Acknowledgments / ix Notes on Contributors / x Introduction / xv Michael Temple and Michael Witt PART ONE: 1890–1920 / 1 1 PEOPLE: The Men and Women Who Made French Cinema / 3 Richard Abel 2 BUSINESS: The Birth of the Industry / 14 Laurent Le Forestier 3 TECHNOLOGY: Innovation, Standardisation and Commercialisation in Early Film Technology / 21 Laurent Mannoni 4 FORMS: The Shifting Boundaries of Art and Industry / 28 Ian Christie 5 REPRESENTATIONS: Our Little Planet / 38 Teresa Castro 6 SPECTATORS: The Cinemising Process: Film-Going in the Silent Era / 46 Elizabeth Ezra 7 DEBATES: Early Developments in Film-Thinking / 53 Monica Dall’Asta PART TWO: 1920–50 / 59 8 PEOPLE: Migration and Exile in the Classical Period / 61 Alastair Phillips 9 BUSINESS: Anarchy and Order in the French Film Industry / 73 Colin Crisp 10 TECHNOLOGY: Plant, Imported Technologies and Film Style / 81 Charles O’Brien 11 FORMS: The Place and Desire of Avant-Garde and Experimental Forms / 89 Jennifer Wild 12 FORMS: The Art of Spectacle: The Aesthetics of Classical French Cinema / 101 Ginette Vincendeau 13 REPRESENTATIONS: The Geography and Topography of French Cinema / 112 Keith Reader 14 REPRESENTATIONS: Gender Representations in French Fiction Films / 119 Noël Burch and Geneviève Sellier 15 REPRESENTATIONS: Region, Colony and Nation in French Documentary Films / 127 Alison J. Murray Levine 16 SPECTATORS: In the Dark: Looking for the French Film Public / 134 Michael Temple and Muriel Tinel-Temple 17 DEBATES: Trends and Developments in Film Criticism and Theory from the 1920s to the 1940s / 143 Monica Dall’Asta Contents Copyrighted material – 9781844574650 Copyrighted material – 9781844574650
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Acknowledgments / ixNotes on Contributors / x
Introduction / xvMichael Temple and Michael Witt
PART ONE: 1890–1920 / 1
1 PEOPLE: The Men and Women Who Made French Cinema / 3Richard Abel
2 BUSINESS: The Birth of the Industry / 14Laurent Le Forestier
3 TECHNOLOGY: Innovation, Standardisation and Commercialisation in Early Film Technology / 21Laurent Mannoni
4 FORMS: The Shifting Boundaries of Art and Industry / 28Ian Christie
5 REPRESENTATIONS: Our Little Planet / 38Teresa Castro
6 SPECTATORS: The Cinemising Process: Film-Going in the Silent Era / 46Elizabeth Ezra
7 DEBATES: Early Developments in Film-Thinking / 53Monica Dall’Asta
PART TWO: 1920–50 / 59
8 PEOPLE: Migration and Exile in the Classical Period / 61Alastair Phillips
9 BUSINESS: Anarchy and Order in the French Film Industry / 73Colin Crisp
10 TECHNOLOGY: Plant, Imported Technologies and Film Style / 81Charles O’Brien
11 FORMS: The Place and Desire of Avant-Garde and Experimental Forms / 89Jennifer Wild
12 FORMS: The Art of Spectacle: The Aesthetics of Classical French Cinema / 101Ginette Vincendeau
13 REPRESENTATIONS: The Geography and Topography of French Cinema / 112Keith Reader
14 REPRESENTATIONS: Gender Representations in French Fiction Films / 119Noël Burch and Geneviève Sellier
15 REPRESENTATIONS: Region, Colony and Nation in French Documentary Films / 127Alison J. Murray Levine
16 SPECTATORS: In the Dark: Looking for the French Film Public / 134Michael Temple and Muriel Tinel-Temple
17 DEBATES: Trends and Developments in Film Criticism and Theory from the 1920s to the 1940s / 143Monica Dall’Asta
Contents
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PART THREE: 1950–80 / 151
18 PEOPLE: Film-Making as a Collaborative Activity: The Contribution of Cinematographers, Screenwriters and Actors / 153Alison Smith
19 BUSINESS: The End of a Golden Era for the Industry / 164Laurent Creton and Anne Jäckel
20 TECHNOLOGY: Technological Innovation and Change from the Mainstream to the Margins / 172Michael Witt
21 FORMS: The Diversity of Film-Making Forms and Practices during the Thirty Glorious Years / 180Michael Temple and Michael Witt
22 FORMS: Forms of Resistance and Revolt: ‘We Are in Agreement with All That Has Struggled, and Is Struggling Still, since the World Began’ / 191Nicole Brenez
23 REPRESENTATIONS: A Camera of One’s Own: Video in Feminist Hands / 204Hélène Fleckinger
24 REPRESENTATIONS: Material Turns: French Cinema and the Construction of Everyday Life / 211Sam Di Iorio
25 REPRESENTATIONS: A Greater France? French Cinema from the Colonial to the Postcolonial Period / 219Sébastien Denis
26 SPECTATORS: Going Back Home / 227Franck Le Gac
27 DEBATES: Bazin and His Legacies / 234Daniel Morgan
PART FOUR: 1980–PRESENT / 241
28 PEOPLE: The Human Factor: Producers, Directors, Actors / 243Jean-Michel Frodon
29 BUSINESS: A Business Model under Threat? / 254Laurent Creton and Anne Jäckel
30 TECHNOLOGY: ‘Delay the Start to Hasten the Finish’: French Exhibitors and the Digital Revolution / 264Kira Kitsopanidou
31 FORMS: The Documentary Renaissance / 274Michael Witt
32 FORMS: From Cinema to Film Arts / 285Nicole Brenez
33 REPRESENTATIONS: Fiction, Documentary and the Political / 297Martin O’Shaughnessy
34 REPRESENTATIONS: Representations of Ethnic Minorities in French Cinema since 1980 / 304Will Higbee
35 REPRESENTATIONS: From Gay Visibility to Queer In/Visibilities / 313James S. Williams
36 SPECTATORS: The Spectator as Expert – French Cinephilia Today / 321Laurent Jullier and Jean-Marc Leveratto
37 DEBATES: Philosophy and Film: Re-Framing the Cinematic Century / 328Hunter Vaughan
Further Reading / 335Online Resources / 344Index / 348
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1 People 1890–1920
The Men and Women Who Made French Cinema
Richard Abel
This chapter presents a history of French cinema through the people who worked in or for the new industry during
the early silent period. Besides exploring the contribution of key individuals, it seeks to suggest ways of rethinking the
relationship among them as well as between them and the topics addressed in subsequent chapters in the 1890–1920
period. The discussion follows the transformation of moving pictures into ‘cinema’. Organised chronologically and
divided into eight sections, it focuses on those who made significant changes in the cinema as a cultural institution
and/or in film-making as a practice, or did most to consolidate and stabilise it as an institution or practice at particular
historical moments.
Prelude: Prior to 1894Of the numerous strands of scientific, technological and cultural practice that intersected in the late nineteenth
century to produce moving pictures, there were two in which the French especially excelled: the analysis of movement
and the optical synthesis of movement. For the first, Étienne-Jules Marey was undoubtedly the crucial figure. A professor
of physiology at the Collège de France in Paris, Marey originated a graphic method of recording the movements of
humans, animals and objects. Initially, his research led him to develop electrical and mechanical devices to record
physiological movement in and of the human body: e.g. blood circulation, heat changes, respiration, locomotion. After
seeing Eadweard Muybridge’s serial photographs of moving figures, published in France (1878), and meeting the pho-
tographer in Paris in 1881, Marey turned to single-plate chronophotography as a much more precise method. His first
device, a ‘photographic gun’, was modelled on an apparatus that astronomer Pierre-Jules-César Janssen had used to
record a solar eclipse in 1874. Once Marey’s publicly funded centre, the Station Physiologique, opened in Paris in 1882,
he constructed a number of single-plate cameras to advance his research. In 1888, Marey again improved his recording
methods by designing a camera that substituted Eastman paper roll film for glass plates; the first series of photographs
taken by this apparatus (a pigeon in flight, a hand opening and closing) were presented later that year to the Académie
des Sciences. Within another year, he was using transparent celluloid negative film. During his career, Marey amassed
thousands of glass plates and nearly 800 short chronophotographic films, many images from which were reproduced
in his encyclopaedic work, Le Mouvement (1894).
Marey was committed to analytical research, so it was left to others to work on the optical synthesis of move-
ment. In France, the crucial figure was Émile Reynaud. Trained in industrial and optical design, Reynaud assisted
Abbé Moigno’s illustrated lectures on popular science in Paris. This magic lantern work led him to tinker with improv-
ing the Zoëtrope and Phénakistoscope, popular toys of synthesised motion. Patenting his Praxinoscope in 1877, he
decided to market a toy Praxinoscope Theatre, in which a band of images reflected by a spinning mirror was viewed
through a proscenium arch. His next step was to develop a projecting Praxinoscope, and in 1888 he patented a Théâtre
Optique, using a long band of coloured images, painted on gelatine squares linked by leather straps and metal strips,
with holes to engage pins on a cranked revolving drum (analogous to a bicycle chain). In 1892, Reynaud contacted
Gabriel Thomas, director of the Musée Grévin in Paris, who had already explored, unsuccessfully, an option to project
Marey’s motion studies as visual spectacle. Thomas contracted with Reynaud to present five half-hour shows a day
(twelve on Sundays and holidays) in the museum’s Cabinet Fantastique, with himself narrating the stories of his first
three bands – Pauvre Pierrot, Clown et ses chiens and Un bon bock – accompanied by a piano player and singer. The shows
quickly became popular, and over the next eight years (as he created at least one new set of images a year), Reynaud
gave 12,800 performances to half a million museum visitors. By 1894, it was clear that the Parisian public seeking
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entertainment would pay to view lengthy bands of
sequential moving images (not yet fixed on celluloid) pro-
jected mechanically, and repeatedly, on a large luminous
screen.
Beginnings: 1894–6In 1894, the strands of scientific, technological and cul-
tural practice began to come together. One of Marey’s
collaborators, Georges Demenÿ, founder of a ‘rational
gymnastics’, was perhaps the first to link the recording
and projecting of moving images. In 1892, at the Inter-
national Exhibition of Photography in Paris, Demenÿ
exhibited his ‘phonoscope’, an apparatus for viewing
some of the chronophotograph series he had made at the
Station Physiologique: e.g. himself speaking the phrase
‘Je vous aime’. Against Marey’s wishes, he set up a com-
pany to promote the phonoscope, especially for amateurs
and families to present ‘animated portraits’. He also
developed a camera for taking moving images, using
60mm celluloid film and an intermittent device, a roller
(mounted on a rotating gear) that advanced just enough
film to achieve precise exposures. After Marey fired him
in 1894, Demenÿ opened his own laboratory in Paris, pat-
ented his improved camera as the Chronophotographe
and began filming the first of a hundred short subjects:
e.g. street scenes, boxers, dancers, passing trains, a
baby’s first steps. His attempts to market both appara-
tuses, however, through George William de Bedts (Paris
agent for European Blair, suppliers of celluloid film) and
Léon Gaumont, proved unsuccessful. Underfinanced and
lacking a good business sense, Demenÿ had to cede all
his patents to Gaumont in 1896, after which he resumed
his research on physical education and, in 1902, was
appointed Professor of Applied Physiology at Joinville. Yet
his designs (recently discovered) for a combined camera-
projector and a large projector (with a claw intermittent
movement) intended for publicly exhibiting moving
pictures would soon be realised by others, including De
Bedts and, most significantly, the Lumière brothers.
In the early 1890s, the Lyons family firm of Lumière
was one of Europe’s most important suppliers of pho-
tographic film and supplies. In late 1894, Louis Lumière
discussed Demenÿ’s designs on a visit to the latter’s new
laboratory in Paris; about the same time, he and Auguste
Lumière took note of Edison’s popular Kinetoscopes
(which used 35mm film), perhaps in the concession that
Michel and Eugène Werner had opened near the Musée
Grévin. This conjunction spurred the brothers to design
their own apparatus, an elegant, lightweight, sophisti-
cated machine that not only recorded and projected but
also printed moving images on 35mm film. Patented in
February 1895, the Cinématographe (their father Antoine
suggested the name ‘Domitor’) was demonstrated at
professional meetings in France and Belgium through-
out the year, and Jules Carpentier, a maker of scientific
instruments in Paris, was engaged to manufacture
twenty-five machines. Anxious to promote the
Cinématographe, Antoine Lumière organised afternoon
and evening showings in the Grand Café’s Salon Indien,
on the Paris Boulevard des Italiens, beginning 28
December 1895. That day, photographer Clément-
Maurice sold tickets and Charles Moisson (an engineer
who constructed the first model) ran the Cinématographe,
showing films such as Sortie d’usine, Arroseur et arrosé, and
Repas de bébé. So successful was the show that Clément-
Maurice continued to give performances for several
months thereafter, and Carpentier was ordered to make
200 more machines. Instead of selling their apparatus –
as De Bedts did his patented Kinétographe in early 1896 –
the Lumières leased franchises in France, its colonies
and elsewhere to agents who would pay a daily fee for
the services of an operator and machine. Consequently,
the company trained dozens of operators – among them
Félix Mesguich, Alexandre Promio and Gabriel Veyre –
to conduct pioneering exhibitions of the portable Cinéma-
tographe around the world, and ship the results of their
film-making back to Lyons for inclusion in a growing
catalogue of short films. Their apparent aim was to use
the machine as a means to expand the company’s primary
business: the manufacture and sale of photographic film.
Entertainers and Entrepreneurs: 1896–1903One witness to that first Grand Café show was Georges
Méliès, owner-manager of the Robert-Houdin Théâtre in
Paris, where he directed his own popular magic acts and
féeries. Méliès immediately saw the Cinématographe as
a new technology of amusement that could augment his
own performances. Within months, he had purchased
a projector from Robert Paul in England (since Lumière
would not sell him one), used its design to construct his
own camera, begun to shoot short subjects in imitation
of Lumière, and projected them as an added attraction
in his theatre. In the spring of 1897, sensing the public’s
interest in this new spectacle, he erected a glass house
studio on family property in Montreuil in order to make
‘transformation views’; the following autumn, the
Robert-Houdin was regularly showing moving pictures
that now bore his trademark, Star-Film. Méliès also began
selling his trick films for exhibition at the music halls
and cafés-concerts in Paris as well as at the annual or
semi-annual fairs in the provinces, pre-empting such com-
petitors as the inventor-entrepreneurs, Georges Mendel
and A.-F. Parnaland. Soon he was able to produce moving
picture adaptations of his and others’ féeries that ran ten to
fifteen minutes, some of which, like Cendrillon (1899), were
sold in hand-coloured prints as far away as the USA and
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featured as headline vaudeville acts. Unlike the Lumières
and others, Méliès remained above all an entertainer and
owner of a small family business; that did not change even
after the worldwide success of Le Voyage dans la lune (1902).
The one thing he did, in order to counteract others from
duping his popular films (no copyright protection existed),
was hire sales agents in England, Germany and Spain and,
in 1903, send his brother Gaston to open a Star-Film office
in New York. The following year, Méliès produced a total
of forty-five films (many of them lengthy féeries), in what
turned out to be the apogee of his career.
Although he did not witness the Grand Café shows,
Léon Gaumont did have an indirect connection to the
Lumières. He had served briefly as a ledger clerk for Car-
pentier in 1881, before working his way up to be manager
of a reputable Paris photographic supply firm – its cli-
ents included psychologist Jean Charcot, politician René
Waldeck-Rousseau and writer Émile Zola. In 1895, with
the backing of entrepreneurs such as Gustave Eiffel, the
ambitious Gaumont seized an opportunity to buy the
company (after the previous owners quarrelled) and set
out to manufacture and market optical and photographic
equipment on a larger scale. Acquiring Demenÿ’s patents,
Gaumont had his chief engineer, Léopold Decaux, design
an improved ‘Chronographe’ that used 35mm film, and
gave his young office manager, the equally ambitious
Alice Guy, whose family fortune had been lost in Chile
when she was sixteen, the task of producing short films
for its promotion. So successful were Guy’s actualités,
comic films (often drawn from postcards), dance films
and other short fictional subjects such as La Concierge
(1899), that Gaumont began to market the films in France
and then hired a sales agent for England. Gaumont’s
personal interest remained focused on technological
developments, and not only in cameras and projectors –
one of which won a top award at the 1900 Paris Exposition
Universelle – but in colour cinematography and
image–sound synchrony. In 1902, he presented his own
speaking image to the French Photographic Society
by synchronising a ‘Chrono’ projector with a phono-
graphic cylinder. This ‘Chronophone’ system he then
promoted through performances at the Musée Grévin
and other Paris venues, using phonoscènes that Guy pro-
duced of celebrated Paris music-hall performers.
Although he had no connection with the Lumières
at all, Charles Pathé did share their interest in Edison’s
Kinetoscope. The son of Alsatian butchers, and a Prot-
estant (in a largely Catholic country) with an unusually
keen desire to gain wealth, Pathé had initially made
money exhibiting and selling Edison phonographs at the
fairs near Paris, which led him and his brother Émile to
open a supply shop in Vincennes. When the Kinetoscope
Workers outside the Lumière factory in Lyons
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pictures. The families worked regional circuits, encamp-
ing in designated public spaces for several weeks: e.g.
Pierre Unik to the west and north of Paris, Alexandre
Camby to the east, Charles and Schelmo Katorza around
Nantes. The Dulaar family, originally from Belgium, was
one of the largest, with several brothers each managing
a separate theatre in their circuit around Lyons. From his
experience with the fairs around Paris, Pathé had come to
know these businesses well, and he quickly turned that
to an advantage, becoming their principal source of pro-
jectors and films.
Industrialisation: 1903–7Between 1903 and 1907, the cinema in France underwent
a process of industrialisation, several years earlier than
in any other country, including the USA. The Lumières
played no role in that process, having limited their atten-
tion to the production of filmstock after 1900. Nor did
Méliès, whose influence waned, even though some of his
expensive féeries, such as Le Voyage à travers l’impossible
(1904) and Le Raid Paris-Monte Carlo en deux heures (1905),
had long runs in Paris music halls. Instead, that indus-
trialisation, increasingly dependent on fiction films, was
led by Pathé, followed at a distance by Gaumont, with the
assistance of new business associates and employees.
Confirming his famous line, ‘I may not have invented
the cinema, but I did industrialise it’ (Pathé 1970: 36),
Charles Pathé augmented the cinema division of Pathé-
Frères in a series of bold moves designed to increase
profits and dividends, sometimes drawing on contacts
with ‘outsider’ figures like himself. At Joinville-le-Pont,
next to Vincennes, he invested in a maze of factories that
employed nearly 1,000 workers (many of them women)
for manufacturing, perforating, developing, printing and
splicing filmstock. At Vincennes, another factory (also
employing women) specialised in stencil-colouring prints,
a process which soon became a Pathé-Frères trade-
mark. A new Continsouza factory built and serviced the
apparatuses the company marketed, especially projec-
tors and studio cameras – 200 apparatuses were being
turned out per month by 1905. Within another year, the
mass production of positive filmstock for sale had risen
to an astonishing 40,000 metres per day. This produc-
tion capacity was based on constructing more studios in
Vincennes, Joinville-le-Pont, and Montreuil, with Zecca
supervising a loosely organised ‘director unit’ system of
film-makers hired to specialise in making one or more
kinds of films. A former crowd-scene manager at several
Paris theatres, Lucien Nonguet specialised in actualités
and historical reconstructions such as La Révolution en
Russie (1905); Gaston Velle, in trick films and féeries such
as La Poule aux œufs d’or (1905); a former Lumière camera-
man, Georges Hatot, in comedies and chase films such as
appeared in 1895, Charles bought several made by Robert
Paul in London and installed them at the same fairs. Real-
ising the need for a ready supply of films, he joined with
Henri Joly, a former gymnastics instructor at Joinville
(where Demenÿ had sometimes filmed) who had already
designed his own version of the Kinetoscope, to construct
a camera using intermittent movement and 35mm film.
This partnership was brief, but Pathé retained rights to
the camera and began to exploit the films it could pro-
duce at the fairs. In 1897, Claude Grivolas, the new owner
of Pierre-Victor Continsouza and René Bünzli’s precision
tool factory at Chatou, approached him with a financial
offer to transform Pathé-Frères into a joint-stock com-
pany, in alliance with his own firm. The phonograph
branch of the business, run by Émile, generated most of
the company’s profit at first, while Charles supervised the
work of Continsouza and Bünzli in perfecting marketable
cameras, projectors and negative and positive filmstock.
As work progressed, Charles realised the growing com-
mercial value of exhibiting films and, in 1900, hired
Ferdinand Zecca, a Paris café-concert writer of comic
and dramatic monologues, to supervise the production
of a wider range of films than was available from Méliès
or Gaumont. Once Pathé-Frères films began to circulate
throughout France and elsewhere, several met with great
success, from Histoire d’un crime (1901) to Ali Baba (1902).
By 1902, Charles was constructing a glass house studio
and related laboratories in Vincennes and preparing to
make his company’s films a major fairground attraction.
If only a few people led the development of appara-
tuses for recording and projecting moving pictures as
well as the production of films in this early period, those
involved in developing exhibition venues were more
numerous and more dispersed. In Paris, for instance, at
the Musée Grévin, Thomas convinced Reynaud to use cel-
luloid for his bands of images by 1896 and then switched
to showing Gaumont films, including phonoscènes. In
managing major music halls such as the Olympia,
Parisiana and Folies-Bergère, Émile and Vincent Isola
(originally from Algeria) became regular clients for Méliès
and Pathé films, as did Georges Froissart, who showed
films at cafés-concerts, such as the Eldorado. The Lumi-
ères operated two small cinemas up until 1897, with
Clément-Maurice managing one that continued at the
Grand Café. As the most popular source of amusement
for France’s largely rural population, the fairs were even
more important than the urban venues because, much
like weekly newspaper supplements, they disseminated
news, fashions, and ‘scientific wonders’ throughout the
provinces. Touring these fairs were a number of small
family businesses with portable theatres (perhaps seat-
ing as many as 500 people) that offered entertainments,
including, shortly after they became available, moving
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not only in England but in the USA. By 1905, Gaumont
had achieved a secure enough position in the industry to
construct, next to the Buttes-Chaumont park in Paris, a
‘glass cathedral’ studio (then the largest in Europe), with
mercury vapour lamps (the first in France) to supplement
the sunlight in winter, and an adjacent factory capable
of printing up to 10,000 metres of positive filmstock per
day. He also began to hire more personnel, from Étienne
Arnaud and Louis Feuillade, whom Guy trained as script-
writers and directors, to set designer Henri Ménessier and
his assistant, Ben Carré. Guy herself took on the task of
producing even longer films such as La Vie du Christ (660
metres, 1906). The Gaumont company prospered to the
point that, in December 1906, it could be reorganised as
a joint-stock company, allied with a major bank linked
to the French electrical industry. By then, as Gaumont
films and apparatuses had followed Pathé’s (in smaller
numbers) into the French fairgrounds, music halls and
cafés-concerts, the cinema division was far outstripping
the original photography branch of the business.
Monopoly Plans and Competition: 1907–11Pathé and Gaumont remained the dominant figures in
the French cinema industry, yet they faced competition
after 1906–7, spurred not only by their success but by
Pathé’s determination to risk even further expansion. In
short, he sought to exploit his manufacturing and mar-
keting capacity to create something like a monopoly that
could control every stage from producing to exhibiting
films, at least within France. His initial move, in partner-
ship with Benoît-Lévy, Dussaud and lawyers Maurice
Guégan and Émile Maugras, was to set up an affiliated
company with the long-range project of building a cir-
cuit of permanent cinemas that would shift exhibition
away from the fairs, where exhibitors had no need to
constantly renew their supply of films. The first of these,
the Omnia-Pathé, opened right across the street from
the Musée Grévin in late December 1906, and was soon
followed by others not only in Paris (there were fifty by
the end of 1907) but as far away as Lyons, Marseilles,
Bordeaux and Toulouse. His second move was to begin
renting out rather than selling films and to grant con-
cessions to half a dozen satellite companies, covering
France, Belgium, Holland and North Africa, which would
distribute Pathé-Frères films exclusively to these cin-
emas; whereas Pathé himself controlled the company
distributing films in and around Paris, Benoît-Lévy and
Sandberg were among those running the others. Certain
parts of this plan – the circuit of cinemas, the renting
of films – were quite successful, but the satellite com-
panies soon proved unworkable and unwieldy, so that
Pathé-Frères eventually had to pull back and manage its
own film distribution as well as rent films to cinemas
Dix femmes pour un mari (1905); a former publicity agent,
André Heuzé, also in comedies and chase films; a former
actor for André Antoine, Albert Capellani, in domestic
melodramas such as La Loi du pardon (1906) and La Fille du
sonneur (1906); and Zecca himself in ‘realist’ dramas such
as Au pays noir (1905). By 1906, this veritable image fac-
tory was so standardised that at least half a dozen film
titles were being produced in hundreds of prints for sale
each week.
These phenomenal sales came partly from Pathé’s
efforts to monopolise the fairs, but the French market
overall was relatively small compared to the potential
market worldwide. His boldest move, then, was to estab-
lish sales offices for Pathé-Frères films and apparatuses
across the globe between 1904 and 1907. A German Jew
by the name of Siegmund Popert was apparently the
crucial advance man in this process of ‘globalisation’:
a top salesman for the phonograph division, Popert was
sent first into England and Germany to market the com-
pany’s films, and his success then prompted forays into
Austria, Russia, Italy and Spain. Following the trajectory
he mapped out, Pathé-Frères sales offices spread through
the ‘First World’ of developed countries and client states
such as Russia, sometimes creating the very markets they
then saturated. These included Moscow (February 1904),
New York (August 1904), Brussels (October 1904), Berlin
(March 1905), Vienna (July 1905), Chicago (August 1905),
St Petersburg (December 1905), Amsterdam (Janu-
ary 1906), Barcelona (February 1906) and Milan (May 1906).
Within another year, Pathé-Frères had monopolised
central Europe and was opening up the colonised areas
of Asia, South America and Africa. Among the many
agents responsible for creating this first ‘cinema empire’
were Jacques Berst in the USA (the nickelodeon boom
made it Pathé’s largest market) and Serge Sandberg, a
Jewish émigré from Lithuania, who ran the offices in
Moscow, Vienna, Berlin and Budapest. Engineer François
Dussaud’s prophecy – that cinema would be ‘the school-
house, newspaper, and theatre of tomorrow’ (Pathé 1970:
37) – seemed on the verge of fulfilment, and Pathé’s
success was trumpeted in the first trade journal that
promoted the new industry, Phono-Ciné-Gazette (1905–8),
whose editor, Edmond Benoît-Lévy, was a Paris lawyer
and educator (whose parents also came from Alsace)
closely associated with the company.
More cautious than his rival, Gaumont typically imi-
tated Pathé’s moves, once they proved successful. After
1903, he too encouraged Guy to produce more and more
fiction films, ranging from historical dramas such as
L’Assassinat du courrier de Lyon (1904) to comic sketches
such as Le Bébé embarrassant (1905) or serial gag films
such as Le Matelas alcoolique (1906), and which British
Gaumont (now an independent firm) agreed to market
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8 T H E F R E N C H C I N E M A B O O K
converting existing venues, he opened his own Cinéma-
Palace on the Paris boulevards. Slowly others were added
there and in other cities, and by 1910 the circuit reached
Bordeaux. Gaumont also continued to sell films, which
improved his firm’s position at the fairs; only setting up
a satellite company to rent films in 1909. Two years after
Pathé-Journal appeared, he introduced his own weekly
newsreel, Gaumont-Actualités. Perhaps most important,
Gaumont personally supervised the transition from a
single film-maker, Guy (who accompanied her new hus-
band, Herbert Blaché, when the latter sailed to the USA
as the firm’s representative), to a director-unit system of
production, now headed by Feuillade. In this system, the
contre Nick Carter (1912) and Zigomar, peau d’anguille (1913).
At Gaumont, Perret and Feuillade mined this genre as
well, especially in Perret’s three Main de fer films (1912–13)
and Feuillade’s five Fantômas films (1913–14). Other film-
makers explored the multi-reel format in contemporary
bourgeois melodramas, as in Monca’s Le Petit Chose (1912),
for SCAGL, and De Morlhon’s La Broyeuse des coeurs (1913),
for Valetta. Feuillade and Perret did likewise for Gaumont:
the former in La Tare (1911), an early title in the Scènes de
la vie telle qu’elle est series that featured on the Gaumont-
Palace’s inaugural programme; the latter with eight-reel
productions, L’Enfant de Paris (1913) and Le Roman d’un
mousse (1914), both of which premiered in two hour-long
parts, with an interval, much like a theatre performance.
Finally, the cinema gained enough influence during
this period to justify an independent (more or less) trade
press and to attract the attention of major newspapers.
In 1908, Georges Dureau, who had already published a
trade journal aimed at the fairground exhibitors, began
to edit the bi-weekly Ciné-Journal, the principal special-
ised journal devoted to the industry; at first Dureau
ignored Pathé-Frères and, reciprocally, the company
did not place ads in his journal. By 1911, Dureau had
rivals such as Charles Le Fraper, who edited Le Courrier
cinématographique, and then E.L. Fouquet, who edited
Le Cinéma, which merged with Georges Lordier’s L’Écho
du cinéma (when Lordier, who owned several small Paris
cinemas, founded his own production company, Les
Grands Films Populaires, taking over the bankrupt Lux’s
studio and granting Aubert distribution rights) to become
the only bi-weekly aimed mainly at exhibitors and even
spectators. By 1913, the four largest Paris dailies were
printing weekly columns – or pages, in the case of Le
Journal – devoted to moving pictures, while Comoedia,
uniquely specialising in the arts, had a daily column,
which included synoptic reviews. Even the noted literary
historian and drama critic, René Doumic, felt compelled
to write a partially admiring essay in the prestigious jour-
nal he edited, La Revue des deux mondes.
Disruption and Recovery: 1914–18The outbreak of war in August 1914 crippled the French
cinema industry and provoked a number of unantici-
pated changes. Exhibition venues were closed for several
months; exports were cut off to central and eastern
Europe; production was halted and only gradually
resumed in early 1915. After losing its offices and labo-
ratories in the USA to a fire in the spring of 1914, Éclair
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P e o p l e 1 8 9 0 – 1 9 2 0 11
as photogénie in order to apprehend what he saw as ‘the
birth of an extraordinary art’ (Delluc 1918). Delluc’s prin-
cipal rival during the war was Émile Vuillermoz, the most
important French music critic of the day, who began
writing a bi-weekly column of film criticism in the influ-
ential Paris daily, Le Temps, in November 1916. Although
he too promoted some of the same film-makers as Delluc
(together they expressed a prototypical auteur theory of
cinema), Vuillermoz was more tied to a Symbolist aes-
thetic in his own efforts to theorise this new art form.
‘Quality Cinema’ and Its Diverse Proponents: After the Great WarBy 1919, the French confronted conditions no better, and
perhaps even worse, than they had two or three years
before. Despite its best defensive efforts, as Diamant-
Berger put it, ‘France was in danger of becoming a colony
of the American cinema’ (Sadoul 1974: 45). As soon as
the war ended, one after another the major American
companies set up their own offices in Paris: first came
Paramount and Fox-Film, then United Artists and First
National, and finally Universal. Goldwyn and Metro
signed exclusive contracts, respectively, with Gaumont
and Aubert. How would the French respond?
Pathé provided one model by reorganising and refin-
ing the structural changes initiated before the war. As
early as 1917, he had declared impractical any notion
that the French could re-establish a production system
comparable to that of the Americans – specifically reject-
ing a proposal from Sandberg and Nalpas to modernise
French studio facilities and create a consortium of French
film producers. Instead, he made the primary objective
of Pathé-Cinéma (the company’s new core) the produc-
tion and marketing of negative and positive filmstock for
France and the rest of Europe. Pathé cameras and projec-
tors continued to set the standard for such apparatuses
in Europe; in addition to the Pathé-Kok projector, widely
used in schools throughout Europe and North America,
Pathé had his laboratories develop a new camera and
projector for amateurs, Pathé-Baby (using 9.5mm film).
In short, the company would focus on exploiting tech-
nological advances in the hardware and material base
that the cinema required. In 1920, a further reorganisa-
tion established a separate company, Pathé-Consortium,
whose chief mission was to assume control over film
distribution and exhibition. Significantly absent was any
reference to production, confirming rumours that Pathé
was abandoning not only satellites such as SCAGL but
film production altogether.
Despite being dropped by Paramount, Gaumont used
the profits from Feuillade’s new avenger serials, Tih
Minh (1919) and Barrabas (1920) to help several young
film-makers develop their talent. The result, under the
the first of a circuit of Aubert-Palaces that would extend
throughout Paris and other major cities.
Now that American films dominated their home mar-
ket, the French faced this question: what exactly was
‘French’ about their ‘national’ cinema, a question first
posed by publisher Henri Diamant-Berger in his new bi-
weekly trade journal, Le Film, in 1916. One answer came
from Feuillade who, with Gaumont’s blessing, set out to
compete with Pathé’s American serials by abandoning
crime thriller series such as Les Vampires (1915–16) and,
with scenarios written by novelist Arthur Bernède, pro-
ducing instead ‘avenger’ adventure serials that drew on
nineteenth-century traditions of French story-telling and
updated the figure of the chivalric hero. Backed by a trade
press campaign strongly stressing its ‘Frenchness’ and
complemented by Bernède’s fictionalisation published in
Le Petit Parisien, Judex (1917) was so popular that Feuillade
quickly put another Judex serial into production. Another
answer came in reinventing the bourgeois melodrama so
as to avoid any reference to the war. The trick was to tell
stories of threats, sexual and/or financial, to the French
family, with the focus on misperceived female charac-
ters, perhaps acknowledging the ideological significance
of women on the homefront. Such stories depended on
the appeal of female stars and at least five came forward
to ensure profitable series of films: Gabrielle Robinne,
for SCAGL; Maryse Dauvray, for Valetta; Emmy Lynn, for
Film d’Art; Mistinguett for André Hugon’s Films Succès;
and most popular of all, Suzanne Grandais, directed by
Mercanton and René Hervil, for Éclipse. Tellingly, another
female star, Musidora, who had played the chief villain in
Judex, sought to produce her own films, but had to do so
‘in exile’ in Italy.
In Le Film, along with several newspapers, a sustained
body of film theory and criticism now also began to
emerge. Colette was the first writer of some importance
to engage in film criticism, although she reviewed films
irregularly for the new journal in 1916 and 1917, before
leaving to write scenarios for her friend, Musidora. But
her review of The Cheat, in August 1916, was ground-
breaking. In June 1917, a young drama critic, Louis Delluc,
became Le Film’s regular reviewer, and one year later he
was writing a weekly column for Paris-Midi. Delluc used
his columns to promote the work of French film-makers
such as Antoine, Gance and Jacques de Baroncelli, a Paris
journalist who had set up his own company in 1917, as
well as that of selected American (Chaplin, Hart, Thomas
Ince, D.W. Griffith) and Swedish film-makers (Victor
Sjöström, Mauritz Stiller). He also supported several
young writers such as Louis Aragon and Jean Cocteau
who were discovering the cinema and whose ideas to
some extent he shared. Perhaps his most lasting contri-
bution, however, was to develop certain concepts such
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12 T H E F R E N C H C I N E M A B O O K
other French cities after the war. Still active, Benoît-Lévy
financed some of these, including the Madeleine and the
Salle Marivaux; Linder, returning from the USA, put up
the money for another, the Ciné-Max-Linder. Pathé,
Gaumont and Aubert all expanded their circuits, with
Aubert now leasing some of the largest and most prestig-
ious cinemas, from the Tivoli-Cinéma to the Madeleine.
Much like Aubert, Sandberg was also committed to
building a consortium that allied production with studio
ownership and distribution, and part of his strategy was
to produce distinctly French serials. The format that
Feuillade had developed in Judex was taken up by new
film companies, by Phocéa (in Marseilles) and most nota-
bly by the Société des Cinéromans, a crucial component
of Sandberg’s plan to rebuild the French film industry,
with its home base at the Ciné-Studio, newly constructed
at La Victorine outside Nice. Phocéa capitalised on the
undimmed star status of Grandais in several serials, the
last of which, L’Essor (1920), came out just weeks after her
sudden death in a car accident. Financed by Sandberg,
who also supported ‘Films Louis Nalpas’ projects, Cinéro-
mans engaged Édouard-Émile Violet (a former Gaumont
film-maker), René Navarre (the star of Fantômas), Bernède
guidance of Costil (now a producer), was ‘Séries Pax’, a
remarkable series of medium-budget films written and
directed by former theatre director Léon Poirier and poet
Marcel L’Herbier, including the latter’s Rose-France (1919)
and L’Homme du large (1920). Some recently recruited film-
makers, such as Gance and Feyder, secured independent
financing to strike out on their own; others such as De
Baroncelli worked first for Film d’Art (now managed by
Delac, with Vandal as a new partner) and then again on
his own or, in the case of former journalist Germaine
Dulac, for Films André Legrand and then Film d’Art.
With greater financial resources than Delac and Vandal
(whose consortium plans came to nought), Aubert began
to establish his own consortium, taking over the rental
rights of AGC (including Film d’Art) and adding produc-
tion facilities at a studio he had built outside Paris, for
such film-makers as René Le Somptier and Hervil and
Mercanton (from Éclipse, now defunct). Aubert’s success
was assured when a costly project he had risked dis-
tributing, Feyder’s L’Atlantide (1921), made a huge profit,
running for a full year at the Madeleine Cinema, a record
broken only by Ben-Hur in 1927. The Madeleine was
one of many luxury cinemas erected in the capital and
Split-screen action from Tih Minh (Louis Feuillade, 1919)
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P e o p l e 1 8 9 0 – 1 9 2 0 13
twelve parts was feature-length) achieved an astonishing
success: over the course of three months, it set a record
by playing in more than 1,000 cinemas, nearly half of
all those operating in France, and by grossing at least
six times its cost. Although these serials undoubtedly
helped to revive the French industry, their success was
compromised by the internal struggles within the Pathé
companies, a financial crisis in 1921 (which adversely
affected Sandberg) and mounting criticism in the press
which discredited many of them as ‘bad cinema’, an
unhealthy indulgence, even a form of drug addiction.
The serial thus became the focus of a crisis of French
‘quality’. Could a standardised commodity like the serial
ever be a quality product? And how could it be represent-
ative of a ‘healthy’ national cinema? One answer would
soon come when the managing director of Le Matin, Jean
Sapène, a self-made man much like Pathé and Gaumont,
took control of Cinéromans, merging the industries of
the cinema and the press. At the same time, however,
a quite different conception of quality cinema emerged,
defined largely in aesthetic terms and located outside the
commercial industry. The source? The ciné-club move-
ment that quickly rose and flourished in Paris, engaging
many writers, artists, film-makers and intellectuals,
among them Delluc, Dulac, Ricciotto Canudo and Léon
Moussinac.
Works CitedDelluc, L. (1918) ‘Le Cinquième Art’, Le Film, 113, 13 May, 2.
Pathé, C. (1970) De Pathé-Frères à Pathé-Cinéma, Lyons, Serdoc.
Sadoul, G. (1974) Histoire générale du cinéma, vol. 4, Paris,
Denoël.
(Feuillade’s scriptwriter), and another feuilleton novelist,
Gaston Leroux, to produce two serials a year, marketed
in conjunction with their fictionalisation in several Paris
dailies, especially Le Matin. Together with Gaumont, Ciné-
romans and Phocéa sought to standardise French film
production and distribution. Financial resources would be
concentrated in integrated multiple-film projects requir-
ing a coherent production schedule, rather than being
dispersed over half a dozen to a dozen separate films.
In Sandberg’s case, moreover, it was assumed that their
distribution would be guaranteed through SIC (Société
Industrielle Cinématographique) Éclair, another company
he had formed out of the bankruptcy of Éclair.
Despite his declarations, Pathé himself could not
refrain from giving selective support to film produc-
tion. That could be direct, as in the case of independent
projects such as Gance’s four-part J’accuse! (1919). It also
could be indirect (and violate the company’s reorganisa-
tion), as in the distribution contract linking Pathé-Cinéma
with a new company that Decourcelle founded, SEC
(Société d’Éditions Cinématographiques, replacing
SCAGL), which set out to make serials and ‘superpro-
ductions’ modelled on the initial success of Pouctal’s
four-part adaptation, Travail (1920). In sharp conflict with
Pathé, but imitating his actions, Denis Richard, the new
head at Pathé-Consortium, boldly plunged his company
into film production as well. Most notably, he arranged
to finance Diamant-Berger’s serial adaptation of Les Trois
Mousquetaires (1921). Not only did the film’s budget reach
a grand total of 2.5 million francs (unheard of at the time),
but a large sum was allotted to promote its press previews
and then its premiere. Yet this massive serial (each of its
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Index
À bientôt, j’espère (1968), 213À bout de souffle (1960), 154, 155, 175,
176, 184, 195, 223, 230À cause d’un garçon (2002), 320À l’attaque! (2000), 250À l’est du paradis (2005), 295À la belle frégate (1942), 124À la Jamaïque (1957), 181À la place du coeur (1998), 250 À la recherche d’Hassan (2007), 293À la recherche du temps perdu
(1913–27), 89 À ma soeur! (2001), 249À nous la liberté (1931), 84, 85, 103À propos de l’autre détail (1988), 191À propos de Nice (1930), 97, 114, 146, 196À tout de suite (2004), 252À toute vitesse (1998), 316Aäton, 177, 178, 291Abel, Richard, xvi, xviii, 33, 49, 50, 82Abominable, L’, 290Abouda, Djouhra, 196Aboulker, Marcel, 181Aboyantz, Tony, 188Abril, Victoria, 315Abus de confiance (1938), 119Abus de faiblesse (2013), 249Académie des Césars, 244Académie des Sciences, 3, 174Achard, Marcel, 104 Action française, 148Actua 1 (1968), 194 Actualités Françaises, 132, 212, 221 Act-Up, 314, 316 Adachi, Masao, 198Adieu au langage (2014), 247, 285Adieu Bonaparte (1985), 244Adieu Philippine (1963), 161, 184Adieux à la reine, Les (2012), 252 Adjani, Isabelle, 311Adolphe (2002), 252Adorables créatures (1952), 181Adorno, Theodor, 199, 287Adrienne Lecouvreur (1938), 102Aesthetics and Its Discontents (2004), 332Affaire Dreyfus, L’ (1899), 31AFNOR, 265, 266
Afrance, L’ (2001), 309Afrique 50 (1950), 183, 191, 212, 221Agathe Films, 251Âge d’or, L’ (1930), 97Agence Générale Cinématographique
224Algérie année zéro (1963), 224Algérie en flammes (1958), 183, 222Ali au pays des merveilles (1976), 196Ali Baba (1902), 6Ali Baba et les 40 voleurs (1954), 181Alibi, L’ (1937), 105Alice (2002), 318Allégret, Marc, 44, 68, 102, 106, 114, 119,
176Alnoy, Siegrid, 300Alphaville (1965), 186 Alternatives, 208Àlvarez, Santiago, 193Amad, Paula, 41 Amalric, Mathieu, 250, 252Amant, L’ (1992), 225, 245 Amants de Montparnasse, Les (1958), 182Amants du Pont-Neuf, Les (1991), 245Amants réguliers, Les (2005), 252Amants, Les (1958), 176, 184Amants, Les (1999), 309Ambassadeurs, Les (1976), 305Amengual, Barthélemy, 157 American Center, 160Ameur-Zaïmeche, Rabah, 252, 309Ami de mon amie, L’ (1987), 247Amis de Spartacus, 139Amour à mort, L’ (1984), 193, 248Amour avec des si, L’ (1964), 213Amour de poche (1957), 184Amour existe, L’ (1961), 200, 201, 202Amour fou, L’ (1969), 160, 186Amour par terre, L’ (1984), 247Amour violé, L’ (1978), 189 Amour, rue de Lappe (1984), 277 Amours d’Astrée et de Céladon, Les (2007) Amsterdam Global Village (1996), 278An 01, L’ (1973), 189 Ananas (1984), 279Andalousie (1951), 181Anderson, Madeline, 204André, Jean, 181Andrejew, André, xviii, 61, 65–6Andrew, Dudley, 62, 65, 116, 147, 150,
229Andriot, Josette, xviAnémic cinéma (1926), 91, 92, 93 Ange de la nuit, L’ (1944), 124Angel Cycles (1985–2003), 288Angela Davis: Portrait of a Revolutionary
(1970), 200Angelopoulos, Theo, 190
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176, 184Annenkov, Georges, 181Anquetil, Bijan, 293Antenne 2, 207, 274, 277Antheil, George, 92Anticoncept, L’ (1951), 191, 291Antisthenes, 294 Antoine et Colette (1962), 176Antoine, André, 7, 10, 11, 36, 110Anton, Karel, 62 Apartment Building (2008), 295Apollinaire, Guillaume, 54, 89, 90Apollonide: souvenirs de la maison close, L’
(2011), 252Appel du silence, L’ (1937), 220Apprentis sorciers, Les (1977), 190Après le feu (2010), 289Après mai (2012), 249Aragon, Louis, 11, 55, 89, 95, 98Arbre, le maire et la médiathèque, L’ (1993),
247ARC, 194 Arcady, Alexandre, 224, 225Archimède (1995–2003), 278Archives de la Planète, 41, 42, 43 Ardant, Fanny, 246Ardèche Images, 276, 279Argent, L’ (1928), 122Argent, L’ (1983), 246Arguments, 213Aristarco, Guido, 236Arlésienne, L’ (1908), 8Arlésienne, L’ (1922), 37 Arletty, 61, 102, 104, 110, 112, 124Armée du crime, L’ (2009), 250Arnaud, Étienne, 7, 8Arnheim, Rudolf, 328Arnoul, Françoise, 159, 173Arnoux, Alexandre, 148Around the World with Orson Welles
(1955), 198Arp, Jean, 90 Arquillière, Alexandre, 10Arra, Cynthia and Mélissa, 316Arrieta, Adolpho, 313Arriflex, 177, 213Arroseur arrosé, L’ (1898), 32Arroseur et arrosé (1895–6), 4, 28, 32 Artaud, Antonin, 95, 144, 145, 290ARTE (Association Relative à la
Arts Alliance Media, 267, 268 Ascensceur pour l’échafaud (1958), 184Assaf, Milka, 274Assassinat du courrier de Lyon, L’ (1904), 7Assassinat du duc de Guise, L’ (1908), 8,
Auteurs Dramatiques (ACAD), 33Association des Cinéastes
Documentaristes (ADDOC), 275, 280, 283
Association des Écrivains et Artistes Révolutionnaires (AEAR), 148
Association des États Généraux du Cinéma, 204
Association Française des Cinémas d’Art et d’Essai (AFCAE), 169, 229, 265
Assommoir, L’ (1909), 8Astérix et Obélix contre César (1999), 251,
258Astérix et Obélix aux jeux olympiques
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181, 187, 212Authentique Procès de Carl Emmanuel Jung, L’
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copurchic aux bains de mer (1894), 30Autre France, L’ (1974), 305Autre Rive, L’ (1986), 291Avatar (2009), 256, 269, 270Avec le sang des autres (1974), 193, 194, 215Aveline, Claude, 148Aventure humaine, L’ (1997–present), 278Aventures de Rabbi Jacob, Les (1973), 188Aventures de Salavin, Les (1963), 187Aveu, L’ (1970), 188Avoir vingt ans dans les Aurès (1972), 191,
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(1981), 306Ça commence aujourd’hui (1999), 117 Ça n’arrive qu’aux autres (1971), 189Cabaud, Pierre, 157Cabinet of Dr. Caligari, The (1920), 73, 93Cabrera, Dominique, 301Caché (2005), 225Cage aux folles, La (1978), 313Cage aux rossignols, La (1945), 124 Cahiers de Mai, 194Cahiers du cinéma, 145, 153, 154, 160, 169,
Cercle rouge, Le (1970), 188, 201Cérémonie, La (1995), 248, 299Ces messieurs de la Santé (1933), 107César (1936), 114 Cette vieille canaille (1933), 66Ceux qui m’aiment prendront le train
247, 248, 299Chacun cherche son chat (1996), 319Chagrin et la pitié, Le (1971), 189, 281Chahine, Youssef, 244Chalon, Guy, 194Chambre verte, La (1978), 243 Champetier, Caroline, 156Champreux, Maurice, 40Chanson d’Armor (1934), 115 Chansons d’amour, Les (2007), 319Chant de l’exilé (1942), 106Chant du styrène, Le (1959), 176Chantal D, Star (1968), 199Chantal, Marcelle, 86Chanteur de Mexico, Le (1956), 181Chantons sous l’Occupation (1976), 190Chants de Mandrin, Les (2011), 252 Chaplin, Charlie, 10, 11, 33, 91, 145, 146,
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331 Cinema 2: The Time-Image (1987), 331Cinéma Bretagne, 192 Cinéma cinéaste, notes sur l’image écrite
(2001), 200Cinéma cinéma (1969), 203Cinéma du diable, Le (1947), 291Cinéma du Réel, 275Cinéma Engagé, 193Cinéma Libre, 194Cinéma Politique, 194Cinéma-Halls, 9cinéma vérité, xix, 132, 176, 186, 213,
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Cinématographiques (COIC), 67, 78, 79, 164
Comité de Défense du Cinéma Français, 79
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Occidentale, 212Compagnie Générale de Phonographes,
Cinématographes et Appareils de Précision, 15, 24
Companeez, Jacques, 105, 181Companeez, Nina, 157Compartiment tueurs (1965), 187Compte de Soutien aux Industries de
Programmes (COSIP), 275, 278, 283Comptoir Général de Photographie,
14, 21Comte de Monte-Cristo, Le (1954), 181Concert, Le (2009), 251 Concierge, La (1899), 5Confédération Générale du Travail
258Constantine, Eddie, 181Contacts (1990–2004), 278Conte d’automne (1998), 247Conte d’été (1992), 247Conte d’hiver (1996), 247Conte de printemps (1990), 247Continent mystérieux, Le (1924), 43, 44 Continental, 67, 69, 78, 79, 106 Continsouza, Pierre-Victor, 6, 8, 15, 24Contrebandières, Les (1968), 186Cooper, Gary, 137 Copans, Richard, 251, 274, 279, 281, 283Copeau, Jacques, 89 Coplan sauve sa peau (1968), 187Coquille et le clergyman, La (1928), 95, 144Corbeau, Le (1943), 78, 117, 118, 123, 124Corneau, Alain, 189, 244, 245Corniaud, Le (1965), 188Corouge, Christian, 193Corps ouverts, Les (1997), 316Corpus Christi (1997), 278Corpus d’octobre (1980), 291Corsaires du Bois de Boulogne, Les (1954),
181 Corsini, Catherine, 318Costa-Gavras, 187, 188, 300Costil, Edgar, 9, 12 Cote, Philippe, 290Cotillard, Marion, 251, 252Couade, Maurice, 26Coulibaly, Mory, 286, 292, 293Countess of Ségur, 126Coup de foudre (1983), 318Coup de Sirocco, Le (1979), 224Coup de torchon (1981), 224 Coup du berger, Le (1956), 183Couperet, Le (2005), 300Courant, Curt, xviii, 61, 62–4 , 65, 110Courant, Gérard, 285Courbet, Gustave, 290Couronnement du roi Édouard VII (1902),
31 Courrier cinématographique, Le, 10, 66Courrier de Lyon, Le (1911), 9Course aux potirons, La (1908), 32Cousins, Les (1959), 184Cousteau, Jacques-Yves, 183
107, 108, 109, 172Critique de la séparation (1961), 199, 215Critique de la vie quotidienne I (1958), 211 Croisière jaune, La (1932), 43Croisière noire, La (1926), 43, 44Crustacés et coquillages (2005), 315¡Cuba sí! (1961), 184, 193Cuisine au beurre, La (1963), 188Cuny, Alain, 124Cusset, François, 216Cycle of Hermaphrodites (1982–90), 288Cycle of the Uncanny (1977–82), 288Cyrano de Bergerac (1990), 245
D.O.A. (1981), 295 D’Agraives, Jean, 129, 130D’Alcy, Jehanne, 30 D’Annunzio, Gabriele, 54D’Eaubonne, Jean, 181D’Est (1995), 287D’Urfé, Honoré, 247Dabit, Eugène, 109Dactylo se marie (1934), 102Dada, 33, 36, 90-1, 93, 99, 196-7, 199Daguerre, ou la naissance de la
photographie (1958), 183 Daguerréotypes (1976), 189, 215Dahan, Olivier, 250, 251Daladier, Édouard, 115Dalban, Max, 115Dalban, Robert, 160 Dale, R.C., 103Dalio, Marcel, 68, 69Dall’Asta, Monica, xv, xx Dame aux camélias, La (1912), 9, 35Dames du Bois de Boulogne, Les (1945), 212 Dancer/Danger (1920), 91Dancing (2002), 316Daney, Serge, 186, 189, 217, 233, 239Dans la tourmente (2011), 303Dans la vie (2008), 309, 310 Dans le noir du temps (2002), 246Dans les rues (1933), 65Dans Paris (2006), 252, 319Danton (1983), 159Daquin, Louis, 117, 124, 126, 172, 191Darrieux, Danielle, 67, 119, 123, 137, 140,
248, 252, 258, 313Depardon, Raymond, 274, 280Départ du père, Le (1985), 306Deray, Jacques, 158, 187, 188Dermoz, Germaine, 94 Dernier Combat, Le (1983), 245Dernière Énigme, La (1980), 291Dernier maquis (2008), 252, 309Dernier Métro, Le (1980), 243, 244, 246Dernier Milliardaire, Le (1934), 84, 103 Dernier Sou, Le (1943), 124Dernier Tournant, Le (1939), 108Dernier Verre, Le (1964), 213Dernières Vacances, Les (1947), 183 Deroo, Éric, 225Derrière, Le (1997), 317
Deruas, Caroline, 286Des filles entre elles (2010), 315Des films à faire (2008), 295Desailly, Jean, 124Désastres de la guerre, Les (1951), 183Descombes, Vincent, 215Description d’un combat (1960), 184, 193 Desfontaines, Henri, 35 Deslaw, Eugène, 97 Desnos, Robert, 32, 91, 144Désordre (1986), 246Désordre, vision de St-Germain-des-Prés
(1949), 183, 198Despentes, Virginie, 285 Desplechin, Arnaud, 249, 250, 251Desrois, Michel, 193Destin fabuleux de Desirée Clary, Le (1941),
106Destinées sentimentales, Les (2000), 249Destruction des archives (1988), 191, 192 Détective (1985), 246Détruire dit-elle (1969), 186Deutschmeister, Henry, 69Deux ans après (2002), 253Deux fois cinquante ans de cinéma français
(1995), 246Deux hommes dans Manhattan (1959), 1852003 Productions, 260 II mots en images, 292Deux ou trois choses que je sais d’elle
(1966), 176, 187, 238, 293Deux Papas et la maman, Les (1996), 306Deuxième Souffle, Le (1966), 186 Dewaere, Patrick, 188, 313Dhaene, Étienne, 320Dharma Guns (2010), 292Dheepan (2015), 252Dhéry, Robert, 181Di Iorio, Sam, xix, xvDi Verdura, Hugo, 316Diable au corps, Le (1947), 125, 212Diaboliques, Les (1955), 107, 118Diabolo menthe (1977), 189Diaghilev, Sergei, 89 Diallo, Nafissatou, 285Dialogues d’images en temps de guerre, 203Diamant-Berger, Henri, 11, 13, 70 Diên Biên Phu (1992), 224, 311Dieu est grand, je suis toute petite (2001)Dieu me pardonne (2001–4), 293Dieudonné, Albert, 95Dieutre, Vincent, 315Digital Cinema Initiative (DCI), 264, 265 Digital Cinemas Network (DCN), 265Dindo, Richard, 278, 280, 281Diop, Mati, 286, 294DIRE (Distributeurs Indépendants
Distrib Films, 269Dites-lui que je l’aime (1977), 189 Dithyrambe à Dionysos: Avec la nuit
reviendra le temps de l’oubli (2007), 290Diva (1981), 217, 245Divertissement, Le (1952), 183Divine (1975), 203Dix femmes pour un mari (1905), 7Dixième Symphonie, La (1918), 3617ème Parallèle: la guerre du people, Le
(1968), 214Djarbi, Aïssa, 311 Djib (2000), 309Doan Na Champassak, Tiane, 285, 287, 290Documentaire sur Grand Écran, 275 Documenteur (1981), 248Documenteurs, Les (2004), 131 Doigts dans la tête, Les (1974), 202Doillon, Jacques, 189, 200, 201, 202, 211Dom Juan (1965), 161 Domestication of the Savage Mind, The
(1977), 321Don Giovanni (1979), 245Doniol-Valcroze, Jacques, 145, 184Donne-moi la main (2008), 318Donogoo-Tonka or the Miracles of Science,
A Cinematographic Tale (1920), 90Dorfmann, Robert, 68Dorléac, Françoise, 152Dorsday, Michel, 181Dorziat, Gabrielle, 107, 118Dos au mur, Le (1981), 298, 299Doublet, Ariane, 252, 300Douce (1943), 107, 123Douce France (1995), 307, 308Doucement les basses (1971), 188Douceur dans l’abîme, La (1999), 294Douchet, Jean, 184Douin, Jean-Luc, 155Douking, Georges, 161Doulos, Le (1962), 186Doumic, René, 10Douste-Blazy, Philippe, 316Douy, Max, 181Drach, Michel, 305Dragées au poivre (1963), 213Dréville, Jean, 124, 181Dreyer, Carl Theodor, 25Dreyfus affair, 31, 95Dridi, Karim, 252, 306Drifters (1929), 43 Drôle de bobine (1957), 183Drôle de Félix (2000), 310, 315Drôle de noce (1952), 181 Du léger rire qu’il y a autour de la mort
(1952), 203Du Luart, Yolande, 200Du Maurier, Daphne, 116Du monde et du movement des images
(1997), 330Du soleil pour les gueux (2001), 252Du terrorisme et de l’état (1980), 291Dubois, Marie, 231Dubosc, Dominique, 194, 221
292, 299El Dorado (1921), xvii, 41, 122 Elbé, Pascal, 319Electra’s Dream (1983–90), 288Élena et les hommes (1956), 106, 182Elias, Norbert, 46
Élise ou la vraie vie (1970), 305Élizabeth, reine d’Angleterre (1912), 9, 35Elkaim, Jérémie, 315Elle est des nôtres (2003), 300Elmaleh, Gad, 308, 311, 318Éloge de l’amour (2001), 287Élu Par Cette Crapule, 290 Emak-Bakia (1927), 91 Embedded (2009), 294Émigrante, L’ (1940), 120Emmanuelle (1974), 171 Empire du milieu du sud, L’ (2010), 225En avoir (ou pas) (1995), 299, 307En dirigeable sur les champs de bataille
(1919), 42, 43 En rade (1928), 121Encore (1987), 313Encyclopédie Gaumont (1908-29), 39End of the World Begins with One Lie, The
(2010), 293Enfance nue (1968), 202Enfant de l’hiver, L’ (1989), 246Enfant de Paris, L’ (1913), 10Enfants du paradis, Les (1945), 78, 79, 106,
124Enfants jouent à la Russie, Les (1993), 246Enfants terribles, Les (1950), 185Engel, Tobias, 194Engels, Friedrich, 200Ennemi intime, L’ (2007), 225 Enrico, Robert, 184, 187Entr’acte (1924), 91, 93, 98 Entre les murs (2007), 251, 309Entrée des artistes (1938), 68 Envers, L’ (1988–2001), 289Epstein, Jean, xx, 25, 29, 36, 55, 56, 57,
Epstein, Marie, 83, 98, 110, 220Erdmann, Otto, 64 Éric and Ramzy, 252 Erich von Stroheim (1979), 199Ermolieff, Joseph, 73Ermolieff-Cinéma, 19 Ernesto Che Guevara, le journal de Bolivie
(1995), 278Erró, 194 Escape from Tatooine (2004), 325, 326Escoffier, Marcel, 181Esprit, 147, 183, 237Esquive, L’ (2003), 252, 309Essai de reconstitution des 46 jours qui
précédèrent la mort de Françoise Guiniou (1971), 200, 201
Essais cinématographiques (1928), 93 Essanay, 10 Essor, L’ (1920), 12, 13Estates General of Cinema, 171, 187,
193, 279Esther Kahn (2000), 249Et la vie (1991), 279, 281, 282Et le mot frère et le mot camarade (1995),
192
I n d e x 355
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356 T H E F R E N C H C I N E M A B O O K
Établissements Braunberger-Richebé, Les, 68
Étaix, Pierre, 158Étant donnés, 291 État de siège (1972), 189État de siège (2001), 294État des lieux (1995), 299, 307États Généraux du Film Documentaire,
275Été, L’ (1968), 202Éternel Retour, L’ (1943), 78, 124Éternité par les astres, L’ (1872), 198Ethics (1677), 197Etna, L’, 290 Étoile de mer, L’ (1928), 68, 91 Étoile sans lumière (1945), 106Étrange Monsieur Victor, L’ (1938), 115Étranges étrangers (1970), 299Étude cinégraphique sur une arabesque
(1929), 93Études sur Paris (1928), 97 EUREKA, 257Eurimages, 257 Europa Cinemas, 265EuropaCorp, 251, 258, 261, 269 Europalaces, 269Eustache, Jean, 186, 189, 201, 202, 216,
277Éveil d’un monde, L’ (1949), 213Evidence of Film, The (2001), 333 Exarchopoulos, Adèle, 318Exercice de l’état, L’ (2011), 301Exils (2004), 310Exploits of Elaine, The (1914), 34Express, L’, 183Ezra, Elizabeth, xvi, xix
F.H.A.R., Le (1971), 206Fabuleux destin d’Amélie Poulain, Le
(2001), 251, 252Fahrenheit 451 (1966), 176Faïrouze, Smaïn, 311Fairplay (2006), 300Faisons un rêve (1936), 105Fall of the House of Usher, The (1839), 121Famous Players, 10, 35Fanfan la Tulipe (1952), 106, 181Fanny (1932), 114 Fanny and Alexander (1982), 244Fanon, Frantz, 223Fantômas (1913–14), 10, 12, 33, 34Fantômes du chapelier, Les (1982), 247FARC (Revolutionary Armed Forces of
Fédération Nationale des Cinémas Français (FNCF), 264, 265, 266, 267, 268
Fédération Nationale des Distributeurs de Films (FNDF), 265, 268
Fée aux choux, La (1897), 32Feed-back/Pentagon (2003), 294Féjos, Paul, 62Félicie Nanteuil (1942), 106, 124Félins, Les (1964), 187Felix, Maria, 108Fellini, Federico, 115, 244Fémis, La (Fondation Européenne pour
les Métiers de l’Image et du Son), 251
Femme d’à côté, La (1981), 243, 246, 313Femme de Jean, La (1974), 189Femme de l’aviateur, La (1981), 247Femme de nulle part, La (1922), 36, 96, 121Femme du boulanger, La (1938), 115, 117,
119Femme qui pleure, La (1979), 189 Femmes s’en balancent, Les (1954), 181Fernand cow-boy (1956), 181Fernandel, 61, 102, 104, 105, 106, 115,
137, 166, 167, 180, 181 Ferran, Pascale, 250Ferro, Marc, 278Ferroukhi, Ismaël, 310Ferry, Jules, 219Fescourt, Henri, 27, 73, 120Festival de Films Gays et Lesbiens de
Paris, 314Festival des Maudits Films, 326Festival International de Programmes
Audiovisuels (FIPA), 275 Festival International du Documentaire
de Marseille (FIDMarseille), 275Festival International du Film Chiant,
326 Festival of Arab Films, 326 Fête espagnole, La (1919), 36Feu aux poudres, Le (1957), 181Feu, Le (1916), 28Feuillade, Louis, 7, 8, 9, 10, 11, 12, 13, 17,
110, 123, 146 Fiançailles de Monsieur Hire, Les (1933),
125Fiancée du pirate, La (1969), 189 Fiches du cinéma, Les, 138Fidélité Production, 251Fierrot le pou (1990), 308Fieschi, Jean-André, 189Fièvre (1921), 36, 96, 121Figaro, Le, 53Fil, Le (2009), 316 Fille de la route, La (1959), 117Fille du puisatier, La (1940), 123Fille du sonneur, La (1906), 7
Film, Le, 11, 91 Film d’Art, 8, 9, 10, 11, 12, 17, 18, 27, 33,
35, 36, 50 Film de France, 73 Film est déjà commence?, Le (1951), 99,
227, 228 Film Fables (2001), 332 Film flamme, 290Film français, Le, 175Film socialisme (2010), 247Filmeur, Le (2004), 253Films Abel Gance, Les, 18Films Albatros, 19, 27, 73Films André Legrand, 12Films Ariane, Les, 168Films d’Ici, Les, 251, 279, 280, 282, 283 Films de l’Ange, Les, 316Films du Losange, 247Films du Village, Les, 279Films Grain de Sable, Les, 279Films Louis Nalpas, 12 Films Molière, Les, 18 Films Succès, 11Fin août, début septembre (1998), 249Fin des Pyrénées, La (1971), 203 Finis Terrae (1929), 96, 115 First National, 11Flacky et camarades (Le cheval de fer)
(1978–2008), 290Flaherty, Robert, 198, 293Flamant, Georges, 109Flandres (2006), 249Flaubert, Gustave, 37 Fleckinger, Hélène, xv, xixFlesh and Fantasy (1943), 70Flic Story (1975), 188Flichy, Patrice, 207FLN (Front de Libération Nationale),
222, 223Florelle, 102 Florey, Robert, 67, 68, 102Foire aux chimères, La (1946), 69 Folie du Docteur Tube, La (1915), 28, 36Folies-Bergère (1956), 106, 107, 181Folle de Toujane, La (1974), 191, 222Fondane, Benjamin, 144, 145 Fonds d’Action Sociale, 304 Fonds de Développement Économique
et Social (FDES), 168Fonds de Soutien, 170–1Fonds ECO (Fonds d’Aide aux
Coproductions avec les Pays d’Europe Centrale et Orientale), 257
Gaumont-Actualités, 8Gaumont-MGM (GMG), 73Gauthier, Christophe, 50Gazette des Sept Arts, La, 55Gazolines, Les, 313Gazon maudit (1995), 315Gégauff, Paul, 157Gelin, Daniel, 159Gendarme à New York, Le (1965), 188Gendarme de Saint-Tropez, Le (1964),
188Gendarme et les gendarmettes, Le (1982),
188Gendarme se marie, Le (1968), 188Généalogie d’un crime (1996), 249Génération néant (1993), 291Genèse d’un repas (1979), 302Genet parle d’Angela Davis (1970), 206 Genet, Jean, 98, 191, 192, 203, 205, 288,
314
Genina, Augusto, 61 Gens, Xavier, 252Géographie humaine (2013), 283Géographie humaine, La (1910), 42George, Sylvain, 286Gérard de la nuit (1955), 183Gerilla (2011), 293Germany Year Zero (1948), 117Germinal (1885), 117Germinal (1993), 117Gervaise (1956), 181 Getino, Octavio, 193, 292Gevacolor, 172, 173 Ghalem, Ali, 305Gheerbrant, Denis, 274, 276, 277, 279,
252 Gracian, Baltasar, 194Grain de Sable, 194Graine et le mulet, La (2007), 242, 252,
310Grand Bleu, Le (1988), 245Grand Frère, Le (1982), 305Grand Jeu, Le (1933), 110 Grand Pardon, Le (1981), 224Grand Soir, Le (2011), 303Grand Voyage, Le (2003), 310Grandais, Suzanne, 9, 11, 12Grande Illusion, La (1937), 76, 102, 148 Grande Lutte des mineurs, La (1948), 191Grande Vadrouille, La (1966), 188Grandes Familles, Les (1956), 107Grandes Gueules, Les (1965), 187Grandes Manoeuvres, Les (1955), 106, 108,
285Hitchcock, Alfred, 116Hitler, Adolf, 63, 64, 131Hitler: A Film from Germany (1977), 190 Hitler, connais pas (1963), 213Ho! (1968), 187Hocquenghem, Guy, 313Hölderlin, Friedrich, 195Hollaender, Friedrich, 64 Hollande, François, 225, 320Hollow Men, The (2005), 253Hollywood Pictures, 257Holt, Jany, 125Holy Motors (2012), 246Holy Year 2000 (2008) 295Homéo (1967), 196 Homme à l’Hispano, L’ (1933), 83Homme au bain (2010), 320Homme blessé, L’ (1983), 249, 313Homme du jour, L’ (1936), 102Homme du large, L’ (1920), 12, 122Homme du Niger, L’ (1939), 220Homme est une femme comme les autres, L’
(1998), 308Homme ordinaire du cinéma, L’ (1980),
333 Homme que j’aime, L’ (1997), 314Homme qui assassina, L’ (1931), 63 Hommes de la baleine, Les (1956), 183Hommes libres, Les (2011), 310Hommes nouveaux, Les (1936), 220Honegger, Arthur, 96Honneur d’un capitaine, L’ (1982), 224Honorable Catherine, L’ (1942), 106
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Honoré, Christophe, 252, 319Horloge, L’ (1924), 94Horloger de Saint-Paul, L’ (1974), 189Hors la loi (2010), 310Hors Satan (2011), 249 Hôtel de France (1987), 249Hôtel des Invalides (1951), 183Hôtel du Nord (1938), 61, 102, 110, 111,
I Am Somebody (1970), 204I Love You (2004), 289I Want to Go Home (1989), 248 Ibert, Jacques, 83Ichac, Marcel, 174, 183Ignace (1937), 102Ikiru (1952), 196Il était une fois dans l’oued (2007), 309,
310Île d’amour, L’ (1943), 106Île de beauté (1996), 287Illich, Ivan, 292Illusions perdues, Les (1837), 22Ils ne mouraient pas tous mais tous étaient
frappés (2005), 300Ils ont tué Khader (1981), 306Images d’Afrique (1931), 44 Images de la nouvelle société (1969–70), 193 Images documentaires, 276Images en bibliothèques, 276Imaginaire, L’ (1940), 235Imaginary Signifier: Psychoanalysis and the
Cinema, The (1977), 232Immemory (1997), 253Immortelle, L’ (1962), 186 Imposter, The (1943), 70Impressions (2011), 289, 290In girum imus nocte et consumimur igni
(1978), 199Ince, Thomas, 11Inch’allah dimanche (2001), 310Inconnu du lac, L’ (2013), 252, 320Inconnus dans la maison, Les (1943), 123Inconnus de la terre, Les (1961), 177, 183, 213Indigènes (2006), 225, 252, 253, 310, 311
Indochine (1992), 224, 311Inez (1974), 207Ingram, Rex, 27 Inhumaine, L’ (1924), 96, 123Initiation à la danse des possedés (1949),
132Innocents, Les (1987), 314Insoumuses, Les, 178, 205, 206, 207Inspecteur Lavardin (1986), 247Institut des Hautes Études
Institut Lumière, 248 Institut National de l’Audiovisuel (INA),
189, 276, 277, 278, 279Institut pour le Financement du Cinéma
et des Industries Culturelles (IFCIC), 254, 268
Intolerance (1916), 36 Intouchables (2011), 252, 259, 311Intrigues de Sylvia Couski, Les (1974), 313Introduction à une nouvelle poésie et à une
nouvelle musique (1947), 197Intrus, L’ (2000), 332Intrus, L’ (2004), 252Invisibles, Les (2012), 315Iosseliani, Otar, 277Irène (2009), 253Irma Vep (1997), 249ISKRA, 192, 194Isola, Émile, 6Isola, Vincent, 6Isou, Isidore, 99, 196, 197, 198, 199, 215,
227Issartel, Marielle, 189, 204Italian Film Festival, 326Itchkéri Kenti (2007), 293Itto (1934), 220Ivan the Terrible (1944), 236 Ivens, Joris, 190, 192, 193, 207, 214, 223,
275Ivresse du pouvoir, L’ (2006), 248Ixe (1980), 196, 313
J’accuse! (1919), 13, 28, 36, 95, 120, 121 J’ai (très) mal au travail (2006), 300J’ai huit ans (1961), 191, 223J’ai pas sommeil (1994), 246, 308J’aimerais j’aimerais (2007), 316 J’étais une aventurière (1938), 120Jäckel, Anne, xv, xviiiJacob, Max, 90 Jacobs, Lea, 108Jacq, Philippe, 287Jacquot, Benoît, 252Jacquot de Nantes (1991), 248Jaeckin, Just, 171Jahier, Valéry, 147Jajouka, quelque chose de bon vient vers toi
(2012), 291Jalousie, La (2013), 252Jamaica Inn (1939), 116Janco, Marcel, 90
Jane B. par Agnès V. (1987), 248Janssen, Pierre-Jules-César, xviii, 3, 14,
21Jaoui, Agnès, 252Japonaiserie (1904), 31 Jardin, Pascal, 157Jardinier et le petit espiègle, Le (1895), 28Jarmusch, Jim, 245, 246Jasset, Victorin, 8, 9, 10Jaubert, Alain, 278Jaubert, Maurice, 110Jay, Martin, 215Je chante (1938), 103Je rêvais d’être un Jedi (2006), 325Je suis partout, 148 Je tu il elle (1974), 189 Je vais chercher du pain (1906), 16Je vous salue, Marie (1985), 195, 246Jean de Florette (1986), 245Jean-Claude Carrière, scénariste (1994),
Level 5 (1997), 193, 253Leveratto, Jean-Marc, xv, xxLevine, Alison, xv, xixLevrier, Philippe, 267Lévy et Galioth (1987), 308Leynaud, Jean-Gabriel, 294Lhomme, Pierre, 177, 186, 213, 223Liberation of France, xv, 68, 101, 118,
125, 126, 187, 212, 214, 227, 228, 229, 238, 252
Libert, Catherine, 286Lifshitz, Sébastien, 314, 315, 316, 317Ligne de mire, La (1960), 184Ligue de l’Enseignement, 222, 228Linder, Max, 8, 9, 10, 12, 19, 32, 33 Lion, sa cage et ses ailes, Le (1975–7), 216,
292Lioret, Philippe, 303, 309Lioult, Hélène, 205Lip, l’imagination au pouvoir, Les (2007),
Lumières de Paris (1938), 66, 102Lune dans le caniveau, La (1983), 245 Lustig, Hanns G., 64Lux, 8, 10, 18, 27Lux Film, 168 Lvovsky, Noémie, 250Lyautey, Marshal Hubert, 220Lydia (1941), 70Lynn, Emmy, 11Lyonnais, Les (2011), 251 Lyotard, Jean-François, 328
Ma mère (2004), 319Ma mondialisation (2006), 301Ma part du gâteau (2011), 303Ma vie en rose (1997), 317Ma vraie vie à Rouen (2002), 316Mac Orlan, Pierre, 109, 123Macbeth (1909), 34Mad Movies, 325 Madame a des envies (1906), 32Madame de ... (1953), 106, 183Madame et le mort (1943), 124Madame Sans-Gêne (1911), 9, 34Made in USA (1966), 176Maestro (1997–2008), 278Magic Bricks (1904), 31magic lantern, 3, 25, 30, 46Maids, The, 288Maigné, Liliane, 124 Maigret tend un piège (1958), 181Main de fer (1912–13), 10Mais qu’est-ce qu’elles veulent? (1975–8),
189, 204Maison des bois, La (1971), 201, 202Maison du Maltais, La (1938), 220Maîtres fous, Les (1955), 221, 222, 290Maïwenn, 251Makhno, Nestor, 285Maladie du sommeil, La (1929), 128Malespine, Émile, 93 Malevich, Kazimir, 332Malheurs de Sophie, Les (1946), 126Mallarmé, Stéphane, 36Malle, Louis, 153, 176, 183, 184, 189, 215,
280Malraux, André, 68, 117, 149, 150, 153,
169, 184, 186, 229, 237, 249, 329Mam’zelle Bonaparte (1942), 106, 124Maman et la putain, La (1973), 189, 216Mandy, Marie, 318Manèges (1950), 125, 181Manès, Gina, 121Manger pour vivre (1953), 183Mangiante, Bernard, 279Mangolte, Babette, 189Manhatta (1921), 91Manipulations (2004), 292Mannoni, Laurent, xv, xviii Manomètre, 93 Manon (1949), 125Manon Lescaut (1731), 125Mao par lui-même (1977), 189
Marret, Mario, 183, 193Marseillaise, La (1937), 114, 115, 147Marseille contre Marseille (1996), 278Marshall, Tonie, 318Marthe Richard au service de la France
291Mnouchkine, Alexandre, 69 Mograbi, Avi, 280Mogulescu, Miles, 204Moguy, Leonide, 73Mohamed Bertrand-Duval (1991), 308 Moi, Pierre Rivière, ayant égorgé ma mère,
ma soeur et mon frère ... (1976), 190
Moi, un Noir (1958), 185, 223Moigno, Abbé, 3Moiroud, Marcel, 205, 206Moiroud, Marcque, 206Moisson, Charles, 4Molière, 89, 161Molinaro, Édouard, 188, 313Mollenard (1938), 117Môme vert-de-gris, La (1953), 181Môme, La (2007), 251, 252 Momenceau, Éponine, 286Moments choisis des Histoire(s) du cinéma
(2001), 288Mon député et sa femme (1937), 105 Mon oncle (1958), 158, 180Mon oncle d’Amérique (1980), 248Mon oeil, 204, 206 Mon père est ingénieur (2004), 250Monca, Georges, 8, 9, 10Monde, Le, 283, 306Monde du silence, Le (1956), 183Monde est à nous, Le (1929), 40, 41 Mondovino (2004), 302Monet, Claude, 289Monique (Lip I) (1973), 208Monnikendam, Vincent, 225Monsieur Ibrahim et les fleurs du Coran
New York Zero Zero (2006), 290News from Home (1977), 190Newsreel collective, 193, 204, 295Neyret, Jean, 15Nhieim, Sothean, 286Nichols, Bill, 131Nico, 201, 203, 216Nicole et sa vertu (1931), 105Nietzsche, Friedrich, 54Night of the Hunter (1955), 286Nikita (1990), 245Noble, Peter, 105Noël-Noël, 124Nogent, Eldorado du dimanche (1929), 113,
114Noire de…, La (1966), 215Noiret, Philippe, 160Nolot, Jacques, 315Nom de la rose, Le (1986), 245Nonguet, Lucien, 6 Nordisk, 9 Nortier, Nadine, 201Nossiter, Jonathan, 302Notes on the Cinematograph (1975), 200 Notes pour Debussy (1993), 293Notice sur le Cinématographe (1896), 25Notre-Dame de Paris (1911), 9Notre-Dame de Paris (1956), 181Notre musique (2004), 247Notre planète la terre (1946), 183Notre trou de cul est révolutionnaire (2006),
319Nous étions tous des noms d’arbres (1982),
292Nous ne vieillirons pas ensemble (1972), 189 Nous, sans papiers de France (1997), 306Nouveau Monde, Le (2008), 320Nouveaux horizons (1953), 174Nouveaux Mystères de New York, Les
(1976–81), 189 Nouvelle Mission de Judex, La (1917), 35 Nouvelle vague (1990), 246Novalis, 195Nu lacté (2002), 290Nude Descending a Staircase (1912), 89Nuit fantastique, La (1942), 78Nuit remue, La (2012), 293Nuits de la pleine lune, Les (1984), 247Nuits fauves, Les (1992), 313, 314 Numéro deux (1975), 215, 287 Nuytten, Bruno, 155, 245
O Saisons, O Châteaux (1956), 183O’Brien, Charles, xvi, xix O’Leary, Étienne, 196
Octobre à Madrid (1964), 203Octobre à Paris (1962), 214, 223Odette Robert (1977), 189Odoutan, Jean, 309Oeil au beur(re) noir, L’ (1985), 306 Offenbach, Jacques, 103 Office de Radio-Télévision Français
(ORTF), 170, 189, 206, 276, 281Ogier, Bulle, 203Old Place, The (1998), 195, 246Olivia (1950), 107, 108Olivia, Marie-Claire, 107Oliviers de la justice, Les (1961), 223Olympia 52 (1952), 193 Ombre des femmes, L’ (2015), 252On a Clear Day (2008), 295On connaît la chanson (1997), 248On Hitler’s Highway (2002), 295On ne choisit pas sa famille (2011), 319On vous parle de (1969–73), 194 One Night Stand (2006), 318One Sixth of the Earth (1926), 193 Onésime (1912–19), 9 Onteniente, Fabien, 251Opéra de quat’sous, L’ (1930), 65, 66, 102Opéra-Mouffe, L’ (1958), 193 Opération béton (1954), 183Ophélie et Marat (2001), 287Ophuls, Marcel, 189, 274, 281Ophuls, Max, 64, 67, 71, 106, 107, 108,
120, 172, 182, 183, 184Ordre des mots, L’ (2007), 316Organisation Armée Secrète (OAS), 224Origine contrôlée (2001), 318 Orphée (1950), 98, 182Oscar (1967), 188Oser, Jean, 64OSS 117: Le Caire, nid d’espions (2006),
251, 324, 325OSS 117: Rio ne répond plus (2008), 324,
114, 115, 117, 119, 123, 146, 182, 250Painlevé, Jean, 97, 98, 127, 183 Paisan (1946), 212, 200Palettes (1989–2003), 278Palombière, La (2002), 290 Paluche camera, 178Pandora’s Box (1928), 65 Pandora’s Digital Box: Films, Files and the
Future of Movies (2012), 273Pane, Gina, 288Panijel, Jacques, 214, 223Panique (1946), 60, 70, 111, 125Panorama de Monte Carlo (c. 1900), 39 Panorama des rives du Nil (1896), 39Panorama du Grand Canal pris d’un bateau
(1896), 39Panorama en Guinée (pris à l’avant d’un
train) (1907), 39Par un beau matin d’été (1965), 187Paradis blanc, Le (1985), 291Paradis, Le (2014), 253Parafrance, 170 Paramount, 10, 11, 62, 73, 75, 76, 81, 83 Parapluies de Cherbourg, Les (1964), 184Parents terribles, Les (1948), 107, 108,
30, 38Paris nous appartient (1961), 160, 184Paris port de mer (1953), 183Paris qui dort (1923–4), 91 Paris qui ne dort pas (1954), 183Paris s’éveille (1991), 246Paris vu par... (1965), 184Parisien libéré, Le, 148 Paris-Midi, 11, 70 Parking (1985), 248Parnaland, Ambroise-François, 4,
24, 25 Pas sur la bouche (2003), 248Pas très catholique (1994), 318Pascal, Blaise, 186, 200, 201 Pasolini, Pier Paolo, 238, 319Passe du diable, La (1956), 155 Passe ton bac d’abord (1978), 190, 202Passion (1982), 159, 246Passion, La (1913), 27Passion de Jeanne d’Arc, La (1928), 25 Pasteur (1922), 96Pater (2011), 253
Pathé, Émile, 5, 6, 8, 26Pathé, Théophile, 8Pathé-Baby, 11, 18 Pathé-Cinéma, 11, 13, 18, 73 Pathé-Consortium, 11, 13, 18, 73, 157 Pathé-Exchange, 10, 35Pathé-Faits Divers (1908), 34Pathé-Frères, xviii, 6, 7, 10, 15, 39, 73 Pathé-Journal, 8, 34Pathé-Kok, 8, 11, 15 Pathé-Magazine, 159Pathé-Natan, 75, 83, 84, 86, 136, 137 Patrons-télévision (1978), 189Pattes blanches (1949), 115, 116Paul, Robert, 4, 6, 23, 30 Pauline à la plage (1982), 247Paulvé, André, 67Pauvre Pierrot (1892), 3Pays des sourds, Le (1992), 279Paysages (1993–2000), 278Paysages du silence (1946), 183Paysannes (1978–9), 189Paysans noirs (1943), 131Peau douce, La (1964), 186 Pêche à la morue en Terre Neuve, La (1922),
43Péchés de jeunesse (1941), 123Pêcheurs d’Islande (1924), 115Pecqueux, Maurice, 64Pédale douce (1996), 317Peintre néo-impressioniste, Le (1910), 34 Peinture en action, La (1967), 194Peirce, C.S., 235Pélerins de la Mecque (1940), 131Pensées (1670), 200Pension Mimosas (1935), 110Pépé le Moko (1937), 70, 76, 102, 110, 139,
219 Perconte, Jacques, 285, 289, 290Père Noël a les yeux bleus, Le (1966), 186Perec, Georges, 215Perez, Vincent, 317Perfect Day (2008), 287 Perfectone, 176, 177 Périer, François, 124, 125, 160, 181Perils of Pauline, The (1914), 33, 35Périot, Jean-Gabriel, 285Perles de la couronne, Les (1937), 76Perreault, Al, 190Perret, Gilles, 301Perret, Léonce, 8, 9, 10, 27, 34Perrin, Charles, 139Perrin, Jacques, 225Pétain, Philippe, 130, 141 Petit, Louis-Julien, 303Petit Chat est mort, Le (1991), 308Petit Chose, Le (1912), 10
Petit Chose, Le (1923), 118Petit Cirque mexicain, Le (1975), 189Petit Garçon de l’ascenseur, Le (1962), 187Petit Lieutenant, Le (2004), 252Petit Monde de Don Camillo, Le (1952),
167, 180Petit Parisien, Le, 11 Petit Soldat, Le (1961), 184 Petite école du spectateur, 147Petite Gironde, La, 48Petite Jérusalem, La (2005), 309Petite Lili, La (1927), 121 Petite Lise, La (1930), 83, 84, 120Petite Marchande d’allumettes, La (1928),
25Petite Ville (1962/1967), 213Petits Drames, Les (1961), 186Petits Mouchoirs, Les (2010), 251Petsch, Maurice, 75Peuple en marche (1961), 192Peur sur la ville (1975), 187Peyrusse, Claudette, 105, 115Phénakistoscope, 3Philibert, Nicolas, 189, 274, 277, 279, 281Philipe, Gérard, 107, 108, 117, 125, 126,
Qu’est-ce qu’on a fait au bon Dieu? (2014), 259, 311
Qu’est-ce que le cinéma? (1958), 237Quai des brumes, Le (1938), 76, 77, 110,
115, 116, 117, 120, 141, 220Quai des Orfèvres (1947), 111, 125Quand les femmes ont pris la colère (1977),
191Quand on aime la vie, on va au cinéma
(1975), 194Quand tu liras cette lettre (1953), 185Quatorze juillet (1932), 102, 103Quatorze juillet (1953), 1834 aventures de Reinette et Mirabelle (1987),
247400 Coups, Les (1959), xvii, 176, 184, 212,
243Quatre Charlots mousquetaires, Les (1974),
188Quatre Lieutenants français, Les (1994),
225 Que la fête commence ... (1975), 189Queer Factory Tales (2004), 318Quelle joie de vivre (1961), 187Quelque part, quelqu’un (1972), 215Quentin, Florence, 252Question d’identité (1986), 277Question humaine, La (2007), 300Queysanne, Bernard, 215Quo Vadis? (1913), 9
r.v. (1994), 314Rabinovitch, Gregor, 62Race d’Ep! Un siècle d’images de
l‘homosexualité (1979), 313Racine, Jean, 107, 148, 200Radiguet, Raymond, 125Raï (1995), 307Raid, Le (2002), 309Raid Paris-Monte-Carlo en deux heures, Le
Renoux, René, 181Rentrée des classes (1955), 183Repas de bébé (1895), 4Répétition, La (2001), 318Réponses de femmes (1975), 189Reprise (1997), 301Reprise du travail aux usines Wonder, La
Ressources humaines (2000), 300Retour, Le (1959), 223 Retour à la raison (1923), 91 Retour de Don Camillo, Le (1953), 167, 180 Reulos, Lucien, 23Rêve d’usine (2003), 300 Révélateur, Le (1968), 202Reverdy, Pierre, 195Revol, Hubert, 157, 159Révolution en Russie, La (1905), 6Revue des deux mondes, La, 10Revue documentaires, La, 275 Revue du cinéma, La, 145, 146, 237 Rey, Nicolas, 286Reynaud, Émile, 3, 6, 21, 23, 30Ricci-Lucchi, Angela, 225Richard, Denis, 13 Richebé, Roger, 68, 102, 107, 109Richet, Jean-François, 299, 307–8Richol, Hélène, 200Richter, Hans, 91Rien de personnel (2007), 300Rien ne va plus (1997), 248Rien que les heures (1926), 68, 97, 285,
229, 235, 247Roi de l’évasion, Le (2009), 252, 320Roi des resquilleurs, Le (1930), 103Roi du cirage, Le (1931), 86Roinsard, Régis, 251 Rois du sport, Les (1937), 108Rois et reine (2004), 249
Roland, Ruth, 10, 35Rolland, Jean-Louis, 313Romain, Jules, 90Roman d’un mousse, Le (1914), 10Roman d’un tricheur, Le (1936), 76, 105Romance (1999), 249, 250Romance de Paris, La (1941), 106Romance, Viviane, 109, 113, 119, 120,
123, 125Rome-Paris Films, 168Romuald et Juliette (1989), 306Ronde, La (1950), 106, 108, 183Rosay, Françoise, 67 Roseaux sauvages, Les (1994), 250, 314 Rose-France (1919), 12Rosen, Philip, 40Rosi, Franceso, 245Rosière de Pessac, La (1969), 186Rosière de Pessac, La (1979), 189Ross, Jayne, 286Ross, Kristin, 211, 216Rossellini, Roberto, 117, 200, 212, 236, 293Rossi, Tino, 102, 103, 106, 181Roüan, Brigitte, 311Rouaud, Christian, 301Rouch, Jean, 132, 155, 176–7, 183, 185,
Roudakoff, Nikolas, 73 Roudil, Marc-Antoine, 300Roue, La (1923), 36, 91, 96, 121Rouergue, Le (1937), 129, 131Rouge, Le (1969), 194Rouge est mis, Le (1957), 181Rouge et le Noir (1954), 107Rouquier, Georges, 131, 132, 183, 212,
274Roussel, Arthur, 8Rousselet, André, 243Rousselot, Philippe, 155Rousso, Henry, 225Roussopoulos, Carole, 204–9, 211Roussopoulos, Paul, 205, 209Route est belle, La (1929), 68, 102Route One USA (1989), 278Royaume (1991), 291Rozier, Jacques, 161, 183, 184Rue de l’Estrapade (1953), 182Rue des archives (1978–81), 276 Rue sans nom, La (1933), 109Ruggia, Christophe, 303Ruiz, Raúl, 155, 217, 249Ruscio, Alain, 225Ruses du diable, Les (1965), 186Ruspoli, Mario, 177, 183, 213Russell, Ben, 290Rythmus 21 (1921), 91
S’en fout la mort (1990), 246, 308, 311Saadoun, Paul, 279Sabatier, Roland, 200Sabotier du Val de Loire, Le (1955), 183Sacre du printemps, Le (1913), 89
Sadoul, Georges, 11, 28, 29, 34, 148, 229, 237
Sagan (2008), 318Sagat, Emmanuel, 320Saïa (2000), 293Said, Edward, 219Saint Laurent (2014), 252Saint-Cyr, Renée, 109, 124Saint-Just, 194Saint-Laurent, Cecil, 126Saint-Saens, Camille, 34Saint-Simon, 89 Salaire de la peur, Le (1952), 107Salammbô (1862), 37Sale comme un ange (1991), 249Salé, Christian, 157Salt, Barry, 107, 108Salut Cousin! (1996), 308Salut les Cubains (1963), 186Samani, Julien, 285Samba (2014), 311Samia (2000), 310Samouraï, Le (1967), 186Samson, Michel, 278Sandberg, Serge, 7, 9, 10, 11, 12, 13Sandy, Alfred, 93Sang d’un poète, Le (1932), 98, 198Sang des bêtes, Le (1949), 98, 132, 133, 212Sanguinetti, Gianfranco, 291Sans lendemain (1940), 120 Sans soleil (1983), 193, 253Sans toit ni loi (1985), 248, 298, 299Sapène, Jean, 13, 18–19, 73Sarati le terrible (1937), 220Sarkozy, Nicolas, 219, 258Sarraut, Albert, 128Sartre, Jean-Paul, 150, 212, 222, 235, 236Sasa, Genju, 292Satan bouche un coin (1968), 195Satie, Erik, 30, 91Sauf le respect que je vous dois (2006), 300Sauper, Hubert, 302Sautet, Claude, 211Sauvage, André, 96–7Sauvage, Jean-Jacques, 118Sauve qui peut (la vie) (1980), 159, 246Sauve-moi (2000), 309Scènes de la vie telle qu’elle est (1911–13),
319, 320Scott, Allen, 261–2, 263Scotta, Carole, 251Seagram, 262 Seban, Paul, 186Seberg, Jean, 212, 216Second Sex (1949), 125Second Surrealist Manifesto (1930), 97Seigner, Louis, 160Sellier, Geneviève, xix, xv, 101, 186Sembène, Ousmane, 215Sennett, Mack, 33 Sentinelle, La (1992), 249Sept, La (Société d’Édition des
Programmes de Télévision), 274–5, 276, 277, 278, 279, 280, 281
Sérénade au Texas (1958), 181Sergent, Jean-Pierre, 224Série noire (1979), 189 Serner, Walter, 90Serreau, Coline, 189, 204, 252, 277, 306Service de la Recherche de la Radio
Télévision Française, 177 Service du Cinéma, 67, 78Seule (2008), 300Séverin-Mars, 36, 120, 121Seydoux, Léa, 252, 318Seyrig, Delphine, 205, 206, 207Sheeler, Charles, 91Si j’avais quatre dromadaires (1966), 186Si Paris nous était conté (1955), 106Si Versailles m’était conté (1954), 106, 181Sibirskaïa, Nadia, 84, 120Sida: pour que cesse cette héctacombe
(1993), 314Sievers, Aaron, 290Signe du lion, Le (1962), 156, 184Signoret, Simone, 125, 181Sigurd, Jacques, 181Silence, Le (1920), 36Silence de la mer, Le (1949), 185, 212Silence est d’or, Le (1946), 106Silent Cry, The (1977), 190 Silent Movie (1995), 288Sils Maria (2014), 249Silver, Marcel, 94Simenon, Georges, 70, 109, 125, 180Simon, Claire, 252, 274, 278, 279, 281,
6 Films infinitésimaux et supertemporels (1967–75), 199
Six fois deux (Sur et sous la communication) (1976), 178, 189
16mm, 196, 204, 287, 288, 290, 292Sjöström, Victor, 11Ski, Le (1908), 32Ski de France (1947), 183Skladanowsky brothers, 23Smith, Adam, 201Smith, Alison, xvi, xviii Smith, G.A., 31Smoking/No Smoking (1993), 248Smooth One, 290Snow, Michael, 287Sochaux 11 juin 68 (1970), 193Socialisme et Barbarie, 213Société Cinématographique des Auteurs
et Gens de Lettres (SCAGL), 8, 9, 10, 11, 13, 17, 18, 27, 34
Société Civile des Auteurs Multimédia (SCAM), 280
Société d’Éditions Cinématographiques (SEC), 13
Société d’Encouragement pour l’Industrie Nationale, 23
Société de Financement de l’Industrie Cinématographique et Audiovisuelle (SOFICA), 254
Société des Cinéromans, 12, 13, 18, 73 Société des Établissements Gaumont, 15 Société des Films Jean Renoir, 68 Société des Films Osso, 62Société des Phonographes et
Cinématographes Lux, 18Société des Réalisateurs de Films, 311Société du Cinéma Panthéon, 68 Société du spectacle, La (1973), 199Société Française de Photographie, 26Société Française des Films Éclair, 18 Société Générale des Cinématographes
Radios, 18Société Nouvelle Pathé Cinéma, 172Société pour le Lancement des Oeuvres
Nouvelles (SLON), 192, 239Society of Motion Picture and Television
Engineers (SMPTE), 265Sohnle, Hans, 64Soif des hommes, La (1949), 220Soigne ta droite (1987), 195, 246Soirées de Paris, Les (1914), 90Solanas, Fernando, 193, 292Solari, Francesca, 286Soleil, la mer, le coeur et les étoiles, Le
(1984), 291Sombre (1998), 287, 288Son frère (2004), 319Sonimage, 195Sony, 177 Sorin, Cécile, 181Sortie d’usine, La (1895), 4, 48Sortilège exotique (1943), 131Sou Hami: la crainte de la nuit (2010), 292
Soukaz, Lionel, 196, 285, 287, 290, 313, 314, 319
Soulages, Pierre, 199Soulèvement de la jeunesse, Le (1969),
199Soupault, Philippe, 55, 90, 97Souriante Madame Beudet, La (1923), 94Sous le sable (2000), 252Sous le soleil de Satan (1987), 248Sous les pieds des femmes (1997), 310Sous les toits de Paris (1930), 62, 102,
285Strauss-Kahn, Dominique, 285Stravinsky, Igor, 89Stromboli (1950), 293Studio de la Victorine, 12, 27, 70Studio des Ursulines, 95, 136 StudioCanal, 261Sturges, Preston, 184Subway (1985), 245Sucre amer (1964), 191Sucriers de Colleville, Les (2004), 300Sue, Eugène, 109Sultane de l’amour, La (1919), 37Sunny Side of the Doc, 275 Super 8, 177, 196, 204, 287, 288, 290,
291, 306Super 16mm, 291Sur le passage de quelques personnes à
travers une assez courte unité de temps (1959), 215
Sur les cendres du vieux monde (2001), 300
I n d e x 367
Copyrighted material – 9781844574650
Copyrighted material – 9781844574650
368 T H E F R E N C H C I N E M A B O O K
Sur un air de Charleston (1927), 95Surprise Boogie (1956), 196Surrealism, xx, 29, 32, 46, 51, 91, 94, 95,
97, 98, 120, 132, 143–4, 146, 199, 221, 227, 249
Survage, Léopold, 90, 143Suspects, Les (1957), 181 Suzanne Simonin, la religieuse de Denis
Diderot, (1966), 184, 186Swaim, Bob, 305Swift, Jonathan, 197Swimming Pool (2003), 318Swing (2002), 309Sy, Omar, 252, 311Syberberg, Hans-Jürgen, 190Symphonie exotique, La (1931), 44Symphonie pastorale, La (1946), 106 Symphonie pour un massacre (1963),
187Synchronisme Cinématique, 92 Syndicat Français d’Artistes-interprètes
299Thoulouze, Michel, 280Thousand Plateaus, A (1980), 330Three Lives (1971), 204Threepenny Opera, The (1930), 65Thune, La (1991), 308Tic, Le (1908), 32Tigre se parfume à la dynamite, Le (1965),
186 Tih Minh (1919), 11, 12 Tijou, Brigitte, 314Tillion, Germaine, 221, 222Timon of Athens (c. 1605), 158Tinel-Temple, Muriel, xxTirez sur le pianiste (1960), 155, 176, 184,
244, 245, 246, 248Totalvision, 174Toubiana, Serge, 239Toubon, Jacques, 249, 260Touchez pas au grisbi (1954), 181, 182Touchstone Pictures, 257 Tour, La (1925), 93Tour du monde d’un policier, Le (1906),
191Trauner, Alexandre, 65, 67, 110, 117, 181Travail (1920), 13, 34Travail et Culture, 228, 237Travailleurs de la mer, Les (1917), 37 Traversée de Paris, La (1956), 107Traversée du Grépon, La (1923), 96Traversée du Sahara, La (1923), 43, 44Trebitsch, Michel, 216Treilhou, Marie-Claude, 274Treize à table (1955), 181Trenet, Charles, 103, 10635 rhums (2009), 25237°2 le matin (1986), 24536 fillette (1988), 24936 Quai des Orfèvres (2004), 25136 vues du Pic Saint-Loup (2009), 247 Trésor des Pieds Nickelés, Le (1949), 181Trewey, Félicien, 22Trillat, Marcel, 299Trintignant, Jean-Louis, 160Trintignant, Nadine, 189Triple agent (2004), 247 Trivas, Victor, 65317e Section, La (1965), 224Trois Cousins, Les (1970), 1913-D, 173–4, 237, 247, 253, 266, 269, 270,
285Trois Désastres, Les (2013), 247, 285Trois garçons sur la route (1983), 306Trois Mousquetaires, Les (1913), 10 Trois Mousquetaires, Les (1921), 133 Mousquetaires, Les (1953), 181Trois places pour le 26 (1988), 248Trois souvenirs de ma jeunesse (2015), 249Trois vies et une seule mort (1995), 249Trop tôt, trop tard (1982), 200Trotsky, Leon, 192 Trou, Le (1960), 182Trouble Every Day (2001), 246 Truffaut, François, xvii, 101, 106, 112,
UGC Fox Distribution (UFD), 257 Un air de famille (1996), 319Un amour à Paris (1987), 305Un amour de femme (2001), 320Un amour de jeunesse (2011), 252Un amour de Swann (1984), 159Un ange passe (1975), 203Un bon bock (1892), 3Un carnet de bal (1937), 76Un certain monsieur (1950), 181Un chant d’amour (1950), 98, 191, 192Un chien andalou (1929), 97 Un condamné à mort s’est échappé (1956),
182Un conte de Noël (2008), 249Un corps sans visage (2012), 285Un coup d’oeil par étage (1904), 32 Un enfant est malade (1994), 276Un film (1983), 202, 203 Un fils (2003), 316Un flic (1972), 188Un homme et une femme (1966), 187Un homme marche dans la ville (1950), 117 Un homme qui dort (1974), 215Un long dimanche de fiançailles (2004), 260Un navet (1975–7), 203Un portrait de Parvaneh Navaï (1983), 288 Un prophète (2009), 252Un revenant (1946), 118, 125Un sac de billes (1975), 189Un singe en hiver (1962), 187Un soir au cinéma (1962), 197Une affaire de femmes (1989), 247Une balle au coeur (1966), 184 Une chante, l’autre pas, L’ (1977), 189, 190 Une dame vraiment bien (1908), 32Une femme coquette (1955), 183Une femme est une femme (1961), 176, 230 Une nouvelle vie (1993), 246Une partie de campagne (1936/1946), 98,
112, 113, 114Une place dans la République (2005), 294Une poste à la Courneuve (1994), 301Une saison au paradis (1997), 280Une si jolie petite plage (1949), 108, 116,
125, 181Une simple histoire (1958), 200, 201Une vie (1958), 184Une vie meilleure (2011), 303Une visite (1955), 183Une vraie jeune fille (1976), 249Unifrance, 244 Unik, Pierre, 6Union Française des Offices du Cinéma
Éducateur Laïque (UFOCEL), 139
Union Générale du Cinéma (UGC), 79, 170, 251, 257, 267, 269, 270
Union Maids (1976), 204 Union Syndicale de la Production
Audiovisuelle (USPA), 280, 283 Unité Production Cinéma Bretagne
(UPCB), 192, 194United Artists, 11Univers de Jacques Demy, L’ (1995), 248Universal, 11, 251Universum-Film AG (UFA), 67, 73, 75, 78Untel père et fils (1945), 70U.S.S. (1970), 196
Va savoir (2001), 247Vacances de Monsieur Hulot, Les (1953),
158, 180 Vache et le prisonnier, La (1958), 107Vaché, Jacques, 46, 144Vadim, Roger, 183Val d’enfer, Le (1943), 124Val del Omar, José, 291Valentin, Albert, 124Valentino, Rudolph, 197Valéry, Paul, 148Valetta, 9, 10, 11Valette, Éric, 252 Vallée, Jean, 44Vallois, Philippe, 216, 313Valmont (1989), 245 Valseuses, Les (1974), 188, 313Vampire, Le (1939–45), 97Vampires, Les (1915–16), 11, 33, 35Van Der Keuken, Johan, 278Van Gogh (1948), 97Van Gogh (1991), xviii, 245Vandal, Marcel, 8, 12, 102Vandendriessche, Philippe, 177Vander Stappen, Chris, 317Vanel, Charles, 110, 113, 119, 124, 166,
Verheyde, Sylvie, 320Véritable Histoire créatrice du cinéma ou
les nouvelles escroqueries de Jean-Luc Godard, La (1989), 199
Véritables Créateurs et les falsificateurs de dada, du surréalisme et du lettrisme, Les (1965–73), 199
Vérité, La (1960), 187Vérité si je mens!, La (1997), 251, 308, 311 Vérité si je mens 2, La (2001), 251, 258,
308, 309, 311Vérité si je mens 3, La (2011), 251, 258, 311Verlinde, Hugo, 286Vermillard, Marie, 252Vernay, Robert, 181Verneuil, Henri, 104, 107, 187Véronique et son cancre (1958), 183Vertov, Dziga, 147, 192, 193, 194Veyre, Gabriel, 4Veysset, Sandrine, 115, 307Viallet, Jean-Robert, 300Victoire en chantant, La (1975), 224Vidéa, 205, 206 video on demand (VOD), 255, 262, 263Vidéo 00, 178Vidéo Out, 178, 205 Vidor, King, 146, 285Vie commence demain, La (1949), 212Vie d’Adèle, La (2013), 252, 318Vie de Jésus, La (1997), 249Vie des morts, La (1990), 249Vie du Christ, La (1906), 7 Vie en face, La (1996–2007), 278Vie est à nous, La (1936), 97, 98, 147Vie est immense et pleine de dangers, La
(1995), 276Vie est un roman, La (1983), 248Vie et Passion de N.S. Jésus Christ (1907), 8Vie Parisienne, La (1935), 103Vie rêvée des anges, La (1998), 117, 299,
307Vieil Homme et l’enfant, Le (1967), 187 Viénet, René, 189, 190Vies de M. B. (1985–present), 199Vietnam War, 187, 214, 224, 331Vigo, Jean, 83, 90, 97–8, 110, 112, 114,
Violettes impériales (1952), 106, 181Virmaux, Alain and Odette, 144 Visa de censure n° X (1967), 196Visiteurs 2, Les (1998), 258 Visiteurs du soir, Les (1942), 67, 78, 106,
123, 124Vite (1970), 196Vivement dimanche! (1983), 246 Vivendi, 251, 262Vivendi Universal, 258, 262Vivent les dockers (1950), 183Vivié, Jean, 174Vivre (1958), 183Vivre au paradis (1999), 310Vivre sa vie (1962), 176Vlady, Marina, 166, 293Vodkaster, 325Voile bleu, Le (1942), 106, 123, 124 Voisins, voisines (2005), 310Volem ne rien foûtre al païs (2007), 302Voleurs, Les (1995), 318Volkoff, Alexandre, 73Voltige, La (1895), 32Von Stroheim, Erich, 105, 198Vous avez dit français? (1985), 192 Vous n’avez encore rien vu (2012), 248Vous n’avez rien à declarer (1937), 119 Voyage à travers l’impossible, Le (1904),
6, 31 Voyage au Congo (1927), 44 Voyage dans la lune, Le (1902), 2, 5, 31Voyage en Arménie, Le (2006), 250 Voyage en capital (1977), 305Voyage sans espoir (1943), 123Voyage to Italy (1955), 236 Voyage(s) en utopie: JLG, 1946–2006, à la
recherche d’un théorème perdu (2006), 246, 285, 288
Voyageur de la Toussaint, Le (1943), 124Voyageur diurne (1966), 196 Vrai faux passeport (2006), 246Vuillermoz, Émile, 11, 55, 56, 57, 143