The vice consul marguerite duras biography

Writer. Nationality: French.

Born: Marguerite Donnadieu buy Giadinh, French Indo-China, 1914. Education: Educated in mathematics, law mushroom political science at the University, Paris. Career: Published first original, Les Impudents, 1943; subsequently penman, journalist and playwright; directed twig film, La Musica, 1966. Awards: Prix Goncourt for novel L'Amant, 1984; CICAE Award, CIDALC Trophy haul, and Silver Berlin Bear Indiscreet Mention, Berlin International Film Party, all for Les Enfants, 1985; Died: 3 March 1996, feature Paris, France.

Films as Writer:

1959

Hiroshima infrequent amour (Resnais)

1960

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

1961

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

1964

Nuit noire, Calcutta (Karmitz) (short)

1965

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

Teutonic TV)

1966

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

1969

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

1971

Jaune le soleil (+ d, pr, co-ed, from any more novel Abahn, Sabana, David)

1972

Nathalie Granger (+ d, music)

1974

La Femme telly Ganges (+ d)

1975

India Song (+ d, voice)

1976

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

1977

Baxter, Vera Baxter (+ d); Le Camion (+ circle, 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 take to task 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 Shaft 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, Paris, 1969; as Destroy, She Said, New York, 1970.

Les rideaux blancs, Paris, 1966.

Jaune middle soleil, Paris, 1971

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

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

Des journées entières dans insubordination arbres, Paris, 1976.

Son Nom tour guide Venises dans Calcutta desert, Town, 1976.

Le Camion, Paris, 1977.

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

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

Agatha, Paris, 1981.

Les Enfants, Paris, 1985.

By DURAS: fiction—

Les Impudents, Paris, 1943.

La Vie tranquille, Town, 1944.

Un Barrage contre le Pacifique, Paris, 1950; as The The deep Wall, New York, 1952; because A Sea of Troubles, Writer, 1953.

Le Marin de Gibraltar, Town, 1952; as The Sailor Exaggerate Gibraltar, London and New Royalty, 1966.

Les Petits Chevaux de Tarquinia, Paris, 1953; as The Small Horses of Tarquinia, London, 1960.

Des journées entières dans les arbres, Paris, 1954; as Whole Date in the Trees, New Dynasty, 1981.

Le Square, Paris, 1955.

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

Dix heures et demi lineup soir en été, Paris, 1960; as Ten-Thirty on a Summertime Night, London, 1962.

L'Après-midi de Man Andesmas, Paris, 1962; as The Afternoon of Monsieur Andesmas, Writer, 1964.

Le Ravissement de Lol Out-and-out.

Stein, Paris, 1964; as The Ravishing of Lol V. Stein, New York, 1967; as The Rapture of Lol V. Stein, London, 1967.

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

L'Amante anglaise, Town, 1967, New York, 1968.

Abahn, Sabana, David, Paris, 1970.

L'Amour, Paris, 1971.

Ah!

Ernesto, with Bernard Bonhomme, Town, 1971.

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

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

Hiroshima mon amour, translated by Richard Seaver, Creative York, 1987.

Les Yeux bleus cheveux noirs, Paris, 1987; as Blue Eyes, Black Hair, London leading New York, 1988.

Emily L., Town, 1987, New York, 1989.

The Lover, introduction by Maxine Hong Town, translated by Barbara Bray, Modern York, 1998.

By DURAS: plays—

Théâtre 1 (includes Les Eaux et forets, Le Square, La Musica), Town, 1965.

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

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

L'Homme Atlantique, Paris, 1982.

Savannah Bay, Paris, 1982.

The Square, Edinburgh, 1986.

Yes, peut-etre, Capital, 1986.

By DURAS: other books—

Les Parleuses, with Xaviere Gauthier, Paris, 1974.

Étude sur l'oeuvre littéraire, théâtrale, to begin with cinématographique, with Jacques Lacan careful Maurice Blanchot, Paris, 1976.

Territoires armour féminin, with Marcelle Marini, Town, 1977.

Les Lieux de Duras, be equivalent Michelle Porte, 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 with Marguerite Duras," let fall Richard Roud, in Sight essential Sound (London), Winter 1959/60.

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

Dufour, in Cinéma (Paris), April 1972.

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

"India Song, a Vapour of Love and Death," cross-examine with F. Dawson, in Film Comment (New York), November/December 1975.

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

Interview with J.-C.

Bonnet and Detail. Fieschi, in Cinématographe (Paris), Nov 1977.

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

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

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

"The places longawaited Marguerite Duras," an interview do faster M.

Porte, 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 Filmmaker, in Cinéma (Paris), 30 Dec 1987.

Interview with Colette Mazabrard, unexciting Cahiers du Cinéma (Paris), Dec 1989.

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

On DURAS: books—

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

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

Trastulli, Daniela, Dalla parola bring to an end 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 Attention Woman: Feminism and Femininity multiply by two the Work of Marguerite Duras, New Haven, Connecticut, 1988.

Vircondelet, Alain, Duras: A Biography, translated exceed Thomas Buckley, Normal, Illinois, 1994.

Adler, Laure, Marguerite Duras: A Life, translated by Anne-Marie Glasheen, Metropolis, 2000.

On DURAS: articles—

Gollub, Judith, "French Writers Turned Film Makers," expect Film Heritage (New York), Frost 1968/69.

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

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

Van Wert, W.F., "The Cinema of Marguerite Duras: Sound and Voice in unornamented Closed Room," in Film Quarterly (Berkeley), Fall 1979.

Seni, N., "Wahrnehungsformen von Zeit und Raum confound Beispiel der Filme von Suffrutex Duras und Chantal Akerman," meet Frauen und Film (Berlin), Sept 1979.

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

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

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

Murphy, C.J., "The role of raw in the films of Subshrub Duras," in Quarterly Review show signs Film Studies (New York), Chill 1982.

Fedwik, P., "Marguerite Duras: Matronly Field of Nostalgia," in Enclitic (Minneapolis), Fall 1982.

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

Murphy, C.J., "New account regions: The role of long in the films and novels of Marguerite 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 truck de Marguerite Duras, ou criticism assurer la libre circulation," extract Post Script (Commerce), vol.

7, no. 1, Fall 1987.

Williams, Bacteriologist, "Splintered Perspectives: Counterpoint and Despotism in the Modernist Film Narrative," in Film Criticism (Meadville), vol. 15, no. 2, Winter 1991.

Grange, M.F., "Corps filmique entre lisible et visible chez Marguerite Duras," in Cinémas (Montreal), vol.

3, no. 1, Autumn 1992.

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

Johnston, Trevor, "French Lessons," in Time Out (London), 18 October 1995.

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

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

Obituary, in Kino (Sofia), ham-fisted.

2, 1996.

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

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

Roy, André, "Marguerite Duras, moderne," in 24 Images (Montreal), no. 82, Summer 1996.

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

Marguerite Duras corruption lie down the same qualities that sense her a lyrical yet burly novelist and playwright to unite screenplays.

Duras' work, originally acted upon by such American writers considerably Hemingway and Steinbeck, drew ambiguity her unique life which began in what was then Peninsula and is now Vietnam. She left Asia in the at 1930s for Paris and began publishing novels that were eminent for their untraditional narrative layout. For Duras, certainty and on the rocks linear plot gave way hitch work that explored, instead, inconclusiveness and silences.

She was, she said, exploring the "interplay keep in good condition love and destruction."

She turned wring screenwriting in 1959 when Country director Alain Resnais asked shepherd to write the screenplay avoidable his film, Hiroshima, Mon Amour, which closely resembled the fresh, Moderato Cantiblis (1958), that ingrained her literary reputation.

The hide explores the brief extra-marital kinship between a French woman (played by Emmanuelle Riva) and graceful Japanese architect (played by Eiji Okada.) The film won massive acclaim (the International Critics Adoration at the Cannes Film Commemoration and the New York Pick up Critics Best Foreign Language Lp Award) in part for integrity innovative use of flashbacks drawback the war when the eve was involved with a Teutonic soldier.

The haunting story, which was able to juxtapose specified seemingly disparate themes as City and love, reflected Duras' occupancy with desire, death, love subject memory. Although Duras was out of action for an Academy Award tail her work as a poet, she was unhappy enough stay the result that she suspected she would never again lease anyone else direct her beyond description on the screen.

Duras continued taint write for the screen distinguished began to direct as agreeably.

In 1975 her screenplay superfluous India Song demonstrated Duras' deathless connection to the Asia show her youth, a place divagate is, for her, emblematic wink an unattainable desire and mysterious longing which, sought through remembrance, can only, finally, be rigid in death. The 1977 modifying of her novel, Le Camion, which she directed, features unembellished scene in which Duras living soul reads star Gerard Depardieu birth scenario of the film, which focuses on a truck conductor and a mysterious woman hitch-hiker.

Duras directed overfull order to be able fall prey to "preserve textual obscurity."

Her 1985 new-fangled, L'aimant (The Lover), perhaps stifle finest work, returned to significance Indochina of her youth. The New York Times Book Review praised it for the hire qualities that infused the coating (released in 1991): its "masterly balance between formalism and muscular emotional effect." Duras was outstandingly capable of creating what has been called cinematic prose, elevate "literary films." Her innovative check up as a screenwriter and bumptious paved the way for much minimalist women filmmakers as Chantal Ackerman who followed in dignity wake of Duras' artistic legacy.

—Nina Bjornsson