Cinéa N°41, 17/02/1922

Total Page:16

File Type:pdf, Size:1020Kb

Cinéa N°41, 17/02/1922 Numéro 41 17 Février » 1922 = Abonnements - Étranger - 5 | an : 55 fr. ! 6 mois : 3& fr. S a France a ■ 1 an : 45 fr. ] 6 mois • mt> ir- r neDOOmafla,re ulU8t ;.,"„„. 1„ " "L "V. ! ^ - Louis DELL4JC, Directeur ^ Notre Concours L. U,« « «H» H'»S"»«»«« : PARIS, io, Rue de l'Elysée - Téléph. : Elvsées 58-8-< U * " ^ de .?. J»?..t?HÎ.A«î..?.ÎSSÎλ:..* J ^""res : A, . ROSE Représentative, «a, Cbaring Cross Rcad. W C. F 2 projets d'Affiches BETTY BLYTHE dans La Glorieuse Reine de Saba. l'HOTO FOX Kll.M I De Qùeen oj bheba (La Glorieuse Reine de Saba) (ut un des plus grands succès cinégraphiques de New-York l'hiver dernier et sans doute le même accueil sera-t-il lait par Paris à sa prodigieuse mise en scène et à l'interprétation hardiment' harmonieusement plastique de la belle Betty Blythe dans cette œuvre somptueuse que le Gaumont-Palace réserve à son public' cinéa 1 The Cinéma Coneours de projets d'flffiehes 1921 Bilan français 1921 Sous toutes réserves M hebdomadaire M La Terre, d'André Antoine, d'après Zola Cinéa fait appel à tous les peintres, décorateurs, El Dorado, de Marcel L'Herbier, avec Eve Une lettre nous parvient, signée avec Alexandre, Hervé, Armand Bour, dessinateurs, caricaturistes de toutes tendances Francis, Marcelle Pradot et Jaque Ca- d'un des noms visés sous la présente Le plus important Berthe Bovy, etc.. telain. et de toutes nationalités et leur demande — Le Pire Goriot, dej. de Baroncelli, d'après rubrique et où l'on nous affirme Le Lys de la Vie, de Loïe Fuller et Gaby avoir « ri de bon cœur de notre entre- organe de lindus= Balzac, avec Signoret. Sorère, d'après S. M. Marie de Rou- comme un grand service à rendre au Cinéma filet ». Le Rêve, dej. de Baroncelli, d'après Zola, manie. trie cinématogra= français — de prendre part au Concours de avec Signoret, Andrée Brabant, Erick L'Eternel Féminin, de Roger Lion, avec Nous attendons, avant de publier phique à travers projets d'affiches que nous organisons. Barclay. Gina Pâler me. Marthe Lenclud et Rolla le nom, d'avoir vérifié si ce n'est pas L'Atlantide, de Jacques Feyder, d'après Normand. là l'œuvre d'un faussaire ou d'un le monde. M M 1° Les inscriptions seront reçues à Cinéa Pierre Benoît, avec Napierkowska, Marie- La Terre du Diable, de Luitz-Morat, d'après mystificateur. 10, rue de l'Elysée, jusqu'au 1er jïars prochain. Louise iribe, Angelo, Melchior. Luitz-Morat et Alfred Vercourt, avec La plus large cir= L'Homme qui vendit son âme au diable, Gaston Modot et Yvonne Aurel. 2° Trois films français seront soumis de Pierre Caroy, d'après Pierre Veber, Pbroso, de Louis Mercanton, d'après An- Nous tenons à la disposition de nos culation. M M avec David Evremont. thony Hope. avec Capellani, Paoli, Mal- confrères de la Presse cinématogra- spécialement aux concurrents : L'Autre, de Roger de Chateleux, avec vina Longfellow et Jeanne Desclos. phique l'adresse d'une firme qui a La plus grande DON JUAN, de Marcel L'Herbier. Elmire Vautier. Blanchette, de René Hervil, d'après Brieux, fait établir, sur timbre en caout- La belle Dame sans merci, de Germaine avec Maurice de Féraudy, Thérèse Kolb chouc, une formule ainsi conçue : influence. M M Interprété par Vanni-JVIareoux, Jaque Gâte- Dulac, d'après Irène Hillel-Erlanger, et Pauline Johnson. « Très bon film dont l'interprétation avec Tania Daleyme. Denise Lorys et Le Crime de Lord Arthur Savile, de René est excellente et la photographie très lain, parcelle Pradot, Lerner, Philippe flériat, Jean Toulout. 30, Gerrard Street, 30 Hervil, d'après Oscar Wilde, avec André soignée» franco, 5.80. Le timbre pou- J. Sutter, etc. La mort du Soleil, de Germaine Dulac. Nox. vant servir au moins deux cents fois, LONDRES W d'après André Legrand, avec André La Maison vide, de Raymond Bernard, JOCELYN, de Léon Poirier. Nox. et Denise Lorys. avec Andrée Brabant, Henri Debain et le prix de revient de l'article tombe interprété par IViyrga, Roger Karl, Tailler, Fièvre, de Louis Delluc, avec Eve Francis, Alcover. à moins de trois centimes (0.03). Blanchar, S. Blanchetti, etc. Héléna Sagrary, Van Daële, Modot, L'Ombre déchirée, de Léon Poirier, d'après O Footitt, Yvonne Aurel, Brunelle. etc. Jeanne-Léon Poirier, avec Suzanne Des- Madame... mettons Dubois, femme ÉDITIONS de la LAMPE MERVEILLEUSE LA FEMME DE NULLE PART, de Louis Delluc. Le Tonnerre, de Louis Delluc. d'après près, Myrga et Roger Karl. d'un metteur en scène peu connu, n'a Mark Twain, avec Lilv Samuel et Mar- Le Coffret de Jade, de Léon Poirier, d'après droit officiellement à ce nom que 29, Boulevard Malesherbes - PARIS Interprété par ÈVe Francis, Roger Karl, cel Vallée. Pierre Victor, avec Myrga, Roger Karl depuis deux mois; mais elle donne Gine Avril, floéml Seize, André Daven, JVIichel La Femme de Nulle part, de Louis Delluc, et Mendaille. avec Eve Francis, Roger Karl, Gine Jocejyn, de Léon Poirier, d'après Lamar- au sacrement une valeur rétroactive, Vient de paraître Duran, Denise, Edmonde Guy, etc. Avril, André Daven, Noémi Seize, etc. tine, avec Myrga. Roger Karl, Tallier et et, racontant un séjour qu'elle fit à 3" Il sera fait de ces films une présentation Les Trois Mousquetaires, de Henri Diamant- Blanchar. Nice l'année dernière, ne manque pas Berger, d'après Alexandre Dumas père, La Nuit du î ?, de Henri Fescourt. avec une occasion de se faire nommer — spéciale aux concurrents. En outre, des séries avec Aimé Simon-Girard, Desjardins. Yvette Andréyor, Jean Toulout et Ver- « Le préfet me dit : « Je suis sûr, Ma- J'ACCUSE de photos des interprètes et des prineipales Jeanne Desclos, Claude Mérelle, etc. moyal. « dame Dubois... » — « Le patron de d'après le film d'Abel GANCE scènes seront publiées dans les prochains Cbicbinetle et Cie, de Henri Desfontaines, L'Empereur des Pauvres, de René Leprince, l'hôtel demanda : « La limousine de avec plus de 90 illustrations d'après Pierre Custot. d'après Félicien Champsaur, avec Henry « Madame Dubois...» — « Nalpas, Krauss, Léon Mathot, Gina Rellv et Prix : 4 fr. 50 — Franco 5 fr. numéros de Cinéa. Marie cbeç les loups, de Jean Durand, avec s'adressant à moi : « Madame Dubois, Berthe Dagmar. Andrée Pascal. Jettatura, de Serge Véber, avec Héléna « que pensez-vous de Shakespeare? » 4° Les concurrents ont le droit de présenter Paiisel/e, de Louis Feuillade. Sagrary, Jean Dehelly et Nino Véber. etc. LES AVENTURES DE un projet pour chaque film ou pour deux films ou Les Ailes •s'ouvrent, de Guy du Fresnay, Visages voilés, âmes closes, de Henry-Rous- Quand le récit fut terminé, M. A..., avec Marie-Louise Iribe, Madys, Mau- trois projets selon leur goût. Chaque maquette sell, avec Emmy Lynn et Marcel Vibert. les yeux mi-clos, et ayant l'air de Ioy, Genica Missirio, etc. sera jugée isolément. La Vérité, de Henry-Roussell, avec Emmy penser à autre chose : Robinson Crusoé La Roue, d'Abel Gance, avec Séverin Mars. Lynn et Maurice Renaud. « Où donc est l'histoire du Neuf Jean Dax, de Gravone et Ivy Close. Le Crime du Bouif, de Henri Pouctal. d'après le film de O.-J. MONAT 5° Les maquettes seront en couleurs. Le thermidor racontée par Fouché, vous Margot, de Guy du Fresnay, d'après Alfred d'après G. de la Fouchardière, avec un volume de 200 pages savez : « Robespierre me dit : « Duc nombre de couleurs est laissé au choix des de Musset, avec Gina Païenne et Genica Tramel. avec plus de 100 illustrations d'Otrante... » concurrents, flous leur recommandons seule- Missirio. L'Accusateur, de E.-E. Violet, d'après Jules Et l'on dit que les milieux cinéma- Prix : 5 fr. — Franco 5 fr. 50 ment, et ils comprendront pourquoi, la plus L'Agonie des Aigles, de Bernard Des- Claretie. champs, d'après Georges d'Esparbès. La Petite Fadetle, de Raphaël Adam, avec tiques manquent de culture...! grande sobriété matérielle possible. avec Séverin Mars, Desjardins et Gabv Déjà paru Jeanne Van Elsche et Jeanne Ronsay. • 6° Le format des maquettes doit être une Morlay. Don Juan, de Marcel L'Herbier, avec Un excellent acteurde cinéma dont Le Cœur magnifique, de Séverin Mars et Vanni Marcoux, Jaque Catelain, Marcelle le visage tourmenté, les yeux per- Jean Legrand, d'après Séverin Mars, EL DORADO demi-grandeur d'affiche normale 120 x 160. Pradot, etc. çants, la silhouette légèrement voû- avec Séverin Mars, France Dhélia et Le Jockey disparu, de Jacques Riven, avec Mélodrame cinématographique tée, composent un ensemble frappant, 7° Le premier prix recevra une somme de Tania Daleyme. Louise Golliney. de Marcel L'HERBIER 500 francs de Cinéa. Fromoiit jeune et Rissler aîné, de Henry L'Epingle rouge, de E.-E. Violet, d'après est las d'entendre répéter qu'il res- Prix : 3 fr. 75 Krauss, d'après Alphonse Daudet, avec P. Bienaimé, avec Tsin-Hou, Donatien. semble à M. Mandel. Les amis et Trois seconds prix seront reproduits dans Parisys. F. Ford et Suzanne Vaudrv. admirateurs de M. V. .. feront donc La Collection la plus luxueuse Cinéa. La Ferme du Choquait, de Kern m, d'après Pour Don Carlos, de Jacques Lassevne, bien de modifier leur formule et V. Cherbuliez. avec Marie Marquet et d'après Pierre Benoit, avec Musidora. de dire désormais que M. Mandel - . = LA MOINS CHÈRE - - » Toutes les œuvres primées seront présentées Geneviève Félix. Le Pauvre Village, de Jean Hervé, avec lui ressemble. La plus magnifiquement illustrée par Cinéa aux maisons d'édition. Le Roi de Camargue, d'après André Hugon Maxudian, Rouer et Edith Blake. Fox DU-EN CHAÎNÉ. ■ - des plus beaux iilms • » ALLEZ ADMIRER A PARTIR DE CE SOIR 1 miiiiiinm iiiiim Î^I T -' L) P.
Recommended publications
  • Programación Enlace Externo, Se Abre
    abril 2017 Jirí Menzel, la risa en el alambre Maya Deren, la cámara creativa Autorretratos del otro Cineastas frente a frente Cincuenta años sin Edgar Neville Louis Delluc, fiebre por el cinematógrafo 1 sábado 2 domingo 17:30 - Sala 1 • Filmoteca Junior 17:30 - Sala 1 • 3XDOC Hugo (La invención de Hugo, Martin Scor- Eich Hifsakti L’fahed V’lamadeti Las sesiones anunciadas pueden sufrir cam- sese, 2011). Int.: Asa Butterfield, Chloë Gra- L’ehov et Arik Sharon (How I Learned to bios debido a la diversidad de la procedencia ce Moretz, Ben Kingsley, Sacha Baron Cohen, Overcome My Fear and Love Arik Sharon, Avi de las películas programadas. Christopher Lee. EE. UU. 35 mm. VOSE. 126’ Mograbi, 1997). Israel. AD. VOSE*. 61’ «La portentosa secuencia de apertura de esta pe- Las copias que se exhiben son las de mejor lícula define los dos ejes sobre los que se vertebra 19:30 - Sala 1 • Jirí Menzel, la risa en el alambre calidad disponibles. Las duraciones que figu- su poderosa poética: movimiento y tiempo. O sea, Ostre sledované vlaky (Trenes riguro- ran en el programa son aproximadas. cine. Es hermoso que, en su intento de hacer cine samente vigilados, Jirí Menzel, 1966). Int.: infantil, Scorsese haya filmado una carta de amor a la Václav Neckár, Josef Somr, Vlastimil Brodský, infancia del cine, un encendido elogio a sus motores Vladimír Valenta, Alois Vachek. Checoslova- Los títulos originales de las películas y los de atávicos, demostrando que el cine de atracciones del quia. DCP. VOSE*. 93’ su distribución en España figuran en negrita.
    [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]
  • E Press Kit This Brunner.Pdf
    Media Release Under the Influence of Claude, Vincent, Paul… and the others The impact of Impressionist painting on early French cinema Matthias Brunner’s film installation has been created for the Fondation Beyeler on the occasion of its “Monet” exhibition. It lasts 30 minutes and is accompanied by Arvo Pärt’s Symphony No. 4. There is virtually no film genre more closely linked with the fine arts than is the Impressionist cinema of the 1920s with French Impressionist painting. From a purely stylistic viewpoint, film pioneers and iconic directors like Abel Gance, Jean Epstein, Germaine Dulac and Louis Delluc were strongly influenced by 19th century Impressionist painting. Numerous other major artists like Man Ray, who later made a name for himself as a Surrealist, and directors like Jean Vigo and Jean Renoir, who were representatives of poetic Realism, were marked by French Impressionism in their early works. Impressionism thus became a gateway leading to later radical changes in the language of film. Anyone who misses the colors of Impressionist painting in the cinema of those early years is more than compensated by the refined film technique, which is characterized by, for example, rapid montages, time lapses, blurring, double exposures and light reflections. Up until today, the dialog between film and painting can possibly best be grasped through the work of Jean-Luc Godard, whose films abound in quotations from painting and art history. Of particular note are foreign directors such as Sergei Eisenstein and G.V. Aleksandrov, who made Romance sentimentale in France, as well as another Russian, Dimitri Kirsanoff, who directed the legendary Franco-Swiss co-production Rapt, based on a work by the French-speaking Swiss novelist Charles-Ferdinand Ramuz, and Alberto Cavalcanti, the Brazilian director of Rien que les heures who lived in Paris.
    [Show full text]
  • Movement and Photogénie As Aesthetic Categories of the Poetic Avant-Garde
    32 winter 2021 no. 23 Cinepoetry? Movement and Photogénie as Aesthetic Categories of the Poetic Avant-garde Joanna Orska ORCID: 0000-0001-5065-6719 It would have been strange if in an epoch when the popular art par excellence, the cinema, is a book of pictures, the poets had not tried to compose pictures for meditative and refined minds which are not content with the crude imaginings of the makers of films. (…) [O]ne can predict the day when, the photograph and the cinema having become the only form of publication in use, the poet will have the freedom heretofore unknown. G. Apollinaire, The New Spirit and the Poets1 The relations between avant-garde poetry and silent film, on which I shall focus, have been to a certain extent analyzed by Polish scholars. However, mainly film and culture studies schol- ars have examined this fascinating and complex issue, often from a historical or documentary 1 Guillaume Apollinaire, Selected Wwritings of Guillaume Apollinaire (New York: New Directions, 1971), 228. theories | Joanna Orska, Cinepoetry? Movement and Photogénie as Aesthetic Categories… 33 perspective, drawing on structuralism and semiotics.2 Two complementary anthologies of film of the interwar period, by Jadwiga Bocheńska and Marcin Giżycki, respectively, which in- clude numerous texts written by poets who were inspired by artistic cinema (and I will mostly refer to artistic cinema in my article), have played an invaluable role in this regard.3 The Polish avant-garde had an acute “film awareness.”4 Although Polish cinema of the interwar period mostly specialized in popular productions, especially melodramas and patriotic dramas, Polish audiences also watched experimental and avant-garde silent films from all around the world.
    [Show full text]
  • Jean Epstein and Photogenie
    Jean Epstein and Photogénie narrative avant­garde film theory and practice in late silent­era French cinema. Submitted by Robert James Farmer to the University of Exeter as a dissertation towards the degree of MA in Film Studies by Distance Learning September 2010 I certify that all material in this dissertation that is not my own work has been identified and that no material is included for which a degree has previously been conferred upon me Signed:……………………………………… Date:……………………................... 19,737 words Jean Epstein and Photogénie: Title Page 1 Abstract In 1921 Editions de la Sirène published Jean Epstein’s first book, Bonjour Cinema, a collection of writings which included the articles Magnification, and The Senses I (b). In both of these articles Epstein refers to photogénie, a term which he also used in many of his later writings on film, and which he made the central topic of two articles, one in 1924, On Certain Characteristics of Photogénie, and one in 1935, Photogénie and the Imponderable. Photogénie was an important concept for Epstein, although it was not only he that wrote about it. The term also appears in articles by Louis Delluc, Léon Moussinac, Ricciotto Canudo, Henri Fescourt and Jean‐Louis Bouquet, all published in France between 1920 and 1925. However, as silent cinema gave way to sound cinema the term faded from use, with only Epstein retaining his commitment to the term. When photogénie is written about today it is generally referred to as a mysterious, elusive, enigmatic, ineffable or indefinable term that refers to the magic of cinema, the essence or nature of cinema, and the power that cinema has to transform the everyday into something special.
    [Show full text]
  • In Pursuit of the Cinematic: Film Theory in the Silent Era
    Faculteit Letteren en Wijsbegeerte Bachelorscriptie Taal- en Letterkunde Bachelor Engels-TFL In Pursuit of the Cinematic: Film Theory in the Silent Era Ella Diels Promotor: Prof. Dr. Tom Paulus Assessor: Prof. Dr. Paul Pelckmans Universiteit Antwerpen Academiejaar 2013-2014 2 Table of Contents Introduction........................................................................................................................................4 A history of the medium .................................................................................................................4 A history of the industry ..................................................................................................................5 A history of film theory and criticism ...............................................................................................6 Early Film Theory: General ..................................................................................................................7 Two Tendencies in Early Film Theory: A New Art or on a Par with Tradition?.......................................9 Medium Specificity ........................................................................................................................... 10 The ‘Realism versus Creativity’ -Debate ............................................................................................ 14 Realism ............................................................................................................................................. 15 Early
    [Show full text]
  • Cinéa N°18, 09/09/1921
    un franc j Numéro des Interprètes français [ on franc -F Hebdomadaire Illustré A; 4; 4: ABONNEMENTS : Louis DELLUC et A. ROUMANOFF, Éditeurs I an 45fr. - 6 mois25 fr. ... .. .. Le Numéro 1 fr. Numéro 18 10, Rue de l'Élysée, Paris - Tél. : Élys. 58-84 van □ aele Il sera un grand premier rôle de nos écrans. Il s'est révélé avec La Croisade, Narayana, Ames siciliennes, La Montée vers l'Acropole. Il s'impose avec ses créations nouvelles de Fïevre, Pour une Nuit d'Amour, Les Roquevillard. Il est 1 homme fort, lucide, ardent, bien vivant, avec une âme nette et des yeux clairs, l'homme dont notre cinéma avait besoin. un ffianc Numéro des Interprètes français | un franc 4 Ce en manteau velours de laine beige avec col et grands parements de taupe recouvre une robe en tissu lamé noir et or ornée de motifs et rehaussée d'une longue ceinture noire en jais. G1NA PALERME et ROLLA NORMAN La robe et le manteau sortent de la dans une des plus jolies scènes de L'Eternel MAISON CLÉ Féminin, le grand film de Roger Lion que nous aurons bientôt le plaisir de voir à l'écran. 392-394-396, Rue Saint-Honoré cinéa 3 ■ ■ | M PROGRAMMES M ! ! DES CINÉMAS DE PARIS I | du Vendredi 9 au Jeudi 15 Septembre ae ARRONDISSEMENT sine, documentaire. — Raspoutine, grande série Salle Marivaux, 15, boulevard des dramatique. Italiens. — Mathias Sandorf,9e épisode. — 7e ARRONDISSEMENT Les actualités. — Le méchant homme, comé¬ Cinéma Récamier, 3, rue Récamier. — die. — Le Lys de la vie, d'après le conte de Actualités, — L'Affaire du train 24, 2= épi¬ S.
    [Show full text]
  • Impressionism 1 Impressionism
    Impressionism 1 Impressionism Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists whose independent exhibitions brought them to prominence in the 1870s and 1880s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari. Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes, open composition, emphasis on the accurate Claude Monet, Impression, soleil levant depiction of light in its changing qualities (often accentuating the (Impression, Sunrise), 1872, oil on canvas, Musée effects of the passage of time), ordinary subject matter, the inclusion of Marmottan movement as a crucial element of human perception and experience, and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogous movements in other media which became known as Impressionist music and Impressionist literature. Impressionism also describes art created in this style, but outside of the late 19th century time period. Overview Radicals in their time, early Impressionists broke the rules of academic painting. They began by giving colours and shades freely brushed, primacy over line, drawing inspiration from the work of painters such as Eugène Delacroix. They also took the act of painting out of the studio and into the modern world. Previously, still lifes and portraits as well as landscapes had usually been painted indoors.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air.
    [Show full text]
  • Major Film Theorists
    MAJOR FILM THEORISTS Henri-Louis Bergson (French: [bɛʁksɔn]; 18 October 1859 – 4 January 1941) was a French philosopher, inFluential especially in the First halF oF the 20th century and aFter WWII in continental philosophy. Bergson is known For his inFluential arguments that processes oF immediate experience and intuition are more signiFicant than abstract rationalism and science For understanding reality. His book Matter and Memory (1896) has been cited as anticipating the development oF Film theory during the birth oF cinema. Bergson commented on the need For new ways oF thinking about movement, and coined the terms "the movement-image" and "the time-image". However, in his 1906 essay L'illusion cinématographique (in L'évolution créatrice; English: The cinematic illusion in Creative Evolution), he rejects Film as an exempliFication oF what he had in mind. Gilles Deleuze Cinéma I and Cinema II (1983– 1985), the philosopher Gilles Deleuze took Matter and Memory as the basis oF his philosophy oF film and revisited Bergson's concepts, combining them with the semiotics oF Charles Sanders Peirce. Germaine Dulac (French: [dylak]; born Charlotte Elisabeth Germaine Saisset-Schneider; 17 November 1882 – 20 July 1942)[2] was a French Filmmaker, Film theorist, journalist and critic. She was born in Amiens and moved to Paris in early childhood. A Few years aFter her marriage she embarked on a journalistic career in a Feminist magazine, and later became interested in Film. With the help oF her husband and Friend she Founded a Film company and directed a Few commercial works beFore slowly moving into Impressionist and Surrealist territory.
    [Show full text]
  • Circulation and Transformation of Cinema; Or, Did the French Invent the American Cinema?
    Tom Gunning Circulation and Transformation of Cinema; or, Did the French Invent the American Cinema? Circulating the Cinema: International Distribution As an art of moving images, cinema depends on circulation, move- ment. This is both literal—even mechanical, as the filmstrip moves through camera first and then the projector—and metaphorical. Films transport us as viewers; they take us through space and time virtually. But circulation in cinema has another literal dimension: the movement of actual films from place to place and across borders— the branch of the film industry known as distribution, as essential to it as production and exhibition, even if generally less evident to the moviegoer. During the nineteenth century, national and even global transportation and circulation of what had once been local commodities became technologically possible. As canning and eventually refrigeration allowed distant transportation of perishable foodstuffs, modern technology also transformed the circulation of popular entertainment. Entertainers had always traveled; their wandering nature defined their identities as exotic beings outside the routines of settled living. But in the late nineteenth century, the circulation of popular enter- tainment became rationalized and integrated with modern technology such as the railway. Under P. T. Barnum and his post–Civil War rivals such as the Ringling brothers, the circus became a model of efficient Adrien Barrère, “À la conquête du monde” and rapid transportation with huge tents, equipment, animals, and (detail, see fig. 1). entertainers moving along strictly calculated routes.1 Even the massive, 146 Tom Gunning Circulation and Transformation of Cinema; or, Did the French Invent the American Cinema? industrially manufactured panoramas popular at the time were designed to be rolled up and transported across land by rail (or across oceans by steamer).
    [Show full text]
  • 6. Verstraten-Final2
    Peter Verstraten A NEW ALPHABET FOR THE CINEMA : the Tragic Irony of Napoléon (Abel Gance, 1927) RELIEF 6 (1), 2012 – ISSN: 1873-5045. P 48-65 http://www.revue-relief.org URN:NBN:NL:UI:10-1-113710 Igitur publishing © The author keeps the copyright of this article In the present-day period, on the eve of destruction of analogue cinema, there seems to be a remarkable interest in the last gasps of silent film. Encouraged by this fascination, this article delves into an analysis of the highly formally innovative Napoléon, vu par Abel Gance (Abel Gance, 1927). This film will be discussed as an oblique variant within the relatively new genre of the historical reconstruction film in France. Addressing four paradoxes and an irony, the article will examine the tensions between Gance’s attempt to create a historical biopic and his ambition to delineate a new aesthetics of cinema. It will do so, among others, by contrasting Gance’s ideas of both the cinema as a visual Esperanto and as the ‘music of light’ with the theatrical trans-historicity of La Passion de Jeanne d’Arc (Carl-Theodor Dreyer, 1928), produced as a complement to Napoléon . There is a remarkable interest among both present-day filmmakers and film/media scholars in the era of late silent cinema. This interest had a kick-off in 2001 with the publication of The Language of New Media by Lev Manovich. In countering the idea that new media are to be considered as brand-new, he started to examine to what extent the history of cinema had a legacy on offer that was to be adopted by new media.
    [Show full text]
  • Jean Cocteau, Film and Early Sound Design
    1 The Poetry of Sound: Jean Cocteau, Film and Early Sound Design Laura Anderson, MMus Thesis submitted to Royal Holloway University of London for the degree of Doctor of Philosophy September 2012 2 Declaration of Authorship I, Laura Anderson, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 3 ABSTRACT The Poetry of Sound: Jean Cocteau, Film and Early Sound Design Jean Cocteau’s (1889–1963) involvement in the musical sphere spanned genres such as ballet, oratorio, music hall and theatre pieces, and adaptations of his poetry for song. His creative exchanges with Satie, Stravinsky, the Ballets Russes, and Les Six are famous, and the fact that Georges Auric (1899–1983) composed the music for all of his films is also well known. However, no detailed study of Cocteau’s film soundscapes as a whole has yet been undertaken from the director’s perspective. Given that Cocteau had eclectic artistic interests, and clearly engaged with music and sound in his stage works, it is perhaps unsurprising to discover that he himself was actively engaged with the music and sound of his films. In this thesis, I examine Cocteau’s approach to music and sound in his cinematic work, tracing the development of his approach throughout his career. His films span a thirty-year period, from early sound film to 1960. I argue that Cocteau’s film soundscapes constitute an important stage in the development of French film sound, and link his approach with the emergence of musique concrète and approaches to sound in New Wave cinema.
    [Show full text]