Abstract This paper analyses Claude Chabrol’s 1975 Une partie de plaisir, and aims to show that many of its features seem to implicitly belie the premises tacitly underlying the Nouvelle Vague movement, thereby ideally marking its end. It does so by particularly focusing on the peculiar circumstances behind the production of that film (starring Paul Gégauff, who also wrote the script, in a largely autobiographical role along with his real-life former wife), as well as on the elements that Chabrol borrowed from the films of his masters, Alfred Hitchcock and Fritz Lang. Ultimately, the author argues that Philippe, the hero of this film, overtly enacts the male chauvinism that covertly informs a significant part of the Nouvelle Vague, and overcomes it by destroying himself. His unsuccessful pursuit of the bourgeois patriarchal dream of a perfect balance between marriage and adultery can be regarded as matching the Nouvelle Vague’s short-lived utopia of reproducing Hollywood’s balance between the rule and its exception, namely between the law and its transgression (this is what ultimately the ‘politique des auteurs’ was about), by staying faithful to Hollywood’s classicism while recurring to fully modern cinematic means.

中文翻译：

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直到新浪潮结束：Claude Chabrol（和PaulGégauff）的乐趣

摘要本文分析了克劳德·查布罗尔（Claude Chabrol）的1975年《无党论》，目的是表明其许多特征似乎暗中相信了Nouvelle Vague运动的隐性前提，从而理想地标志了运动的结束。为此，他特别关注该电影的制作背后的特殊情况（保罗·盖高夫（PaulGégauff主演，他也写了剧本，与他的前妻一起在很大程度上是自传角色），以及查布罗尔从他的主人阿尔弗雷德·希区柯克和弗里茨·朗的电影中借来的 归根结底，作者认为这部电影的主人翁菲利普（Philippe）公开地表现出男性沙文主义，这种思想隐蔽地传达了Nouvelle Vague的重要部分，并通过摧毁自己来克服它。