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Coco chanel biography essay
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Coco avant Chanel est un film français réalisé par Anne Fontaine, qui est sorti au cinéma le 22 avril 2009 en France. Anne Fontaine est une réalisatrice, actrice et scénariste française née au Luxembourg et a connu beaucoup de succès avec ce film. Audrey Tautou, la merveilleuse actrice française tient le rôle de Coco Chanel. Coco avant Chanel est un film biographique et romantique, qui s’intéresse aux années de formation de la grande couturière Coco Chanel. Ce film a bien été reçu par les critiques et a connu un immense succès auprès du public. Mondialement, ce film a généré des recettes de plus de 43 millions de dollars. Cette œuvre a été sélectionnée pour quatre nominations au BAFTA (British Academy of Film and Television Arts), trois nominations du Cinéma Européen, six nominations de César, et l’Oscar des meilleurs costumes.
Ce film biographique raconte la vie de Gabrielle Bonheur Chanel, la conceptrice de mode, modiste et grande couturière française célèbre pour ses pièces de vêtements de haute couture. Gabrielle Chanel est issue d’un milieu modeste. Sa personnalité hors du commun, son assurance et sa franchise ont fait d’elle, une personne charismatique. Chanel et sa sœur, Adrienne, ont été abandonnées par leur père quand elles étaient jeunes et elles ont grandi dans un orphelinat. Gabrielle attendait tous les dimanches que son père vienne les chercher dans l’orphelinat. Quelques années plus tard, elles débutent comme couturières et chanteuses dans un cabaret majoritairement fréquenté par la classe ouvrière de l’époque. Gabrielle est surnommée « Coco » à cause de chansons qu’elle chante tous les soirs avec sa sœur. Lorsque sa sœur lui informe qu’elle va se déménager à Paris pour épouser son baron, Gabrielle décide à son tour qu’elle a besoin d’un nouveau paramètre dans sa vie. Elle rend visite à son ami Baron Balson (Benoît Poelvoorde), un riche propriétaire de chevaux de course, qui vit dans la banlieue de Paris. Baron Balson lui permet d’entrer dans la haute société française. Tranquillement, Gabrielle commence à s’intéresser davantage à la mode. Elle conçoit des chapeaux et des vêtements pour la femme moderne, avec l’idéologie minimaliste que la simplicité est mieux.
Pendant son séjour avec le Baron Balson, Gabrielle rencontre et tombe en amour avec Boy Capel (Alessandro Nivola), un homme d’affaires anglais. Elle ne savait pas qu’il était sur le point de marier une femme de la haute hiérarchie anglaise, mais les deux amoureux s’engagent tout de même à se planifier des visites régulières.
Charles J. Stivale, a scholar in French literary and cultural studies, tries to articulate Deleuze and Guattari's philosophical concepts with practical studies on culture, analyzing films, cyberspace, and Cajun dance. Although he says that the goal of the book is to provide "an initial orientation" to Deleuze and Guattari's collaborative works, it is not a simple job at all for those innocent of Deleuzean concepts to follow the flow of his thought (ix). He provides short explications of the concepts and quotations from Deleuze and Guattari's books before his application, but only the readers, who are familiar with Delezean concepts, seem to be able to articulate the whole idea.
...s far as the author is concern, the fact that CoCo Chanel left the Victorian ideas and lived a life of her own made other women admire her. According to the author, clothing design was her star that raised her above other women. It would be better if other women would emulate her character and moral beliefs that should attract other women.
As a teenager, Marie spent her time enjoying Versailles' and Paris' night life with a notorious clique and fondness of making fashion statements through extravagant couture and bold coiffures (“The Grand Dauphin”). ...
Jean Patou was a contemporary of Coco Chanel whose short, enigmatic life and extensive, ground-breaking work though- not as known and recognised as Chanel's- burst with flamboyant enthusiasm and revolutionary ideas and developments that quite clearly set him apart from those around him. Whether in his understanding of the nature of diversifying, of marketing and of promoting ( both himself and his creations), or of defining a concept which today would be recognised as the "brand" of a fashion-house, Patou's garments, his design style, his aesthetic attitude and perception, have significantly influenced the fashion world of today and the heritage he has left is a valuable, considerable and considerably colourful one!
Today, people associate the word “salon” with a place to get your hair, makeup, or nails done. It is also a place for women to gossip and talk about the latest fashions, music, and other pop culture. When you think about it, modern-day salons actually seem very similar to salons of the 18th century in France. Salons in the 18th century were held for discussions relating to art, fashion, politics, etc. These salons played a fundamental role in the cultural and intellectual development of France. Although salons provided a place for both women and men to congregate for intellectual discourse, women were the center of the life in the salon. These women carried a very important role as regulators. They selected their guests and decided the subjects of their meetings. Women also had the role as mediator by directing the discussion. The salon was an informal university for women in which they were able to exchange ideas, receive and give criticism, read their own works and hear the works and ideas of other intellectuals. These gatherings are responsible for the advancement of female expression and power in France.
The central characters, setting, and tone of the story help create the central idea of the psychological and internal desires of a woman. Through the view of the central characters it is established that the lawyer’s wife wants more than her average day and is searching for more to life than the daily routine of a house wife. Jean Varin is believed to be the desire she is looking for; however, she is not fulfilled or happy with the outcome of her choices. The setting and the tone reveal the psychological need for the wife to have an adventurous, lavish, and opulent lifestyle that she feels can only be achieved in Paris.
Coco Chanel, born Gabrielle Bonhuer Chanel, on August 19, 1883 in Saumur, France was an amazing woman who redefined fashion as we know it today. She was a clothing designer who revolutionized the fashion industry with her suits, little black dresses, and avant garde flare. Because of this quickly in her young life she became well know, and rose to be the fashion icon that she is today. From the timeless designs that are still popular to this day, and the sophisticated outfits that can be paired with great accessories Chanel has done it all. When it comes down to it though it was Coco Chanel’s philosophy that “luxury must be comfortable, otherwise it’s not luxury” that lead to her success. (“Coco Chanel”)
As the years distance us from the Nazi horror, and as survivors are slowly starting to lessen in number, we are faced, as a nation, with the challenge of how to educate the new generations of the Holocaust. Many young people have no knowledge of the events that took place in World War II. However, today, artifacts can greatly contribute to the understanding of the Holocaust, just as the movie La Rafle (The Round Up) did for me. The Round Up by Roselyn Bosch shows that the mass arrest of Jews did not only happening in Germany and it also emphasized the cruel dramatic irony of this historical moment.
In her play, Les drôlatiques, horrifiques et épouvantables aventures de Panurge, ami de Pantagruel d'après Rabelais, Antonine Maillet recreates beautifully the fantastic and incredible atmosphere present in the original works of Rabelais. She cuts and pastes together the most well known and exceptional selections of Rabelais' original text and creates a new story, adding along the way some finishing touches which give the play its Acadien content. One of the themes quite prevalent throughout in the original works is that of drinking and the insatiable pantagruelist thirst. Maillet preserves this distinctly rabelaisian caracteristic in her play and also uses the plot of the search for the Dive Bouteille, the Holy Bottle, the suject of Rabelais' Le Tiers Livre, Le Quart Livre, and especially Le Cinquième Livre.
Françoise Sagan, qui est le pseudonyme de Françoise Quoirez, est née en 1935 à Carjac, en France. Elle grandit au milieu d'une famille d'industriels aisés qui l'ont toujours gâtée parce qu'ils ont perdu un enfant avant sa naissance. Elle passe son enfance dans le Lot, à Lyon et dans le Dauphiné parce que son père y dirige une usine pendant la guerre. Pendant son adolescence, elle change souvent de cours privés et elle s'intéresse déjà énormément à la littérature. Apres qu'elle réussit son examen en 1951, elle s'inscrit à la Sorbonne. Elle est souvent considérée comme faisant partie de la Nouvelle Vague, un mouvement du cinéma français des années 1950, et elle a contribué à l'écriture de scénarios et de dialogues de films. Elle est connue pour sa 'petite musique' mélancolique au ton nonchalant dans ses œuvres qui, au thèmes romantiques, portent sur la bourgeoisie riche et désabusée, comme dans son premier, et plus célèbre, roman Bonjour tristesse.
Marie de France’s “Lanval” is a Breton lai dominated by themes common to 12th century literature, which through its exploration of love, erotic desire, wealth, gender and community, tells the story of a young knight who finds himself caught between two worlds: his lover’s and his own. Forced to separate these societies by a warning in which his lover states, “do not let any man know about this…you would lose me for good if this love were known” (Lines 145-148), Lanval must keep his love a secret and exist apart from the Arthurian world into which he was born. Consequently, romantic love between Lanval and his fairie queen exists conditionally, that is upon Lanval’s physical and emotional isolation. This restriction suggests that romantic love, as described in terms of erotic desire and physical/emotional devotion throughout “Lanval,” is unsuited for existence in the mundanity of Arthurian society. Therefore, Lanval’s solitude is necessary for his maintaining his relationship with the fairie queen, a fact that suggests the incompatibility of romantic love with Arthurian society, as Marie depicts it.
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
Breathless is in many ways the antithesis of the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.
A complex social criticism comedy plays role with the wealthy social class Paris. It has many great and remarkable elements. Start with the Cinematography, and editing. And some other elements didn’t make sense for me and that’s doesn’t mean it’s a bad. It just the director choice and vision. I’ll enumerate what i liked first then what i didn’t.
In a similar way, Maupassant again plays with imagery and contrast to establish strong class distinctions and attitudes towards each class by illustrating the physical realities of her current life of Madame Loisel versus the less tangible lifestyle she longs for. Madame Loisel always wanted to be a part of the upper class as she “fantasized about elegant dinners, about shiny silverware, about tapestries filling the wall” (Maupassant, 4). However, stricken by fate, Maupassant contrasts her grand desires with the harsh reality that “she had no wardrobe, no jewels nothing” emphasizing her lack of status (Maupassant, 4). Her admiration of the upper class’s fancy lifestyle is contrasted with her disgust of the deficiencies of the lower class;