When it appeared in 1960, the inspired fun of François Truffaut's Shoot the Piano Player shocked and delighted critics and audiences around the world. Peter Brunette's introduction to this book gives us new insight into the film, based in part on revisualizing it in terms of recent postmodern and poststructuralist thinking.

Inhalt

Introduction -
Shoot the Piano Player as a postmodernist text / Peter Brunette
Fräois Truffaut : A Biographical Sketch
Shoot the Piano Player -
Credits and cast
The continuity script
Notes on the continuity script

Interviews, Reviews, and Commentaries -
Interviews :
Interview with Fräois Truffaut / l ne Laroche Davis
I wanted to treat Shoot the Piano Player like a tale by Perrault : An interview with Fräois Truffaut / Yvonne Baby
Adapting Shooting the Piano Player / Fräois Truffaut
Should films be politically committed? / Fräois Truffaut
From an interview with Fräois Truffaut
Reviews :
Cin ma 60 / Alain Vargas
Cin ma 61 / Marcel Martin
The New Yorker / Edith Oliver
Variety / "Mosk"
Sight and Sound / Peter John Dyer
Film Culture / Pauline Kael
The Village Voice / Andrew Sarris
The New York Times / Bosley Crowther
Esquire / Dwight Macdonald
Commentaries :
Cinema of appearance / Gabriel Pearson and Eric Rhode
"Are women magic?" / Annette Insdorf
The existential play in Truffaut's early films / Allen Thiher
Truffaut, Godard, and the genre film as self-conscious art / Leo Braudy
The statement of genres / James Monaco
Tirez sur le Pianiste / C.G. Crisp
Tirez sur le Pianiste / Don Allen
The sensitive spot / Jean-Paul k
On Shoot the Piano Player / Graham Petrie
Through the looking glass / Roger Greenspun
The technique of Shoot the Piano Player / Karel Reisz and Gavin Miller