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Jean-Christophe Averty

Jean-Christophe Averty

Directing

Biography

Jean-Christophe Averty (6 August 1928 – 4 March 2017[1]) was a French television and radio director, and Satrap of the College of 'Pataphysique. Many of his television productions from the 1960s were early examples of French video art. His studies were used in the following decades by the research groups of the French National Audiovisual Institute (INA). Averty was born in Paris. A graduate of the IDHEC film school, he started in television in 1952 at the then French Television Office. He directed over five hundred programs for television and radio, across all disciplines: fiction, documentary, drama, variety, and jazz. His many awards include an Emmy award in the United States. Averty was appointed Satrap of the College of 'Pataphysique in 1990, due to his fascination for Alfred Jarry and Pataphysique. Averty made his reputation on his strong character, his taste for provocation and his sense for innovative television. His 1963 series The Green Grapes was infamous for a recurring sequence of a baby being put through a grater. A keen connoisseur of jazz, Averty filmed the Jazz à Juan festival for many years. The pianist Martial Solal paid him a tribute in one of his compositions: Averty, c'est moi (Averty that's me). Over 28 years, he hosted 1,805 episodes of his radio show Les Cinglés du music-hall, based on his own collection of jazz and variety 78s that he had bought in flea markets around the world. The show was cancelled in 2006 under Jean-Paul Cluzel's chairmanship of Radio France. The French section of the shows was based on notebooks entrusted to him by André Cauzard, filled with daily details of pre-war jazz music events. Averty directed television shows where he applied his singular style to showcase the greatest francophone singers such as Françoise Hardy, Yves Montand, Johnny Hallyday, Sylvie Vartan, Juliette Greco, Georges Brassens, Dalida, France Gall, Serge Gainsbourg, Gilbert Bécaud, Guy Marchand, Léo Ferré, Tino Rossi, and Jean Sablon, and as well as foreign musicians such as Patty Pravo. In 1969 Averty directed the TV movie Le Songe d'une nuit d'été, starring Claude Jade, Christine Delaroche and Jean-Claude Drouot, and filmed entirely in bluescreen. His television creations are landmarks in their use of video as a mode of artistic expression. Averty made great use of characters filmed against a blue screen, overlaid on a drawn background. Examples are Sapeur Camembert, based on the eponymous work of Georges Colomb, and a production of Edmond Rostand's classic play Chantecler. Averty was one of the last salaried directors of the French Production Company. In 2012, he entrusted the management, conservation and safeguarding of the rights of all of his television and radio works to the French National Audiovisual Institute (INA); nearly a thousand television programs on jazz, sports, fashion, variety and the theater. Source: Article "Jean-Christophe Averty" from Wikipedia in English, licensed under CC-BY-SA 3.0.

Known For

La TV des 70's : Quand Giscard était président
7.2

In May 1974, Valéry Giscard d'Estaing became President of the Republic and wanted to bring about a new era of modernity. One of his first decisions was to break up the ORTF with the creation of three new television channels: TF1, Antenne 2 and FR3. Three new public channels but autonomous and competing. It is a race for the audience which is engaged then, and from now on the channels will make the war! This competition will give birth to a real golden age for television programs, with variety shows in the forefront. The stars of the song are going to invade the living rooms of the French for their biggest pleasure. This unedited documentary tells the story of the metamorphosis of this television of the early 1970s, between freedom of tone, scandals, political intrigues and programs that have become mythical.

La TV des 70's : Quand Giscard était président

2022Movie
Melody
7.0

Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.

Melody

1971Movie
The Melbourne Rendezvous
5.7

Rendez-Vous a Melbourne is the official filmed record of the 1956 Olympic Games in Australia. At the time of its release, there was much controversy in the documentary-filmmaking world over the fact that the Aussies signed over exclusive distribution rights to a French firm, resulting in a boycott from other movie companies. None of this matters when the film is seen today: though not in the same league as Leni Reifenstahl's Olympiad, this 110-minute extravaganza is consistently entertaining. Fifteen cameras were utilized to lens every aspect of the event; it was then up to editors Jean Dudrumet and Monique Lacombe to burrow through miles and miles of film to cull the highlights seen herein. Portions of Rendez-Vous a Melbourne have since resurfaced in practically every Olympics documentary -- not to mention the many TV specials attending the now-biannual event.

The Melbourne Rendezvous

1957Movie