Auswahl der wissenschaftlichen Literatur zum Thema „French Academy award For novel“

Dhanapal, Saroja. „An existentialist reading of K.S. Maniam’s ‘The Return’“. Journal of English Language and Literature 2, Nr. 1 (30.08.2014): 100–108. http://dx.doi.org/10.17722/jell.v2i1.26.

Tapiero, Haim. „The 2004 French Medical Academy Award to Professor Georges Mathé“. Biomedicine & Pharmacotherapy 59, Nr. 3 (April 2005): 63. http://dx.doi.org/10.1016/j.biopha.2005.02.001.

Miller, Andie. „TSOTSI: FROM ABANDONED NOVEL TO ACADEMY AWARD WINNER: AN INTERVIEW WITH STEPHEN GRAY“. English Studies in Africa 51, Nr. 1 (Januar 2008): 154–58. http://dx.doi.org/10.1080/00138390809485270.

Gladysz, John A. „Award-Winning Organometallic Chemistry: The 2012 “Prix de l’Etat” and “Médaille Berthelot” of the French Academy of Sciences“. Organometallics 32, Nr. 9 (13.05.2013): 2463. http://dx.doi.org/10.1021/om4003895.

Miyondri, Popi. „ANALISIS TERJEMAHAN BAHASA PERANCIS PADA NOVEL PERBURUAN KARYA PRAMOEDYA ANANTA TOER“. Jurnal Pendidikan Bahasa dan Sastra 17, Nr. 1 (08.06.2017): 58. http://dx.doi.org/10.17509/bs_jpbsp.v17i1.6958.

Bricage, Pierre. „International Academy for Systems and Cybernetic Sciences (IASCYS): The first awards of the International Prize“. Acta Europeana Systemica 8 (11.07.2020): 391–94. http://dx.doi.org/10.14428/aes.v8i1.56583.

McKay, Belinda. „Transformative Moments: An Interview with Janette Turner Hospital“. Queensland Review 11, Nr. 2 (Dezember 2004): 1–10. http://dx.doi.org/10.1017/s1321816600003676.

Oktapoda, Efstratia. „Entretien avec Ezza Agha Malak“. ALTERNATIVE FRANCOPHONE 2, Nr. 2 (24.04.2018): 93–105. http://dx.doi.org/10.29173/af29346.

Astell, Ann W. „Artful Dogma: The Immaculate Conception and Franz Werfel's Song of Bernadette“. Christianity & Literature 62, Nr. 1 (Dezember 2012): 5–28. http://dx.doi.org/10.1177/014833311206200102.

Stack, Brian, und Peter Boag. „GEORGE CHAUNCEY'SGAY NEW YORK:A VIEW FROM 25 YEARS LATER“. Journal of the Gilded Age and Progressive Era 18, Nr. 1 (07.12.2018): 120–32. http://dx.doi.org/10.1017/s1537781418000622.

Friedbergerová, Adéla. „Komentovaný překlad románu Le dernier des nôtres“. Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-446165.

Gaiman, Neil. L'Etrange Vie de Nobody Owens (French Edition). Albin Michel Jeunesse, 2009.

Reference, ICON. Adventures of Tom Sawyer (Webster's French Thesaurus Edition). ICON Reference, 2006.

Block, Marcelline, und Jennifer Kirby, Hrsg. ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.001.0001.

Ercolani, Eugenio, und Marcus Stiglegger. Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.001.0001.

Schneider, Robert A. Dignified Retreat. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826323.001.0001.

Dickson, Peter, und Jose Harris. „Alan Louis Charles Bullock 1914–2004“. In Proceedings of the British Academy, Volume 153 Biographical Memoirs of Fellows, VII. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264348.003.0006.

Pryce, Huw. „Robert Rees Davies 1938–2005“. In Proceedings of the British Academy, Volume 161, Biographical Memoirs of Fellows, VIII. British Academy, 2009. http://dx.doi.org/10.5871/bacad/9780197264577.003.0007.

Ellenberger, Allan R. „“A Little Off-Center”“. In Miriam Hopkins. University Press of Kentucky, 2018. http://dx.doi.org/10.5810/kentucky/9780813174310.003.0018.

Dicaprio, Lisa. „From Women and Work to Climate Change Activism“. In Reshaping Women's History, 56–70. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042003.003.0005.

McCrea, Christian. „The Weirding Way: The Makers of Dune“. In Dune, 33–62. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325826.003.0003.

Block, Marcelline, und Jennifer Kirby. „Michel Gondry as Transcultural Auteur“. In ReFocus: The Films of Michel Gondry, 1–14. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.003.0001.

„French writer Jean-Claude Carrière’s creative life has encompassed novels, plays, cartoons, poems, and short films. But it is his screenplays that have most assuredly cemented his position as one of the century’s great writers. Receiving his start in cinema in the mid-1950s by writing book adaptations of director Jacques Tati’s Mr. Hulot’s Holiday (1953) and Mon Oncle (1958), Carrière eventually teamed up with comic filmmaker Pierre Étaix on two short films, including the Oscar-winning Happy Anniversary (1962). From there, he began a long and fruitful collaboration with director Luis Buñuel, a 13-year partnership that resulted in six films: Diary of a Chambermaid (1964), Belle de Jour (1967), The Milky Way (1969), The Discreet Charm of the Bourgeoisie (1972), The Phantom of Liberty (1974), and That Obscure Object of Desire (1977). He has proved equally confident with original screenplays and adapted works, and he has received three Academy Award nominations for his scripts. Highlights of his filmography include The Tin Drum (1979), which won the Best Foreign Language Film Oscar, The Return of Martin Guerre (1982), which earned him and co-writer Daniel Vigne a César for Best Original Screenplay, his adaptation of The Unbearable Lightness of Being (1988), and his acclaimed Cyrano de Bergerac (1990) with Gérard Depardieu. A recipient of the Laurel Award for Achievement from the Writers Guild Of America, Carrière remains a prolific writer, contributing to the screenplays of both Birth (2004) and The White Ribbon (2009), which won the Palme d’Or at the Cannes Film Festival. “I’m writing every day,” he says at age 80. “When I’m not working on a script or on a play or on a book, I’m writing notes in the subway or in taxis. I’m working constantly.”“. In FilmCraft: Screenwriting, 61–62. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-18.

„A writer celebrated equally for his work on the stage and the screen, Christopher Hampton was born in the Archipalego of the Azores, living as a child for a time in Egypt and Zanzibar because of his father’s job with the communications company Cable & Wireless. Studying French and German at university in England, Hampton knew from a young age that he wanted to be a writer, but after an unsuccessful stab at a novel, he turned his attention to playwriting. He wrote the play When Did You Last See My Mother? when he was only 18—it was produced at The Royal Court Theater two years later, to much acclaim. From there, Hampton enjoyed a flourishing theatrical career with works such as Total Eclipse and The Philanthropist. His success as a screenwriter began with Carrington (1995), which he wrote in the mid-1970s after being moved by Michael Holroyd’s extensive biography of writer Lytton Strachey. Carrington took 20 years to reach cinemas, but Hampton had a much quicker turnaround with his screenplay for Dangerous Liaisons (1988), which was based on his hit play and adapted from the 18th-century novel by Pierre Choderlos de Laclos. Written in three weeks in the late fall of 1987, the film landed in theaters a little over a year later, winning Hampton an Oscar for Best Adapted Screenplay. Hampton’s career has encompassed translations of the plays God of Carnage and Hedda Gabler, and he has also co-written the book and lyrics for the 1990s musical based on Billy Wilder’s Sunset Boulevard (1950). Hampton adapted his own play for the film Total Eclipse (1995) and received a second Academy Award nomination for his screenplay for Atonement (2007). In 2011, he turned his play The Talking Cure into the script for director David Cronenberg’s A Dangerous Method. Other notable screenplay adaptations include Mary Reilly (1996), The Quiet American (2002), and Chéri (2009). Hampton has also directed three of his scripts: Carrington, The Secret Agent (1996), and Imagining Argentina (2003).“ In FilmCraft: Screenwriting, 97–101. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-31.

„Born in Iran and currently residing in London, Hossein Amini initially thought that he wanted to be a writer-director after helming a few shorts while at Oxford. But once he started making a living as a writer on other people’s projects, he discovered that he enjoyed focusing on screenwriting. His career began with television movies, The Dying of the Light (1992) and Deep Secrets (1996), but even then Amini knew that his interest was in features. A chance encounter with director Michael Winterbottom at the BAFTA awards in the mid-1990s led to their collaboration on the feature Jude (1996), an adaptation of Thomas Hardy’s novel Jude the Obscure that starred Christopher Eccleston and Kate Winslet. Amini’s next adaptation was The Wings of the Dove (1997), based on Henry James’ novel—the film went on to receive four Academy Award nominations, including Best Adapted Screenplay. Soon after, Amini signed an exclusive overall deal with Miramax Films, working on the independent company’s diverse projects like Gangs of New York (2002) (for which he didn’t receive a credit) and The Four Feathers (2002). After his Miramax deal ended, he was approached by Universal Pictures to work on an adaptation of a book by crime author James Sallis about an enigmatic getaway driver. The project, Drive (2011), was eventually independently financed and directed by Nicolas Winding Refn, receiving rave reviews in competition at Cannes. Though Amini has primarily written for indie and art-house films, he has recently been involved with some major studio projects, including Snow White and the Huntsman (2012) and 47 Ronin (2013). Currently, he’s directing The Two Faces of January, his adaptation of the Patricia Highsmith novel, which stars Viggo Mortensen and Kirsten Dunst.“ In FilmCraft: Screenwriting, 13–14. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-2.

„Heralded as a playwright, screenwriter, and director, Sir David Hare has enjoyed a professional career that has stretched across more than 40 years. His time in the theater has been marked by several triumphs, including Plenty, The Blue Room, and Stuff Happens, and in 2011 he was awarded the PEN Pinter Prize for his thought-provoking and politically engaging oeuvre. Hare’s transition to film began in earnest in the 1980s when he wrote and directed Wetherby (1985), which won the Golden Bear at the Berlin Film Festival, Paris by Night (1988), and Strapless (1989). But a growing dissatisfaction with his films inspired him to refocus on theater, where he wrote his celebrated trilogy of plays about British life—Racing Demon, Murmuring Judges, and The Absence of War—in the early 1990s. Thankfully, Hare returned to screenplays with his terrific script for Louis Malle’s Damage (1992), a portrait of obsessive, doomed love based on Josephine Hart’s novel. More recently, he has received Academy Award nominations for his adapted screenplays for The Hours (2002) and The Reader (2008), which won, respectively, Nicole Kidman and Kate Winslet the Oscar for Best Actress. He also worked to adapt author Jonathan Franzen’s 2001 novel, The Corrections, into a feature film. His plays Plenty and The Secret Rapture have been adapted into films, and in 2011 he wrote and directed the conspiracy thriller Page Eight, which starred Bill Nighy, Rachel Weisz, and Michael Gambon.“ In FilmCraft: Screenwriting, 107–8. Routledge, 2013. http://dx.doi.org/10.4324/9780240824857-34.