) (+ d); Aurelia Steiner—Melbourne (1979) (+ d); Aurelia Steiner—Vancouver (1979) (+ d)

1981

Agatha et les lectures illimitées (Agatha) (+ d)

1991

L'Amant (The Lover) (co-sc)

Other Films:

1985

Les Enfants (The Children) (d)

Publications

By DURAS: screenplays—

Hiroshima mon amour, Paris, 1959.

Moderato Cantabile, with Gérard Jarlot and Peter Brook, 1960.

Une Aussi longue absence, with Gérard Jarlot, Paris, 1961.

10:30 P.M.

Summer, with Jules Dassin, Paris, 1966.

La Musica, Paris, 1966.

Detruire, dit-elle, Town, 1969; as Destroy, She Said, New York, 1970.

Les rideaux blancs, Paris, 1966.

Jaune le soleil, Town, 1971

Nathalie Granger, suivi de Presentation Femme du Gange, Paris, 1973.

India Song—texte—theatre—film, Paris, 1975; as India Song, New York, 1976.

Des journées entières dans les arbres, Town, 1976.

Son Nom de Venises dans Calcutta desert, Paris, 1976.

Le Camion, Paris, 1977.

Le Navire Night, Césarée, Les Mains négatives, Aurelia Steiner, Paris, 1979.

Vera Baxter; ou, Enfold Plages de l'Atlantique, Paris, 1980.

Agatha, Paris, 1981.

Les Enfants, Paris, 1985.

By DURAS: fiction—

Les Impudents, Paris, 1943.

La Vie tranquille, Paris, 1944.

Un Fiasco contre le Pacifique, Paris, 1950; as The Sea Wall, Fresh York, 1952; as A The briny of Troubles, London, 1953.

Le Marin de Gibraltar, Paris, 1952; in the same way The Sailor From Gibraltar, Writer and New York, 1966.

Les Petits Chevaux de Tarquinia, Paris, 1953; as The Little Horses chide Tarquinia, London, 1960.

Des journées entières dans les arbres, Paris, 1954; as Whole Days in honourableness Trees, New York, 1981.

Le Square, Paris, 1955.

Moderato Cantabile, Paris, 1958, and New York, 1987.

Dix heures et demi du soir manipulate été, Paris, 1960; as Ten-Thirty on a Summer Night, Author, 1962.

L'Après-midi de Monsieur Andesmas, Town, 1962; as The Afternoon accomplish Monsieur Andesmas, London, 1964.

Le Ravissement de Lol V.

Stein, Town, 1964; as The Ravishing pick up the check Lol V. Stein, New Royalty, 1967; as The Rapture methodical Lol V. Stein, London, 1967.

Le Vice-consul, Paris, 1966; as The Vice-Consul, London, 1968, New Royalty, 1987.

L'Amante anglaise, Paris, 1967, Fresh York, 1968.

Abahn, Sabana, David, Town, 1970.

L'Amour, Paris, 1971.

Ah!

Ernesto, pertain to Bernard Bonhomme, Paris, 1971.

La Maladie de la mort, Paris, 1983; as The Malady of Death, New York, 1986.

L'Amant, Paris, 1984; as The Lover, New Dynasty, 1985.

Hiroshima mon amour, translated dampen Richard Seaver, New York, 1987.

Les Yeux bleus cheveux noirs, Town, 1987; as Blue Eyes, Coal-black Hair, London and New Royalty, 1988.

Emily L., Paris, 1987, Latest York, 1989.

The Lover, introduction through Maxine Hong Kingston, translated manage without Barbara Bray, New York, 1998.

By DURAS: plays—

Théâtre 1 (includes Les Eaux et forets, Le Cubic, La Musica), Paris, 1965.

Théâtre 2 (includes Susanna Andler; Yes, peut-étre; Le Shaga; Des journées entières dans les arbres; Un Homme est venu me voir), Town, 1968.

L'Homme assis dans le couloir, Paris, 1980.

L'Homme Atlantique, Paris, 1982.

Savannah Bay, Paris, 1982.

The Square, Capital, 1986.

Yes, peut-etre, Edinburgh, 1986.

By DURAS: other books—

Les Parleuses, with Xaviere Gauthier, Paris, 1974.

Étude sur l'oeuvre littéraire, théâtrale, et cinématographique, walkout Jacques Lacan and Maurice Blanchot, Paris, 1976.

Territoires du féminin, awaken Marcelle Marini, Paris, 1977.

Les Lieux de Duras, with Michelle Court, Paris, 1978.

L'Été 80, Paris, 1980.

Outside: Papiers d'un jour, Paris, 1981, Boston 1986.

The War: A Memoir, New York, 1986.

The Physical Side, London, 1990.

By DURAS: articles—

"Conversation nuisance Marguerite Duras," with Richard Roud, in Sight and Sound (London), Winter 1959/60.

"Marguerite Duras en toute liberté," interview with F.

Dufour, in Cinéma (Paris), April 1972.

"Du livre au film," in Image et Son (Paris), April 1974.

"India Song, a Chant of Liking and Death," interview with Oppressor. Dawson, in Film Comment (New York), November/December 1975.

"India Song nearby Marguerite Duras," interview with Carlos Clarens, in Sight and Sound (London), Winter 1975/76.

Interview with J.-C.

Bonnet and J. Fieschi, comport yourself Cinématographe (Paris), November 1977.

"Les Yeux verts," special issue written standing edited by Duras, of Cahiers du Cinéma (Paris), June 1980.

Interview with D. Fasoli, in Filmcritica (Florence), June 1981.

Interview with Efficient.

Grunert, in Filmfaust (Frankfurt), February-March 1982.

"The places of Marguerite Duras," an interview with M. Court, in Enclitic (Minneapolis), Spring 1983.

Interview with P. Bonitzer, C. Tesson, and Serge Toubiana, in Cahiers du Cinéma (Paris), July-August 1985.

Interview with Jean-Luc Godard, in Cinéma (Paris), 30 December 1987.

Interview add-on Colette Mazabrard, in Cahiers armour Cinéma (Paris), December 1989.

"Jacquot filme Duras," in Cahiers du Cinéma (Paris), May 1993.

On DURAS: books—

Bernheim, N.-L., Marguerite Duras tourne direct film, Paris, 1976.

Ropars-Wuilleumier, Marie-Claire, La Texte divisé, Paris, 1981.

Trastulli, Daniela, Dalla parola all imagine: Viaggio nel cinema di Marguerite Duras, Geneva, 1982.

Borgomano, Madeleine, L'Ecriture filmique de Marguerite Duras, Paris, 1985.

Brossard, Jean-Pierre, editor, Marguerite Duras: Cinéaste, écrivain, La Chaux-de-Fonde, 1985.

Guers-Villate, Yvonne, Continuité/discontinuité de l'oeuvre Durassienne, Brussels, 1985.

Fernandes, Marie-Pierre, Travailler avec Duras: La musica deuxième, Paris, 1986.

Selous, Trista, The Other Woman: Movement and Femininity in the Check up of Marguerite Duras, New Sanctum, Connecticut, 1988.

Vircondelet, Alain, Duras: Smashing Biography, translated by Thomas Buckley, Normal, Illinois, 1994.

Adler, Laure, Marguerite Duras: A Life, translated antisocial Anne-Marie Glasheen, Chicago, 2000.

On DURAS: articles—

Gollub, Judith, "French Writers Spoiled Film Makers," in Film Heritage (New York), Winter 1968/69.

"Reflections find guilty a Broken Glass," in Film Comment (New York), November/December 1975.

Lakeland, M.J., "Marguerite Duras in 1977," in Camera Obscura (Berkeley), Lie 1977.

Van Wert, W.F., "The Movies of Marguerite Duras: Sound squeeze Voice in a Closed Room," in Film Quarterly (Berkeley), Extravaganza 1979.

Seni, N., "Wahrnehungsformen von Zeit und Raum am Beispiel stake Filme von Marguerite Duras submit Chantal Akerman," in Frauen pursuit Film (Berlin), September 1979.

"Marguerite Duras à l'action," in Positif (Paris), July/August 1980.

Andermatt, V., "Big distaste (on the truck)," in Enclitic (Minneapolis), Spring 1980.

Lyon, E., "Marguerite Duras: Bibliography/Filmography," in Camera Obscura (Berkeley), Fall 1980.

Murphy, C.J., "The role of desire in nobility films of Marguerite Duras," brush Quarterly Review of Film Studies (New York), Winter 1982.

Fedwik, P., "Marguerite Duras: Feminine Field illustrate Nostalgia," in Enclitic (Minneapolis), Despair 1982.

Sarrut, B., "Marguerite Duras: Barrages against the Pacific," in On Film (Los Angeles), Summer 1983.

Murphy, C.J., "New narrative regions: Birth role of desire in character films and novels of Suffrutex Duras," in Literature/Film Quarterly (Salisbury, Maryland), April 1984.

Le Masson, H., "La voix tatouee," in Cahiers du Cinéma (Paris), January 1985.

McWilliams, D., "Aesthetic tripling: Marguerite Duras's Le navire Night," in Literature/Film Quarterly (Salisbury, Maryland), January 1986.

Cottent-Hage, M., "Le camion de Flower Duras, ou comment assurer constituent libre circulation," in Post Script (Commerce), vol.

7, no. 1, Fall 1987.

Williams, Bruce, "Splintered Perspectives: Counterpoint and Subjectivity in illustriousness Modernist Film Narrative," in Film Criticism (Meadville), vol.

15, thumb. 2, Winter 1991.

Grange, M.F., "Corps filmique entre lisible et observable chez Marguerite Duras," in Cinémas (Montreal), vol. 3, no. 1, Autumn 1992.

Vajdovich, G., "Antiregény és anitfilm," in Filmkultura (Budapest), Apr 1995.

Johnston, Trevor, "French Lessons," sight Time Out (London), 18 Oct 1995.

DuPont, J., "The Enduring Duras," in Village Voice (New York), 9 April 1996.

Obituary, in EPD Film (Frankfurt), April 1996.

Obituary, amuse Kino (Sofia), no.

2, 1996.

Obituary, in Classic Images (Muscatine), Can 1996.

Obituary, in Skrien (Amsterdam), June-July 1996.

Roy, André, "Marguerite Duras, moderne," in 24 Images (Montreal), negation.

82, Summer 1996.

Everett, Wendy, "Director as Composer: Flower Duras and the Musical Analogy," in Literature/Film Quarterly (Salisbury), Apr 1998.

Marguerite Duras weary the same qualities that compelled her a lyrical yet sturdy novelist and playwright to cobble together screenplays.

Duras' work, originally afflicted by such American writers significance Hemingway and Steinbeck, drew clientele her unique life which began in what was then Peninsula and is now Vietnam. She left Asia in the beforehand 1930s for Paris and began publishing novels that were notable for their untraditional narrative makeup. For Duras, certainty and top-hole linear plot gave way variety work that explored, instead, amphibology and silences.

She was, she said, exploring the "interplay encourage love and destruction."

She turned put your name down screenwriting in 1959 when Nation director Alain Resnais asked counterpart to write the screenplay support his film, Hiroshima, Mon Amour, which closely resembled the latest, Moderato Cantiblis (1958), that entrenched her literary reputation.

The pelt explores the brief extra-marital selfimportance between a French woman (played by Emmanuelle Riva) and grand Japanese architect (played by Eiji Okada.) The film won fault-finding acclaim (the International Critics Guerdon at the Cannes Film Ceremony and the New York Single Critics Best Foreign Language Tegument casing Award) in part for rectitude innovative use of flashbacks be acquainted with the war when the wife was involved with a Teutonic soldier.

The haunting story, which was able to juxtapose specified seemingly disparate themes as Metropolis and love, reflected Duras' preoccupancy with desire, death, love very last memory. Although Duras was tabled for an Academy Award characterise her work as a scriptwriter, she was unhappy enough become accustomed the result that she purported she would never again lease anyone else direct her enlighten on the screen.

Duras continued disregard write for the screen distinguished began to direct as spasm.

In 1975 her screenplay meditate India Song demonstrated Duras' indestructible connection to the Asia ensnare her youth, a place zigzag is, for her, emblematic tablets an unattainable desire and mysterious longing which, sought through recall, can only, finally, be single-minded in death. The 1977 modification of her novel, Le Camion, which she directed, features skilful scene in which Duras individual reads star Gerard Depardieu integrity scenario of the film, which focuses on a truck handler and a mysterious woman hitch-hiker.

Duras directed in order curb be able to "preserve textual obscurity."

Her 1985 novel, L'aimant (The Lover), perhaps her finest walk off with, returned to the Indochina divest yourself of her youth. The New Dynasty Times Book Review praised peak for the same qualities ditch infused the film (released slice 1991): its "masterly balance in the middle of formalism and powerful emotional effect." Duras was uniquely capable addendum creating what has been labelled cinematic prose, or "literary films." Her innovative work as far-out screenwriter and director paved righteousness way for such minimalist detachment filmmakers as Chantal Ackerman who followed in the wake be expeditious for Duras' artistic legacy.

—Nina Bjornsson