DOCSLIB.ORG

Les Vampires.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Les Vampires.Pdf Les Vampires >> 0 >> 1 >> 2 >> 3 >> 4 >> Nel 1915, in Francis, si scatena Les Vampires la passione per i «Vampiri», ma la minaccia dei non morti stavolta non c’entra. Si tratta invece di una setta di audaci criminali che terrorizzano l’alta società parigina, facendosi beffe della polizia, in una serie di pellicole di grande successo. >> 0 >> 1 >> 2 >> 3 >> 4 >> Serie Per sfruttare la crescente popolarità dei serial americani, in particolare I Misteri di New York - le disavventure di una detective in gonnella interpretata da Pearl White – peraltro prodotto dalla Pathé, anche la Gaumont avvia la produzione di «film a episodi». >> 0 >> 1 >> 2 >> 3 >> 4 >> Serie Sotto la direzione di Louis Feuillade vengono girate serie di grande successo dedicate ad avventurosi personaggi mascherati: prima Fantômas (cinque episodi, 1913-14) e poi, fra il 1915 e il 1916, i dieci episodi di Les Vampires. >> 0 >> 1 >> 2 >> 3 >> 4 >> Les Vampires La serie inizia nel 1915, in piena guerra: i problemi finanziari impongono di risparmiare sulle scenografie, per cui molte scene sono girate in esterno e gli interni sono sempre gli stessi. Inoltre la partenza di molti attori per la guerra determina improvvise scomparse di interpreti e qualche incoerenza di racconto. >> 0 >> 1 >> 2 >> 3 >> 4 >> Les Vampires La serie, naturalmente, tenta d’intercettare il gusto per i paesaggi sinistri e le atmosfere cupe, riuscendo però a conservare il carattere di documento sociale che è tipico di Feuillade, anche unendo alla grande efficacia sul piano drammatico una certa vena umoristica. >> 0 >> 1 >> 2 >> 3 >> 4 >> Les Vampires Gli eroi positivi che combattono i «Vampiri» sono il giornalista- detective Philippe Guérande (Edouard Mathé) e il “pentito” Oscar Mazamette (Marcel Levesque), che nel corso degli episodi finiscono per diventare come il duo Holmes/Watson. >> 0 >> 1 >> 2 >> 3 >> 4 >> 1. La testa mozzata (30: 59) Una pericolosa gang è in agguato nei quartieri alti di Parigi: i Vampiri!. Il corpo dell’ispettore Dural è stato ritrovato senza testa e, dopo una notte d’agguato nel lugubre castello del Dott. Nox, pieno di passaggi segreti e di quadri scorrevoli, il capo della banda, il Grande Vampiro (Jean Aymé), smascherato, riesce a fuggire. >> 0 >> 1 >> 2 >> 3 >> 4 >> 2. L’anello che uccide (13: 08) Marta Koutiloff, una ballerina di danza moderna, si esibisce in teatro nei panni di un vampiro gigante, ma muore a causa di un veleno inserito in un anello. La trama si complica. >> 0 >> 1 >> 2 >> 3 >> 4 >> 3. Il cifrario rosso (39: 06) Grazie a un cifrario rosso trafugato ai Vampiri, Guérande riesce a decifrare i loro messaggi, ma costoro introducono in casa sua Irma Vep, una loro adepta travestita da domestica e rapiscono la madre del giornalista. I Vampiri vengono infine acciuffati, ma riescono ancora una volta a scappare. >> 0 >> 1 >> 2 >> 3 >> 4 >> 4. Lo spettro (29: 54) Il Señor Moreno (Fernand Herrman), capo di una gang rivale, mira al bottino dei Vampiri e ordisce un complotto contro alcuni facoltosi americani, ma il sofisticato lavoro investigativo dei due eroi consente di metterlo in prigione. >> 0 >> 1 >> 2 >> 3 >> 4 >> 5. La fuga dell’uomo morto (35: 25) Moreno finge il suicidio e riesce ad evadere, ma Mazamette resta sulle sue tracce, mentre Guerande è a sua volta catturato dai Vampiri e rinchiuso in un baule. Intanto il Grande Vampiro organizza un ballo per rubare i gioielli degli invitati, ma il suo piano è sventato da Moreno. >> 0 >> 1 >> 2 >> 3 >> 4 >> 6. Occhi ipnotici (53: 28) Mentre Guerande e Mazamette incalzano i Vampiri nella Foresta di Fontainbleau, alla ricerca del bottino sepolto, Irma Vep uccide il Grande Vampiro sotto la suggestione ipnotica di Moreno, che prende le redini della banda e s’innamora della maliarda. Intanto il denaro rubato viene ritrovato da Mazamette. >> 0 >> 1 >> 2 >> 3 >> 4 >> 7. Satanas (42:01) Emerge dall’ombra un nuovo Grande Vampiro, Satanas (Louis Leubas), che elimina Moreno bombardando con un cannone elettrico il ristorante in cui il rivale sta mangiando. Prova quindi a depredare un ennesimo milionario americano, ma l’intuito di Mazamette rovina il piano dei malfattori, che vengono catturati. >> 0 >> 1 >> 2 >> 3 >> 4 >> 8. Il signore del fulmine (49:43) Irma Vep è condannata all’ergastolo, ma Satanas, innamorato della donna, fa esplodere la nave che la trasporta, facendola credere morta, però non riesce ad evitare la cattura. Un farmacista psicotico di nome Venomous (Frederik Moriss) gli spedisce una lettera con inchiostro avvelenato che ne provoca la morte. I buoni sembrano aver trionfato… >> 0 >> 1 >> 2 >> 3 >> 4 >> 9. L’avvelenatore (48: 16) Venomous tenta invano di avvelenare Guérande durante la festa di fidanzamento di questi con Jeanne Bremontier (Louise Lagrange). Irma Vep protegge la fuga spruzzando la vettura di Guerande con una sostanza paralizzante. Mazamette sventa la minaccia e inizia una straordinaria sequenza di inseguimento alla fine della quale i banditi si dileguano. >> 0 >> 1 >> 2 >> 3 >> 4 >> 10. Nozze di sangue (57: 04) Dopo qualche mese, i Vampiri rapiscono con uno stratagemma, la moglie di Guérande. L’irruzione nel quartier generale dei criminali, con uno stuolo di poliziotti, interrompe il festino delle nozze fra Venomous e Irma Vep. I banditi vengono tutti arrestati o uccisi. >> 0 >> 1 >> 2 >> 3 >> 4 >> Il Grande Vampiro Alla guida della banda, con l’appellativo di “Grande Vampiro”, si avvicendano personaggi dai nomi evocativi (il Satanus di Louis Leubas e il Venoumos di Frederik Moriss che seguono l’originale Jean Aymé), ma la loro compagna e ispiratrice, dal terzo episodio in poi, resta sempre la stessa irresistibile maliarda. >> 0 >> 1 >> 2 >> 3 >> 4 >> Irma Vep Travestita da uomo o nei panni di una ragazza qualunque, una stenografa o una zitella, Irma Vep (anagramma fin troppo facile) dovrebbe avere un ruolo subalterno al «Grande Vampiro», ma nel corso della vicenda l’audace donna sopravvive ai suoi compagni e arriva a dominare la scena. >> 0 >> 1 >> 2 >> 3 >> 4 >> Musidora Il ruolo è interpretato da Musidora, al secolo Jeanne Roques (1889-1957), già studentessa di belle arti e soubrette alle Folie-Bergères: una giovane, bella, colta e spregiudicata, che con questo personaggio guadagna un’immensa popolarità e diventa un’icona della modernità. >> 0 >> 1 >> 2 >> 3 >> 4 >> Musidora Nella successiva serie di Feuillade, Judex (undici episodi di mezz’ora, realizzati nel 1917), Musidora sarà Diana Monti, una nuova antieroina pericolosa e spregiudicata. Fingendosi una irreprensibile istitutrice, l’avventuriera assume abilmente diverse identità per raggiungere i suoi loschi interessi, e inevitabilmente torna a personificare il male da sconfiggere. >> 0 >> 1 >> 2 >> 3 >> 4 >> Musidora Successivamente Musidora passa alla regia, salvo rientrare nei panni di Irma Vep nel 1917 per il suo atto unico Le maillot noir. Con l’avvento del sonoro, abbandona lo schermo per darsi alla scrittura. Dal 1946 lavora alla Cinémathèque Française, impegnandosi nel recupero delle opere di Feuillade, cui dedica la sua ultima pellicola, il cortometraggio La magique image (1951). >> 0 >> 1 >> 2 >> 3 >> 4 >> Musidora I motivi che fanno di Musidora un’icona dei tempi nuovi non derivano solo dal temperamento artistico o dalla vicinanza agli ambienti intellettuali del periodo, ma anche dalla disinvoltura con cui, attraverso il suo singolare personaggio, riesce a catalizzare gli umori di un’epoca intera. >> 0 >> 1 >> 2 >> 3 >> 4 >> Il personaggio della Vep si carica infatti di numerose ambiguità collegate alle inquietudini che attraversano l’Europa scossa dalla guerra e al rapido mutamento di valori da queste provocato. Costruito probabilmente per stigmatizzare l’emancipazione femminile, mescolando alla spregiudicatezza il crimine e all’indipendenza il vizio, finisce per rendere certi comportamenti più intriganti che odiosi. >> 0 >> 1 >> 2 >> 3 >> 4 >> La mise preferita di Irma è infatti la leggendaria calzamaglia di seta nera con cappuccio che, pur coprendola fino all’attaccatura dei capelli, ne sottolinea le prosperose forme. La provocante morbosità del corpo sinuoso e i grandi occhi bistrati, in barba alle preoccupazioni delle autorità, tese a salvaguardare il buon costume e a non «esaltare» la criminalità - diventano subito estremamente popolari eccitando la sensibilità e alimentando nell’immaginario collettivo il prototipo della femme fatale, della fuorilegge sensuale e misteriosa. >> 0 >> 1 >> 2 >> 3 >> 4 >> «Nel mondo sbalorditivo de “I Vampiri” portai una nota di lusso discreto. La maglia nera era stata indossata prima di meda Josette Andriot, in “Prozéa” di Jasset, ma si trattava di semplice cotone, mentre il mio costume in seta costituiva una vera rivoluzione per la gioventù del 1916. Avevo creato “la vampira”». Musidora >> 0 >> 1 >> 2 >> 3 >> 4 >> La donna libera Irma Vep è nello stesso tempo temuta e desiderata, sia dai suoi seguaci che dai suoi cacciatori, e incarna forse, almeno sugli schermi europei, il primo esempio convincente di donna «liberata». >> 0 >> 1 >> 2 >> 3 >> 4 >> La donna libera Musidora fa parte dell’entourage della scrittrice Colette, reduce da un’attività teatrale con cui ha conquistato il pubblico grazie a una esibita femminilità, ma anche giocando con la pratica del travestimento per contestare il sessismo dei ruoli e sovvertire l’ordine patriarcale. >> 0 >> 1 >> 2 >> 3 >> 4 >> La donna libera Molti personaggi femminili sono sorprendentemente moderni ma hanno una funzione rassicurante. La loro manifesta devianza è senza storia: esiste solo nel presente e descrive la “nuova donna” come una figura «senza fissa dimora» nell’ordine sociale. L’eliminazione (cinematografica) di queste figure è la soluzione che restaura l’ordine dei “generi” e puntella i confini disciplinari dell’intera società. Infatti Irma Vep viene freddata da Jeanne, l’«innocente» moglie di Guérande. >> 0 >> 1 >> 2 >> 3 >> 4 >> La donna libera La “donna nuova” è nubile, colta, istruita, impegnata contro il capitalismo industriale e le limitazioni imposte al suo sesso, tesa a legittimare uno spazio sociale a cavallo tra mondo femminile tradizionale e mondo maschile, tra esercizio di una professione e rifiuto del matrimonio.
Load more

Recommended publications
  • The Tenth Muse: Cinema a Décima Musa
    Nunt. Antiquus, Belo Horizonte, v. 15, n. 1, p. 155-184, 2019 The Tenth Muse: Cinema A décima Musa: Cinema Martin M. Winkler George Mason University, Fairfax, Virginia / United States [email protected] Abstract: In Classical Antiquity, the nine Muses were the patron goddesses of all arts and sciences and the inspiration for creative minds, especially poets. With the march of technology until today, their realm has significantly expanded. Jean Cocteau, among others, added a tenth Muse to the original nine: that of the cinema. This article surveys various films in which one or more of the Muses play major parts; it also pays homage to the actresses who portray them and to others who may be regarded as their screen relatives. Keywords: classical mythology; films about antiquity; Hesiod; Homer; Muses in film; Polyhymnia; Terpsichore. Resumo: Na Antiguidade Clássica, as nove Musas eram as deusas patronas de todas as artes e ciências e a inspiração para as mentes criativas, especialmente a dos poetas. Com o desenvolvimento da tecnologia até hoje, seu reino se expandiu significativamente. Jean Cocteau, entre outros, adicionou uma décima Musa às nove originais: o cinema. Este artigo inspeciona vários filmes nos quais uma ou mais das Musas têm um papel representativo; e também homenageia as atrizes que as interpretam e as que podem ser vistas como suas parentes na tela. Palavras-chave: mitologia clássica; filmes sobre a antiguidade; Hesíodo; Homero; Musas no cinema; Polímnia; Terpsícore. Mênin aeide, thea and Andra moi ennepe, Mousa, polytropon: these words open our oldest works of literature, Homer’s Iliad and Odyssey.
    [Show full text]
  • Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
    The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures.
    [Show full text]
  • LES Vampires 100Years PARTICIANT
    FOR IMMEDIATE RELEASE, October 28, 2015 Contact: [email protected], 646 492 4076 Michelle Handelman The Spectre of Musidora: Reading of New Translations Tuesday, November 3, 7pm Admission free Featuring Marti Domination (CREMASTER 1), Cy Gavin, Michelle Handelman, (IRMA VEP, THE LAST BREATH), Katherine Hubbard, Nicola Tyson, Jack Doroshow AKA Flawless Sabrina (THE QUEEN), Everett Quinton (THE MYSTERY OF IRMA VEP), and Jack Waters (JASON AND SHIRLEY). A reading to place the work of Musidora within a queer feminist history, combining Handelman’s research at the Cinematheque Francaise with texts from Kathy Acker, William Burroughs, Flawless Sabrina, and the lost love letters between Musidora and the writer Colette, translated into English for the first time for this evening. Also featuring an excerpt of Everett Quinton and Charles Ludlam's The Mystery of Irma Vep. Workshopped in collaboration with the Henry Art Gallery & University of Washington graduate students Annie Fee, Tracy Gregory, Coley Mixan, and John Boucher. With a limited edition print by PARTICIPANT PRESS. Irma Vep, the first femme fatale or “vamp” of cinema history which set the tone for dozens of archetypal successors such as Catwoman and La Femme Nikita, turns 100 this year. The character first emerged in Les Vampires, a seven-hour serial film – one of the longest ever made – in 1915 by director Louis Feuillade. In honor of the 100th anniversary of the legendary film, Michelle Handelman, filmmaker, artist and professor in the Fashion Institute of Technology’s new Film, Media and Performing Arts department, will present the first series of programming in New York to examine the cultural impact of Les Vampires and illuminate the vast body of work of Musidora, the prolific silent film icon that starred as Irma Vep.
    [Show full text]
  • Women in Silent Cinema
    ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate FRAMING FILM EYE FILMMUSEUM WOMEN IN THE SILENT CINEMA FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate AMSTERDAM UNIVERSITY PRESS Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Top: Nell Shipman in baree, son of kazan (fragment, see page 329) Middle: Musidora, publicity portrait (fragment, see page 136) Bottom: Adriënne Solser in an unidentified film (fragment, see page 98) Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press.
    [Show full text]
  • Belphégor, 11-1 | 2013 Transnational Fantômas: the Influence of Feuillade’S Series on International
    Belphégor Littérature populaire et culture médiatique 11-1 | 2013 Fantômas dans le siècle Transnational Fantômas: The Influence of Feuillade’s Series on International Cinema during the 1910s Federico Pagello Electronic version URL: http://journals.openedition.org/belphegor/125 DOI: 10.4000/belphegor.125 ISSN: 1499-7185 Publisher LPCM Electronic reference Federico Pagello, « Transnational Fantômas: The Influence of Feuillade’s Series on International Cinema during the 1910s », Belphégor [Online], 11-1 | 2013, Online since 28 April 2013, connection on 23 June 2020. URL : http://journals.openedition.org/belphegor/125 ; DOI : https://doi.org/10.4000/ belphegor.125 This text was automatically generated on 23 June 2020. Belphégor est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Transnational Fantômas: The Influence of Feuillade’s Series on International ... 1 Transnational Fantômas: The Influence of Feuillade’s Series on International Cinema during the 1910s Federico Pagello 1 The influence of Fantômas novels and films on global popular culture is widely acknowledged. From the 1915 Spanish musical Cine-fantomas to the 1960s Italian comic book series Diabolik, Kriminal and Satanik, from Turkish B-movies such as Fantoma Istanbulda Bulusalim (dir. Natuk Baytan, 1967) to Julio Cortazar’s anti-imperialist pamphlet Fantômas contra los vampiros multinacionales (1975), Pierre Souvestre and Marcel Allain’s original literary series have engendered uncountable translations, adaptations, imitations and plagiarisms that have spread the character’s fame worldwide since its first appearance in 1911. This process continues to the present day, an example being the publication of an Italian graphic novel titled Fantomax by Luigi Bernardi and Onofrio Catacchio (Bologna: Coconino Press, 2011).
    [Show full text]
  • GAUMONT PRESENTS: a CENTURY of FRENCH CINEMA, on View Through April 14, Includes Fifty Programs of Films Made from 1900 to the Present
    The Museum of Modern Art For Immediate Release January 1994 GAUNONT PRESENTS: A CENTURY OF FRENCH CINEMA January 28 - April 14, 1994 A retrospective tracing the history of French cinema through films produced by Gaumont, the world's oldest movie studio, opens at The Museum of Modern Art on January 28, 1994. GAUMONT PRESENTS: A CENTURY OF FRENCH CINEMA, on view through April 14, includes fifty programs of films made from 1900 to the present. All of the films are recently restored, and new 35mm prints were struck especially for the exhibition. Virtually all of the sound films feature new English subtitles as well. A selection of Gaumont newsreels [actualites) accompany the films made prior to 1942. The exhibition opens with the American premiere of Bertrand Blier's Un deux trois soleil (1993), starring Marcello Mastroianni and Anouk Grinberg, on Friday, January 28, at 7:30 p.m. A major discovery of the series is the work of Alice Guy-Blache, the film industry's first woman producer and director. She began making films as early as 1896, and in 1906 experimented with sound, using popular singers of the day. Her film Sur la Barricade (1906), about the Paris Commune, is featured in the series. Other important directors whose works are included in the exhibition are among Gaumont's earliest filmmakers: the pioneer animator and master of trick photography Emile Cohl; the surreal comic director Jean Durand; the inventive Louis Feuillade, who went on to make such classic serials as Les Vampires (1915) and Judex (1917), both of which are shown in their entirety; and Leonce Perret, an outstanding early realistic narrative filmmaker.
    [Show full text]
  • Cinémagazine 1922 N°21, 26/05/1922
    COLLECTION "LES GRANDS ROMANS-CINÉMA" Volumes paras t HLMS FRKA BARRABAS H LE TOURBILLON par GUY DI TËRAMOND par MAURICE LEVEL annoncent les présentations prochaines de •l Louis FEUILLADE Un fort volurm .... Pris : 3 fr. • U Nhm 2 fr 7S comédie dramatique avec PAULINE LES DEUX^GAMINES Tentations, FRTDIRTCK' L'ESSOR par PAUL CARTOUX Le Trentième Anniversaire, t"™l d'après le film de Louis FEUILLADE RUBYE DE REMER. i, JIAN PET1THUGUENIN Un fort volume .... Prix : 3 fr > Un fort volumt .... Prix : 3 fi • Le Piège, ie dramatique avec MADGE KENNEDY. coméd -î- drame avec V,VIAN L'ORPHELINE La Chanson de l'Ame, MARTIN. HOUDINi, le Maître du Mystère par FRÉDÉRIC BOUTET comédie avec MADGE KEN- d'après le Film de Louis FEUILLADE Le Dieu Shimmy, NEDY. <U JEAN PETITHUGUENIN l'ouw âge complet, illustré Un fort volum* .... Pris : 3 fr. » par In photos du film Prix : 3 fr. 75 Cupidon Cow-Boy, comédie avec WlLL RoGERSi Le Joyeux Lord Quex, cû™tavec ToM PARISETTE Paris-Mystérieux Le Mystère de la Portière verte, par PAUL CARTOUX par G. SPITZMULLER drame avec RUBYE DE REMER. Magnifique ensemble de sujets d'après le Film de L. PAGLIERI divers interprétés par les meilleures étoiles, nous promettant d'après le Film de Louis FEUILLADE toute la gamme des émotions humaines. L'ouvrage complet, illustré Un fort Volume Prix : 3 fr. 50 H par le Film Prix : 3 fr 50 tëoldv^Mctures Volumes à paraître AGENCES La Secret Mita Rocca La Résurrection du Bouif HLMS FRKA (Film Pathé-Consortium) LILLE pat VALENTIN MANDELSTAMM MERCIER, 2, Rue de Pas - Téléphone: 24-63 par G.
    [Show full text]
  • De Musidora À Mad Souri : L'influence Du Cinéma Sur Le Trésor Des Jésuites De Breton Et Aragon
    Document généré le 1 oct. 2021 13:33 L’Annuaire théâtral Revue québécoise d’études théâtrales De Musidora à Mad Souri : l’influence du cinéma sur Le trésor des Jésuites de Breton et Aragon LÉA BUISSON LA SCÈNE SURRÉALISTE Résumé de l'article Numéro 59, printemps 2016 La pièce de théâtre Le trésor des Jésuites (1928) témoigne de ce qui est probablement la dernière collaboration entre Breton et Aragon, qui la URI : https://id.erudit.org/iderudit/1040487ar composent en hommage à Musidora, vedette du cinéma muet des années 1910. DOI : https://doi.org/10.7202/1040487ar Notre intention est de démontrer qu’elle participe d’une esthétique cinématographique qui relève d’une volonté de rendre hommage au septième Aller au sommaire du numéro art en s’inspirant du film à épisodes. Après avoir examiné la genèse de la pièce, nous étudions les emprunts au contenu et à l’atmosphère du genre, et, enfin, nous voyons en quoi la structure de la pièce tente d’assimiler la plasticité temporelle du cinéma. Éditeur(s) Société québécoise d’études théâtrales (SQET) Université de Montréal ISSN 0827-0198 (imprimé) 1923-0893 (numérique) Découvrir la revue Citer cet article Buisson, L. (2016). De Musidora à Mad Souri : l’influence du cinéma sur Le trésor des Jésuites de Breton et Aragon. L’Annuaire théâtral, (59), 31–47. https://doi.org/10.7202/1040487ar Tous droits réservés © Société québécoise d’études théâtrales (SQET) et Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Université de Montréal, 2016 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne.
    [Show full text]
  • Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1
    ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006.
    [Show full text]
  • Women in Silent Cinema
    ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate FRAMING FILM EYE FILMMUSEUM WOMEN IN THE SILENT CINEMA FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States ANNETTE FÖRSTER WOMEN IN THE SILENT CINEMA Histories of Fame and Fate AMSTERDAM UNIVERSITY PRESS Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Top: Nell Shipman in baree, son of kazan (fragment, see page 329) Middle: Musidora, publicity portrait (fragment, see page 136) Bottom: Adriënne Solser in an unidentified film (fragment, see page 98) Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press.
    [Show full text]
  • Schwärmerei Für Einen Schatten. Musidora Und Das
    Annette Förster Schwärmerei für einen Schatten Musidora und das Nachleben von Irma Vep1 Achtzig Jahre nach ihrem Auftreten in Les Vampires (Die Vampire, Frank- reich 1915-16, Gaumont, Louis Feuillade) dreht der französische Regisseur Oli- vier Assayas mit Irma Vep (Frankreich 1996) eine Hommage an die gleichnamige Filmfigur. Er erweckt eine fiktive Gestalt, die auch heute noch un- sere Fantasie zu beschäftigen vermag, zu neuem Leben. Assayas steht damit in einer langen Tradition: Irma Vep zeigt ganz unverhüllt, worum es bei der Über- lieferungsgeschichte der Figur geht. Man verehrt nicht die Gestalt oder die Rolle als solche, also nicht die Verbrecherin oder die Heldin in einem Action-Film. Überlebt hat vor allem ein Bild der Irma Vep: eine weibliche Silhouette in einem enganliegenden, feingewebten, seidenen schwarzen Catsuit (maillot noir).2 In der neuesten Fassung erscheint das Bild in der katzenhaften Körperlichkeit von Maggie Cheung, einem Star des Hongkong-Films, und der stilisierten Erotik von schwarzem Latex. Daß es ihm vor allem um dieses Bild geht, unterstreicht Assayas noch dadurch, daß in seinem Film von einer Kriminalgeschichte, ja von einer Erzählung überhaupt, kaum die Rede sein kann. Musidora Die Frage, warum gerade dieses Erscheinungsbild von Irma Vep überlebt hat, ist faszinierend. In der ursprünglichen Serie tritt die Figur nur in zwei der zehn Fol- gen und jeweils nur für einen Moment in ihrem schwarzen Catsuit auf: zusam- men kaum achteinhalb Minuten in den insgesamt sechseinhalb Stunden langen Les Vampires. Und Irma Vep ist auch nicht die Gestalt, mit der die sie darstel- lende Schauspielerin Geschichte schrieb. Musidora (eigentlich Jeanne Roques, 1884-1957) trat ab 1910 in music halls und Revuen in Paris auf.
    [Show full text]
  • Le Spectre De Feuillade Des Vampires Au Frisson Des Vampires Alexandre Fontaine Rousseau
    Document généré le 25 sept. 2021 12:24 24 images Le spectre de Feuillade Des Vampires au Frisson des vampires Alexandre Fontaine Rousseau Spectres et fantômes Numéro 168, septembre 2014 URI : https://id.erudit.org/iderudit/72513ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article Fontaine Rousseau, A. (2014). Le spectre de Feuillade : des Vampires au Frisson des vampires. 24 images, (168), 6–7. Tous droits réservés © 24/30 I/S, 2014 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Le spectre de Feuillade DES VAMPIRES AU FRISSON DES VAMPIRES par Alexandre Fontaine Rousseau LES VAMPIRES (1915) de Louis Feuillade, LA VAMPIRE NUE (1970) de Jean Rollin L’OMBRE DE LOUIS FEUILLADE SEMBLE S’ÉTENDRE SUR L’ENSEMBLE DU CINÉMA DE GENRE FRANÇAIS, SON ŒUVRE servant de source d’inspiration intarissable pour tous les cinéastes ayant suivi les pas du metteur en scène de Fantômas. Si violents et subversifs, pour l’époque, que certaines villes françaises en ont interdit la projection, les cinq épisodes de cette première série à succès (1913-1914) préparent le terrain pour Les vampires et pour la flamboyante Irma Vep, criminelle énigmatique dont le maillot de soie noire marquera l’inconscient collectif.
    [Show full text]