By Richard Abel
Those volumes learn an important yet formerly ignored second in French cultural background: the emergence of French movie idea and feedback sooner than the essays of André Bazin. Richard Abel has devised an organizational scheme of six approximately symmetrical classes that serve to "bite into" the discursive stream of early French writing at the cinema. all of the classes is mentioned in a separate and huge old advent, with convincing explications of a number of the thoughts present on the time. In every one example, Abel is going directly to supply a complementary anthology of chosen texts in translation. Amounting to a transportable archive, those anthologies make on hand a wealthy collection of approximately 100 and fifty very important texts, such a lot of them by no means prior to released in English.
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Those volumes study an important yet formerly missed second in French cultural historical past: the emergence of French movie thought and feedback prior to the essays of Andr Bazin. Richard Abel has devised an organizational scheme of six approximately symmetrical classes that serve to "bite into" the discursive stream of early French writing at the cinema.
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Extra resources for French Film Theory and Criticism: A History/Anthology, 1907-1939. Volume 1: 1907-1929 (French Film Theory & Criticism)
Example text
66 It offered a variety of short films to view (even films produced in foreign countries were usually comprehensible), and one could come and go as one pleased at any of several break points in the program. 67 Its reproduction of movement gave the illusion of life or reality as no other spectacle did, and its mechanical reproduction and exhibition guaranteed the same performance by actors as Henry Krauss, Rejane, Mistinguett, and Max Linder over and over again. On this basis, writers naturally tended to compare the cinema to other forms of popular entertainment such as vaudeville or to illustrated magazines and newspapers-all of them anti-organicist forms constructed out of discrete, disconnected elements.
For the cinema functioned much like the, modern department store (which the French had pioneered), offering a profuse variety of commodities or views to become absorbed in or browse through. 69 Here the "new bourgeois leisure activity {of) shopping" had its equivalent in the experience of "just looking" at the reified images or simulacra of reality continually renewed for repeated consumption. 70 Both cultural institutions thus tended to produce displays of "exotic" illusions 14 BEFORE THE CANON or dream worlds (which the l 900 Paris Exposition accomplished on a grand scale), whose implicit purpose was to stimulate the desire to consume or, rather, to empathize with and enjoy the spectacle of commodity consumption itself.
Some texts situate the cinema as a tug-of-war between antagonistic polarities: national/international, commercial exploitation/aesthetic communion, commodity reification/epistemological exploration, cinematic specificity/artistic synthesis. Others find the cinema disrupting or questioning conventional cultural di- 23 PART ONE 1907-1914 chotomies such as high art/low art, fantasy/realism, narration/description, Symbolist/Modernist, French/American. Finally, the discourse modes having to do with the cinema as popular spectacle and art have put in play most of the formulations that, either sharpened or transformed into conceptual frameworks for a diverse range of narrative and non-narrative forms, will dominate the period of the war.