What enigmatic relations of convergence and divergence are woven between literature and cinema? What secret devices aesthetically connect a film, its script-book and the editorial design of that book? These and other questions arise and unfold their singular charm in the pen of Paule Palacios-Dalens, an inquisitive Parisian designer equally passionate about book design, typography, literature and cinema. Her detailed tour begins with “Hiroshima Mon amour”, the famous film by Alain Resnais and scripted by Marguerite Duras. Only for equally passionate and curious readers, here is the translation of a revealing essay by Paule, originally published as “Hiroshima dans la Blanche. Marguerite Duras’s introduction to cinema” by the independent label 202 éditions, then in the French online cinema magazine Débordements. A gourmet delight for lovers of cinema, literature and design.  Read

Printed or filmed, Jean-Luc Godard’s graphic production surprises by its frequency and formal audacity. Whether inserts or credits, trailers or commercials, press kits or special issues, all of his work bears his trademark, even if his signature does not always formally attest to it. A particular facet of his graphic work here concerns his use of typefaces.  Read