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The plate-smashing in Chabrol's film would make La Villa immediately recognisable to spectators familiar with the Paris nightclub scene. At this establishment you can break plates on your neighbour's head, and all at the expense of the management. Occasionally a neon of a recumbent nude lights up under the Grisbi sign, but it is a modest thing compared with the riches of Pigalle. In Les coups , when Antoine is being carted off to borstal, we watch with him as he sees the last of Paris through the bars of the van:.

Truffaut was brought up in the area, but the hub for him was not the gaudy, neon-lit place Blanche or place Pigalle but the place Clichy, further west, at the edge of what is called Pigalle. Truffaut shows us the place Clichy several times, and also the boulevard de Clichy up to the rue Caulaincourt and the Gaumont Palace:.

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See here for a detailed identification of Paris locations in Les coups. Boulevard Julien Duvivier The New Wave in general tended to avoid Pigalle. One of them is on the run from the police, and asks the other where he and his girlfriend can spend the night. The girlfriend suggests that they could stay with a friend of hers in Montmartre, and gets a sharp answer:. We are shown several stages on their journey, but nothing between the place Emile Goudeau, 18e, and the boulevard Poissoniere, 2e, to get to which they would almost certainly have passed through Pigalle. Au soleil levant, 16 boulevard de Clichy place Pigalle.

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Le Palmier, place Blanche. Here they are on the boulevard de Clichy and the place Blanche the Robinson is a dancehall next to the Moulin Rouge :. Moulin rouge, place Blanche. Le Grand Jeu, 58 rue Pigalle. Les Folies Pigalle, 11 place Pigalle. Pigall's, 77 rue PIgalle. Domicile conjugal The same can be said of Godard. Likewise when in 'Il nuovo mondo' he films the lights of the place Blanche below left. But when he films in the place Clichy below right , looking up towards the Gaumont Palace, he is quoting Truffaut:. Some time around , the owner of a boutique at boulevard de Clichy decided to give a modern air to her business by calling it Nouvelle Vague.

Both Eustache and Godard filmed the shop's neon sign as a sign of the New Wave's attachment to this particular part of the city:.

The shop, incidentally, is still there, though it has modified its signage:. Google Street View July A broad definition would allow this as a New Wave film, if a bad one. Outside a fashionable Montparnasse nightspot, L'Epi Club , the male protagonist is rejected by a girlfriend in favour of a man with an Alfa Romeo. The nightclubs on his itinerary interest me most, especially the last two of them:.

L'Epi Club, boulevard du Montparnasse. Le Grisbi-Club, 22 rue Quentin Bauchart. He is walking past the Grisbi-Club as a young woman is pulling across the grill to close up. She sells cigarettes in the club, and invites him in to see what the club looks like when its empty:. She demonstrates for the young man what would be her idea of a striptease act:. After its introduction to France in the early s, striptease was frequently represented in old school French films, especially those set in Pigalle.

That study is something I am undertaking elsewhere. For the time being I shall return to the Grisbi connection. It is a coincidence, finally, that both films feature women performing in a state of undress. Touchez pas au grisbi. Performed nakedness is the best intertext I could find in which to read these two films together. But it took me a lot longer to find this street:. I'd assumed this was in the Pigalle area, because the film's opening cuts from a view of the Moulin Rouge on the place Blanche to a restaurant interior from which, eventually, characters emerge onto this street.

The vet is no longer there, but the restaurant is still a restaurant and the hairdresser's still a hairdresser's.

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This building is no. The shot above is the last exterior view in Becker's film, and the only time we see the street in daylight. Most of the other views are of the other side of the street, and all are at night time:. To the left, with a sign reading 'Cuisine bourgeoise', is the restaurant 'Chez Bouche', the studio-constructed interior of which is the first place shown in the film, after the credits have run over a panoramic view of the butte Montmartre and the place Blanche:.

In cutting from a view of the Moulin Rouge to the interior of the restaurant, it is implied that the restaurant is somewhere thereabouts. The novel puts Chez Bouche across town, in the 15e the rue de Vanves is now the rue Raymond Losserand , as you can see from the list of key locations that Albert Simonin puts on the first page. Save for Bouche's restaurant, these are all in Pigalle, establishing straightway a topographical opposition.

One of the things excised by Becker from Simonin's novel is its detailed preoccupation with place, so that topographical oppositions are established simply by visual difference, or the time it takes to journey from one place to another. This nightclub is a principal location for the film, marking its underworld milieu on the map. The ornamental window belonged to Le Shanghai, which had recently closed.

Apart from Jeanne Moreau and Dora Doll below left , who do a strikingly amateurish number together, the dancers in this fake cabaret look like a professional ensemble, but I haven't been able to work out yet from which real establishment they were acquired:. Femmes de Paris Jean Boyer The interiors of the club are studio constructions, but Becker uses more of the real exterior than just this entrance.

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  • Her father worked as a physician, court astrologer and Councillor of the Republic of Venice. In Christine de Pizan married the notary and royal secretary Etienne du Castel. She had three children. Her daughter became a nun at the Dominican Abbey in Poissy in as a companion to the King's daughter Marie. In order to support herself and her family, Christine turned to writing.

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    By , she was writing love ballads , which caught the attention of wealthy patrons within the court. Her involvement in the production of her books and her skillful use of patronage in turbulent political times has earned her the title of the first professional woman of letters in Europe. Affective and financially she attached to the royal family of France. Of Queen Isabeau she wrote in "High, excellent crowned Queen of France, very redoubtable princess, powerful lady, born at a lucky hour".

    France was ruled by Charles VI who experienced a series of mental breakdowns, causing a crisis of leadership for the French monarchy. Christine published a series of works on the virtues of women, referencing Queen Blanche and dedicating them to Queen Isabeau. Christine believed that France had been founded by the descendants of the Trojans and that its governance by the royal family adhered to the Aristotelian ideal.

    Texts were still produced and circulated as continuous roll manuscripts , but were increasingly replaced by the bound codex. Members of royal family became patrons of writers by commissioning books. As materials became cheaper a book trade developed, so writers and bookmakers produced books for the French nobility, who could afford to establish their own libraries. Christine thus had no single patron who consistently supported her financially and became associated with the royal court and the different fractions of the royal family — the Burgundy, Orleans and Berry — each having their own respective courts.

    In Christine became involved in a renowned literary controversy, the "Querelle du Roman de la Rose". Romance of the Rose satirizes the conventions of courtly love while critically depicting women as nothing more than seducers. In the first person narrative she and Cumaean Sibyl travel together and witness a debate on the state of the world between the four allegories — Wealth , Nobility , Chivalry and Wisdom.

    In Christine chronicled the life of Charles V, portraying him as the ideal king and political leader, in Le Livre des fais et bonnes meurs du sage roy Charles V.

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    When praising the efforts of Charles V in studying Latin , Christine lamented that her contemporaries had to resort to strangers to read the law to them. The earliest of the three works has been lost. In Livre du Corps de policie The Book of the Body Politic , published in and dedicated to the dauphin, [12] Christine set out a political treatise which analysed and described the customs and governments of late medieval European societies.

    Christine favoured hereditary monarchies, arguing in reference to Italian city-states that were governed by princes or trades, that "such governance is not profitable at all for the common good". France was at the verge of all out civil war since Christine also referenced classical writers on military warfare, such as Vegetius , Frontinus and Valerius Maximus. Christine opposed trial by combat , [38] but articulated the medieval belief that God is the lord and governor of battle and that wars are the proper execution of justice.

    Nevertheless, she acknowledged that in a war "many great wrongs, extortions, and grievous deeds are committed, as well as raping, killings, forced executions, and arsons".

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    After civil war had broken out in France, Christine in offered guidance to the young dauphin on how to govern well, publishing Livre de la paix The Book of Peace. Christine addressed Louis of Guyenne directly, encouraging him to continue the quest for peace in France. In arguing that peace and justice were possible on earth as well as in heaven, Christine was influenced by Dante , [43] who she had referenced in Le Chemin de long estude.

    Christine urged young princes to make themselves available to their subjects, avoid anger and cruelty, to act liberally, clement and truthful. Christine's interpretation of the virtuous Christian prince built on the advice to rulers by St Benedict , Peter Abelard and Cicero. In Christine presented Queen Isabeau with a lavishly decorated collection of her works now known as British Library Harley Noted for its quality miniature illuminations, Christine herself and her past royal patrons were depicted.

    As a mark of ownership and authorship the opening frontispiece depicted Queen Isabeau being presented with the book by Christine. In Christine published a consolation for women who had lost family members in the Battle of Agincourt under the title Epistre de la prison de vie Humaine Letter Concerning the Prison of Human Life. Instead she expressed the view that the soul was trapped in the body and imprisoned in hell.

    The previous year she had presented the Epistre de la prison de vie Humaine to Marie of Berry , [48] the administrator of the Duchy of Bourbon whose husband was held in English captivity. Alpes Maritimes. Bidart, ever more popular. Le Genevois, multiple offerings. The region around Cannes, a premium market. Bordeaux centre, a market of character. Contents, articles. Eko-Lodge imberframe solutions offered by Eko-Lodge are multiple and adaptable to meet individual requirements. All the news.

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