@article {18791,
	title = {Antoine Doinel\&rsquo;s Spleen: Truffaut Misreads Baudelaire},
	year = {2015},
	type = {Working Paper},
	abstract = {<p>This essay examines the intertextual dialogue between Fran{\c c}ois Truffaut{\textquoteright}s cycle of autobiographical films, known as the Doinel cycle, and Charles Baudelaire{\textquoteright}s collection of poems The Flowers of Evil (Les Fleurs du mal), and collection of prose poems The Spleen of Paris (Le Spleen de Paris: Petits po{\`e}mes en prose). The focal point is the fourth Doinel film, Bed and Board (Domicile Conjugal, 1970), and the poem {\textquotedblleft}Spleen IV{\textquotedblright} in The Flowers of Evil. By applying Aner Preminger{\textquoteright}s (Preminger: 2006) cinematic adaptation of Harold Bloom{\textquoteright}s {\textquotedblleft}anxiety of influence{\textquotedblright} theory (Bloom: 1973) and {\textquotedblleft}misreading{\textquotedblright} concept (Bloom: 1975), I argue that the explicit and implicit references to Baudelaire are not a homage, i.e. a mere expression of admiration, but a complex and multilayered misreading, which encompasses the dual movement of admiration, as well as rebellion, towards the forefather. The wrestle with Baudelaire is a significant milestone in Truffaut{\textquoteright}s journey towards finding his own voice on the one hand, and towards establishing his position as an important (re)former of modernist cinema on the other. Furthermore, along with a considerable contribution to thematic interpretation of Truffaut{\textquoteright}s film(s), the misreading of Baudelaire is distinctly important as it reveals that Truffaut{\textquoteright}s cinema is rooted in poetry, as, and perhaps even more than, it is rooted in prose fiction. On a larger scale, this suggests that the cinematic medium corresponds to the hybrid genre of prose poetry</p>},
	author = {Achinoam Ester Berger, Department of General and Comparative Literature}
}
