By Richard Abel
Those volumes research an important yet formerly overlooked second in French cultural background: the emergence of French movie concept and feedback sooner than 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. all the sessions is mentioned in a separate and vast ancient creation, with convincing explications of some of the thoughts present on the time. In every one example, Abel is going directly to offer a complementary anthology of chosen texts in translation. Amounting to a conveyable archive, those anthologies make to be had a wealthy choice of approximately 100 and fifty very important texts, so much of them by no means earlier than released in English.
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French Film Theory and Criticism: A History/Anthology, 1907-1939. Volume 2: 1929-1939 (French Film Theory & Criticism)
Those volumes study an important yet formerly overlooked second in French cultural heritage: the emergence of French movie thought and feedback earlier than the essays of Andr Bazin. Richard Abel has devised an organizational scheme of six approximately symmetrical classes that serve to "bite into" the discursive circulate 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 2: 1929-1939 (French Film Theory & Criticism)
5' Altman and Moussinac's colleagues also tended to take contradictory positions and to share the latter's pessimism. After presenting a similar analysis, for instance, Clair simply hoped that the Depression would eliminate the monopoly of the big studios and make way for a system of "independent," cooperative artisan-like groups for the production of narrative films. ' 2 He was so vague about models, however, that his solution seemed extremely personal, based on his own unique position within the French film industry.
88 In one sense, however, Clair's lesson was beside the point, for Pagnol's position was simply an extreme form of an attitude shared by most French critics and filmmakers. 8 9 Film now was essentially a medium of adaptation. 9° L'Herbier countered the old idea that the author of a play or novel adapted for the cinema was the author of the film version by arguing that the work of film adaptation itself was a creative act and hence the adaptor, too, was a legitimate creative artist. 91 And he buttressed his argument not only with examples from the cinema but with "masters" from the other arts, such as Shakespeare.
Es toits de Paris (1929). 98 After brashly asserting his status as an auteur, Clair himself outlined at least three different kinds of scenes that he was trying to bring together in his first sound film: ". . purely visual scenes in which the sound plays the role of an orchestra, scenes with images which were rendered intelligible by sound effects, and finally certain scenes in which speech was used either to create a special effect or to explain the action. es toits de Paris, an early admirer of Clair, Marcel Lapierre, found in it an integrated model of silent film language and sound film techniques.