contents · nicole brenez 33 representations: fiction, documentary and the political / 297 martin...

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

Copyrighted material – 9781844574650


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



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



4 T H E F R E N C H C I N E M A B O O K

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



P e o p l e 1 8 9 0 – 1 9 2 0 5

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




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



P e o p l e 1 8 9 0 – 1 9 2 0 7

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




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

company’s chief comic actor, Romeo Bosetti, specialised

in chase films and then developed several comic series

that could compete with Pathé’s. Another minor theatre

actor, Léonce Perret, was hired to write and direct a vari-

ety of comedies and dramatic films. Taken on initially to

assist Arnaud, caricaturist Émile Cohl soon was making a

series of original animation films. Feuillade himself wrote

and directed films that ranged across the spectrum, from

realist dramas and biblical or historical films to the comic

series Bébé (1910–12). By the time Gaumont agreed to

rent films, he was making good on a promise to release

at least half a dozen new films each week. That success

sustained his commitment to the ‘Chronophone’ system,

with the latest model demonstrated to professional socie-

ties in 1910.

The demand for films generated by Pathé, Gaumont

and Méliès (who soon left film-making to resume stag-

ing féerie spectacles for his Paris theatre) now attracted

other entrepreneurs, artists and educators to the indus-

try. Pathé’s former partner, Joly, founded a production

company, Lux, hiring as writer-directors a former melo-

drama actor, Gérard Bourgeois, and a young caricaturist

and journalist, Jean Durand. Even Théophile Pathé, a

younger brother of Charles and Émile, set up a short-

lived production company under his own name, hiring

as his film-maker the former Lumière cameramen Pro-

mio. Much more successful were Paris lawyers Charles

Jourjon and Marcel Vandal, who founded the produc-

tion company of Éclair, erecting a glass house studio in

Épinay-sur-Seine, renovating the Parnaland laboratories,

and hiring Victorin Jasset, a popular director of spec-

tacles at the Hippodrome and various cafés-concerts

in Paris, to produce a regular schedule of fiction films.

Their strategy was to make a series of films built around

a single character and the formula first seized on was

a detective series starring Pierre Bressol as Nick Carter,

based loosely on popular American dime novels – and

that series’ success soon led to others. André Debrie,

head of a precision tool factory in Paris, added a line

of high-quality machines for perforating and printing

other than its own. The monopoly plans may have

failed (perhaps inevitably), but they did convince Pathé

that his empire’s success depended on controlling film

distribution and exhibition as much as on investing in

production.

In the meantime, Pathé continued to augment other

parts of his company. A new studio was opened near

Nice, in the south of France. Continsouza increased the

output of apparatuses, with new models of the Pathé

camera and projector, and Arthur Roussel developed

a Pathé-Kok projector (using 28mm films) for schools,

churches and homes. As the weekly production of film

titles and positive filmstock continued to grow, Henri

Fourel, head of the colouring department, and a machin-

ist named Jean Méry mechanised and refined Pathé’s

trademark stencil-colour process. Laboratory space was

allotted for an educational film division, where Dr Jean

Comandon began research on microscopic cinema-

tography. The earliest weekly newsreel, Pathé-Journal,

was introduced, its half-hour episodes premiering at a

Paris cinema bearing the same name. New film-makers

joined the company: Spanish cameraman Segundo de

Chomón, to make trick films and work on others such

as the company’s most widely sold film, the third ver-

sion of its Vie et Passion de N.S. Jésus Christ (1907); Paris

theatre director Georges Monca and playwright Camille

de Morlhon, to direct adaptations from historical to con-

temporary dramas. Several Pathé actors became stars,

with each developing a comic type for one of three very

profitable comic series: André Deed in Boireau, Charles

Prince in Rigadin, and Max Linder in Max. Provoked in part

by Benoît-Lévy, Pathé began to promote films of higher

quality, or films d’art, but now by helping set up satellite

companies and then contracting to distribute their films.

The first of these, Film d’Art, financed by businessman

Paul Lafitte, involved directors, writers and actors from

the prestigious Comédie Française in dramatic films such

as L’Assassinat du duc de Guise (Charles le Bargy, André

Calmettes, 1908). Another was SCAGL (Société Ciné-

matographique des Auteurs et Gens de Lettres), whose

rights to adapt contemporary authors were brokered by

the popular novelist Pierre Decourcelle. Given the use

of a Pathé studio, Capellani agreed to head a production

team that was soon releasing one hit after another, from

L’Arlésienne (1908) to L’Assommoir (1909). So successful was

this strategy that similar satellite companies were estab-

lished in Italy, Russia, Germany, the USA and elsewhere

in order for Pathé-Frères to have culturally specific films

attractive on both the international market and different

national markets.

Once again, Gaumont cautiously followed Pathé’s

lead. In the summer of 1908, long after others such

as Gabriel Kaiser had begun constructing cinemas or



P e o p l e 1 8 9 0 – 1 9 2 0 9

new production companies, largely in and around Paris,

which has characterised French cinema ever since.

Distribution was much more concentrated, but here

too there was plenty of space left by Pathé and Gaumont

for new entrepreneurs. Out of the ashes of Cinéma-Halls,

a company that had tried and failed to run a circuit of

cinemas in Paris, Maurice Astaix and François Lallement

(former Méliès employees), along with Paul Kastor (co-

owner of several Paris cinemas), founded AGC (Agence

Générale Cinématographique), which first acquired exclu-

sive rental rights to the output of Film d’Art and Éclipse

and then shared rights to Éclair films with a smaller

company. It also gained rights to distribute a range of

Italian, American and British films in France. The son of

an engineering contractor in the Vendée, Louis Aubert

bought out a small firm in Paris that sold and rented

films and turned it into the fourth largest rental company

by acquiring exclusive rights to distribute the Danish

films of Nordisk and the Italian films of Cines, most

notably Quo Vadis? (1913). Less concentrated was the

exhibition sector, where a boom in cinema construction

coincided with the emergence of luxury cinemas or ‘pal-

aces’. One of the first of these opened in November 1911,

the 5,000-seat Gaumont-Palace (the former Hippodrome,

which Cinéma-Halls had earlier tried to run as a cinema),

managed by Edgar Costil as the new flagship of Gaumont’s

circuit. In partnership with Benoît-Lévy, Sandberg and

others, Pathé erected the greatest number of luxury

cinemas throughout Paris, from the Pathé-Palace to the

2,200-seat Tivoli-Cinéma. But the boom quickly attracted

others. Léon Brézillon (who would found and head the

French Trade Association of Film Theatre Owners in 1912)

turned the Palais de Fêtes music hall into a 2,200-seat

cinema, and former actor Jacques Castillan ran the Colisée,

the first cinema built on the Champs-Élysées, which,

though much smaller, successfully catered to Parisian

high society. For his part, Aubert extended his business

by building up a small chain of neighbourhood cinemas

in Paris.

One of the more significant changes marking French

cinema in the early 1910s was the development of

multi-reel and then feature-length films. For the most

part, well-established film-makers led this transforma-

tion, which affected all sectors of the industry. Through

SCAGL, Capellani became the most crucial figure, espe-

cially in his adaptations of famous nineteenth-century

stage plays and novels: e.g. Le Courrier de Lyon (1911), Notre-

Dame de Paris (1911), Les Mystères de Paris (1912) and Les

Misérables (1912), which ran 3,500 metres or twelve reels.

At Film d’Art, Delac and Nalpas made multi-reel films

the company’s exclusive province, with André Calmettes

directing Gabrielle Réjane in Madame Sans-Gêne (1911) and

Pouctal directing Bernhardt in La Dame aux camélias (1912)

filmstock to his company’s output and then designed

a compact, lightweight camera marketed as the Debrie

Parvo, which soon became standard for location shoot-

ing. Under the leadership of G.-M. Coissac, the Catholic

publisher, La Bonne Presse, opened an office in Paris for

selling projectors and selected programmes of films as

‘teaching aids’ and ‘illuminated sermons’. Soon Coissac

was running a co-operative exchange that rivalled those

supplying the fairs and publishing the first French man-

ual of film projectionists, all of which led Benoît-Lévy to

organise similar efforts to incorporate films into French

public education.

Consolidation and Proliferation: 1911–14In the early 1910s, certain changes in the industry

brought several familiar figures into greater prominence

and allowed others to emerge and make their mark. Now

that his far-flung company had reached what seemed

the limits of its expansion, Pathé focused on strategies

that could sustain its operations and profitability. He

convinced his partners to invest in mass-producing nega-

tive and positive filmstock, in order to make the company

a leading supplier of material as well as apparatuses in

Europe. He also increasingly cut back on direct financial

involvement in production and concentrated on dis-

tributing and exhibiting the output of a dozen satellite

firms. When the company’s position on the burgeoning

American market began to slip by 1910, Pathé targeted

central and eastern Europe for increased distribution.

These moves gave greater autonomy to satellites

such as SCAGL, where Capellani supervised Monca,

René Leprince and others, and pushed Pathé film-maker

De Morlhon to set up his own production company

(Valetta), along with those involved in its popular comic

series: Bosetti (Comica), Linder, Prince. They also spurred

film-makers at rival companies to increase their output.

These included Durand, Feuillade and Perret at Gaumont

(which opened another studio near Nice), especially in

comic series: Calino (Clément Migé), Onésime (Ernest Bour-

bon and ‘Les Poucs’), Bout-de-Zan (René Poyen) and Léonce

(Perret himself). And others: Jasset (joined by Émile Chautard

and Maurice Tourneur) at Éclair; Henri Pouctal at Film

d’Art, reorganised by Charles Delac (Ben Kaled, originally

from Algeria) with Louis Nalpas (from Anatolia) as head

of production; and Louis Mercanton and Joë Hammon

(who created a cowboy character, Arizona Bill) at Éclipse,

which had grown slowly since 1906 and finally capitalised

on Mercanton’s direction of Sarah Bernhardt in Élizabeth,

reine d’Angleterre (1912). Moreover, directors such as Charles

Burguet and stars such as Suzanne Grandais at Gaumont

set up small companies for making films. In short, Pathé’s

decision to decentralise film production set in motion

the proliferation of a ‘cottage industry’ of established and




sold its studio facilities once the war erupted – and was

never again a major producer in France. Key person-

nel such as Capellani, Perret and Linder were enticed

away from Pathé-Frères and Gaumont to the USA, join-

ing Louis Gasnier (head of Pathé’s growing American

output), Tourneur, Chautard and others from Éclair’s

American affiliate already well established in the Ameri-

can industry. Gaumont and Pathé made diametrically

opposed decisions in meeting the challenges of the war.

Gaumont quickly resumed production, relying first on

Feuillade’s talent and efficiency to gather together a team

in southern France and then hiring a number of new

writer-directors such as Brussels-born Jacques Feyder

and Raymond Bernard, the son of a popular playwright.

At Film d’Art, where he had taken over from Delac (mobi-

lised for the war), Nalpas did likewise, adding Abel Gance

as a new writer-director. Although Pathé continued to

support SCAGL (where the famous theatre director, André

Antoine, joined Monca, Leprince and others), Valetta

and other satellites by distributing their films, he turned

primarily to his American affiliate, now reorganised as

Pathé-Exchange, to shore up his company’s fortunes.

In short, he gambled on making Pathé-Exchange films

the core of Pathé-Frères’ weekly programme of releases,

in France and elsewhere. The gamble paid off largely

through the success of the serials starring Pearl White,

Ruth Roland and others, the first of which was released

in late 1915 and given the ‘Frenchified’ title, Les Mystères

de New York.

Given the demand for films and the general lack of

French titles, wave after wave of American films, which

had already inundated the French market before the

war, now flooded the cinemas. Pathé was hardly alone in

opening the flood gates. A Jewish émigré from Tunisia,

Jacques Haïk, who had set up Western Import in early

1914, not only secured rental rights to the popular Key-

stone films but distributed those starring Charlie Chaplin

in a series called Charlot. Later AGC would win the bat-

tle for the rights to Chaplin’s Essanay and Mutual films.

Charles Mary, a cinema owner and distributor of pre-war

German films, took over the rights to Famous Players/

Jesse Lasky features from Aubert, and one of his widely

celebrated hits was Cecil B. DeMille’s The Cheat (1915);

Éclipse would later buy out his agency and distribute Tri-

angle features, including the Westerns of William S. Hart.

Even Gaumont finally succumbed to this obvious source

of revenue in 1917 and negotiated a contract to distrib-

ute Paramount’s features. The war period was hardly

propitious for constructing new cinemas, but Aubert was

prosperous enough to make an exception. In May 1915,

now in partnership with Sandberg, he finally opened his

long-planned Nouveautés-Aubert-Palace (its 1,500 seats

making it the largest cinema on the Grands Boulevards),

and then competing with Capellani in such big historical

productions as the 4,000-metre Les Trois Mousquetaires

(1913). At Éclair, Jasset exploited popular crime novels

for a series of sensational melodramas, notably in those

starring Alexandre Arquillière: Zigomar (1911), Zigomar

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



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




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)



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



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

(AGC), 9, 10, 12Agfa, 25 Agfacolor, 173 Aghion, Gabriel, 317Agostini, Claude, 155Ah! Les Belles Bacchantes (1954), 181AIDES, 313Airelles Vidéo, 205Aja, Alexandre, 252Ajoncs, Les (1970), 191Akerman, Chantal, 189, 190, 201, 215,

250, 277, 287, 318Akika, Ali, 305Alapetite, Bernard, 314Alberola, Jean-Michel, 285Albert, Guillaume, 325Albert-Birot, Pierre, 91Albou, Karin, 309Alcools, 89Alcover, Pierre, 83, 84, 120Alekan, Henri, 67, 154, 181Alerte aux champs (1942), 131 Alfa, Michèle, 124Algerian Centenary (1930), 219Algerian War, 184, 186, 189, 222, 223,

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,

124Allégret, Yves, 107, 108, 116, 125, 126,

174, 180, 181Allemagne 90 neuf zéro (1991), 246Alliance Cinématographique

Européenne, 140Allio, René, 189, 190, 211Allô Berlin? Ici Paris! (1931), 62, 63

AlloCiné, 324Allouache, Merzak, 305, 308, 309, 318Almendros, Nestor, 154, 155, 156, 175,

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



I n d e x 349

Angélus de la Victoire, L’ (1915), 34 Angénieux, 174, 177 Anges du péché, Les (1943), 124Anglade, Jean-Hugues, 313Anglaise et le Duc, L’ (2001), 247 Annabella, 137, 138 Annaud, Jean-Jacques, 224, 225, 245Année dernière à Marienbad, L’ (1961),

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

Télévision Européenne), 244, 250, 255, 262, 275, 276, 277, 278, 280, 282, 283, 320

Article 23 (2012), 303Artist, The (2011), 251, 260Arts, 175, 227, 229

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,

33, 34 Assayas, Olivier, 245, 246, 249, 250, 252Association Cinématographique des

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

(2008), 251, 258Astruc, Alexandre, 183, 184, 200Atalante, L’ (1934), 98, 110Atelier MTK, L’, 290 Atlantic Films, 131Atlantide, L’ (1921), 12, 37, 123 Atlantiques (2009), 294Atlas photographique des formes du relief

terrestre (1911), 42Atomic Park (2003), 296Attal, Alain, 251Au bonheur des dames (1943), 106Au coeur du mensonge (1999), 248Au fond des bois (2010), 252 Au hasard Balthazar (1966), 186Au nom de la loi (1931), 86Au pays des buveurs de sang (1943), 131 Au pays des mages noirs (1949),

132, 221Au pays noir (1905), 7Auberge rouge, L’ (1923), 96Aubert, Louis, 9, 10, 11, 12Aubervilliers (1945), 98, 183Aubry, Cécile, 125Auclair, Michel, 125Au-delà de la haine (2005), 315Audiard, Jacques, 251, 252Audiard, Michel, 106, 157Audiberti, Jacques, 46, 49Audiopradif, 194Audran, Stéphane, 184Audry, Jacqueline, 106, 107, 126, 181Auffret, Gwendal, 268Aumont, Jean-Pierre, 67, 181Aumont, Tina, 201Aurenche, Jean, 106, 125, 156, 181, 189Auriol, Jean George, 145Aurore (1989), 291Autant-Lara, Claude, 107, 123, 125, 180,

181, 187, 212Authentique Procès de Carl Emmanuel Jung, L’

(1967), 202

Autissier, Anne-Marie, 305Autour d’une cabine, ou Mésaventures d’un

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,

222, 224 Avron, Dominique, 196Ayant-Droit, L’ (1991), 199Azam, Olivier, 286Aznavour, Charles, 231

Baader, Andreas, 294Babeuf, Gracchus, 192Baby, Yvonne, 215Bac, André, 64Bach, 102, 103, 104, 106 Bach, Johann Sebastian, 34 Badiou, Alain, xx, 328, 329Baert, Xavier, 290Bagatelles pour un massacre (1937), 148Bahloul, Abdelkrim, 305Baie des Anges, La (1963), 184 Baier, Lionel, 316Bailliu, Lionel, 300Bailly, Pascale, 308Baiser de Judas, Le (1908), 33Baisers volés (1968), 186 Baker, Josephine, 102, 106Balagny, 24 Balance, La (1982), 305Balasko, Josiane, 252, 306, 315Ball, Hugo, 90, 199Ballet mécanique (1924), 91, 92, 93 Ballets Russes, 89Ballets Suédois, Les, 91 Ballyot, Sylvie, 318Balzac, Honoré de, 22, 89, 96, 109, 114,

118, 122, 247, 250Bande à Lumière, 275, 283 Bande de filles (2015), 310, 318Bande des quatre, La (1988), 247Bandera, La (1935), 70, 110, 219 Bara, Joseph, 192Baratier, Jacques, 183, 198, 213Barbe, Jean-Marie, 276Barbosa, Laurence Ferreira, 250Barbusse, Henri, 28 Bardani, Méziane, 316Bardèche, Maurice, 104 Bardot, Brigitte, 153, 160, 184, 187Bareback ou La guerre des sens (2006),

313Baron fantôme, Le (1942), 106Baron, Auguste, 22, 25, 26 Barr, Jean-Marc, 309Barrabas (1920), 11




Barraud, Antoine, 286Barrault, Jean-Louis, 124Barreau-Brouste, Sophie, 274Barsacq, Léon, 66, 181Barthes, Roland, 213, 227, 231, 235, 237,

238, 289, 328, 329Barthet, Cyril, 325Bas-Fonds, Les (1936), 120Bassae (1964), 184Bataille, Georges, 98, 319Bataille, Sylvia, 114Bataille du rail, La (1945), 125, 212Bâton Rouge (1985), 305, 308Battleship Potemkin (1925), 236Baudelaire, Charles, 36, 57 Baudelaire, Éric, 286Baudrillard, Jean, 217, 328Baudry, Jean-Louis, 231, 239Bauer, Charles, 64Baur, Harry, 104, 117, 119, 123, 159, 160Baxter, Vera Baxter (1977), 189, 190 Bazin, André, xv, xx, 29, 101, 104, 107,

110, 132, 145, 148–50, 160, 184, 185, 195, 196, 212, 213, 215, 228, 229, 234–40

Beau, Édouard, 293Beau Mariage, Le (1982), 247Beau Serge, Le (1959), 184 Beau travail (1999), 224, 246 Beauviala, Jean-Pierre, 15, 177, 178Beauvois, Xavier, 250, 252Bébé (1910–12), 8Bébé embarrassant, Le (1905), 7Becker, Benoît, 158Becker, Jacques, 61, 67, 69, 118, 181,

182, 184Bedia, Ramzy, 252Bedjaoui, Amal, 316Before the Crisis (2008), 295Beineix, Jean-Jacques, 217, 245Bejo, Bérénice, 325Bel Âge, Le (1960), 184Belghoul, Farida, 304, 306, 308Bell & Howell, 24 Bellamy (2009), 248Belle Dame sans merci, La (1921), 94Belle de Cadix, La (1953), 181Belle Équipe, La (1936), 70, 102, 107, 110,

113, 114, 115 Belle et la bête, La (1946), 126, 182Belle Noiseuse, La (1991), 247Belle Personne, La (2008), 252Belles de nuit, Les (1952), 106Bellon, Yannick, 183, 189, 215Belmadi, Yasmine, 316Belmondo, Jean-Paul, 160, 184, 187, 212Belmont, Charles, 189, 204Ben Amar, Tarak, 251Ben Attia, Mehdi, 316Ben Sellem, Omar, 320Benguigui, Yamina, 310Benhaïm, Safia, 286Ben-Hur (1927), 12

Bénichou, Paul, 200Benigni, Roberto, 258Benjamin, Walter, 57, 90, 148–9, 195Benjo, Caroline, 251Benoît, Pierre, 37, 123Benoît-Lévy, Edmond, 7, 8, 9, 12Benoît-Lévy, Jean, 83, 98, 110, 127, 128,

131, 220Bensalah, Djamel, 309, 310, 311Benveniste, Émile, 237Berceau de cristal, Le (1976), 189, 201Bercholz, Joseph, 69Bercot, Émmanuelle, 252Bérénice (1954), 183Bergala, Alain, 195, 322Bergman, Ingmar, 244Bergman, Ingrid, 293Bergson, Henri, xx, 56, 143, 328, 329Bergstrom, Janet, 69, 70 Berléand, François, 250Berliner, Alain, 317 Berna, Serge, 203Bernanos, Georges, 117Bernard coeur le lion (1951), 181Bernard, Armand, 102Bernard, Jean-Claude, 129Bernard, Patrick Mario, 315Bernard, Paul, 115, 116Bernard, Raymond, 10, 110, 120,

180, 181Bernard, Tristan, 104Bernède, Arthur, 11, 12Bernhardt, Kurt, 63, 64, 70Bernhardt, Sarah, 9, 26, 35Bernstein, Henri, 104Berri, Claude, 117, 177, 245, 251, 305Berry, Jules, 104, 108, 110, 119, 120, 124Berst, Jacques, 7Berthillot, Ludovic, 320Berthomieu, André, 124, 181Bertin, Manette, 189, 276Bertin-Maghit, Jean-Pierre, 131Bertrand, Paul, 181Besson, Luc, 245, 251, 252, 261Bête humaine, La (1938), 110, 120Betty (1992), 247Betty Blue (1986), 245Beur sur la ville (2011), 309Beurs appart’ (2007), 316Beurs appart’ le film (2009), 316Bezançon, Micheline, 201Bézard, René, 159 Bibi Fricotin (1950), 181Bicycle Wheel, The (1913), 89Bidasses en folie, Les (1971), 188Bien-aimés, Les (2011), 252Bienvenue chez les Ch’tis (2008), 251, 259 Bifur, 144Big City (2005), 309Bilinsky, Boris, 73Billard, Pierre, 101, 106, 165Billon, Yves, 275, 277, 279Billy, André, 90

Binetruy, Georges, 193Binoche, Juliette, 245, 249, 252Biographe, 22Bioscope, 21Birkin, Jane, 187, 248Bisson, Christophe, 286Bitzer, Billy, 24 Blaché, Herbert, 8Black mic mac (1986), 306, 311 Blain, Gérard, 160, 184, 200Blair, 4, 15, 24Blanc, Michel, 313Blanchar, Pierre, 125Blavette, Charles, 115Bled Number One (2006), 252, 309Bleu (1994), 291Blier, Bernard, 124, 125, 160Blier, Bertrand, 188, 214, 313Blistène, Marcel, 106, 181Bloch, Noë, 62, 73Bloom, Peter, 44Blue Jeans (1958), 183Blue, James, 223Blum-Byrnes agreement, 79, 180Bluwal, Marcel, 161Boarding Gate (2007), 249Bob le Flambeur (1956), 175, 185Body Tetralogy (1976–9), 288Bohême, La (1988), 245Bohler, Olivier, 201Bohringer, Romane, 313Boiffard, Jacques-André, 95Boireau (1907–14), 8 Boisrond, Michel, 187Boisset, Yves, 187, 224, 305Boissonnas, Sylvina, 200, 202Bokanowski, Patrick, 285Bolex, 221Boltanski, Christian, 200, 201, 202Bon Invalide et les enfants, Le (1908), 32Bon, François, 290, 294Bonello, Bertrand, 252Bonfanti, Antoine, 193, 214Bonheur, Le (1994), 250Bonnaire, Sandrine, 248, 252, 298Bonnamy, Alain, 196Bonne Méthode, La (1926), 128Bonne Presse, La, 9Bonneau, Pierre, 301Bonnell, René, 243Boon, Dany, 251, 252, 259Borde, Raymond, 139Borderie, Bernard, 107, 181Borderie, Raymond, 174Bordwell, David, 28, 101, 273Boris Godounov (1989), 245 Borlin, Jean, 91Borsalino (1970), 188 Borsalino & Co (1974), 188Bosch, Roselyne, 252Bosetti, Romeo, 8, 9, 32Bosquets, Les (2011), 294 Bosséno, Christian-Marc, 135, 227, 304



Bossu, Le (1944), 106, 125Bost, Pierre, 106, 125, 156, 181, 189Bouabdellah, Zoulikha, 286, 294Bouajila, Sami, 252, 315, 316Bouboule premier, roi nègre (1933), 103Bouchaala, Ahmed, 307, 318Bouchareb, Rachid, 225, 252, 253, 305,

310, 311Boudrioz, Robert, 120Boudu sauvé des eaux (1932), 108 Bouhours, Jean-Michel, 285Bouise, Jean, 160Boukhanef, Kader, 299, 305Bouly, Léon, 23Bouquet, Michel, 160Bour, Armand, 33Bourbon, Ernest, 9Bourdieu, Pierre, 321, 333Bourgassoff, Fedote, 73Bourgeois, Gérard, 8Bourseiller, Antoine, 223Bourvil, 181, 188Bout-de-Zan (1912–16), 9 Bouyxou, Jean-Pierre, 195Boy Meets Girl (1984), 245Boyer, Charles, 67, 70, 181Boyer, Jean, 102, 106, 112Branco, Paulo, 249Brando, Marlon, 289Branquignol (1949), 181 Brasillach, Robert, 104 Brassaï, 95, 109Brasseur, Pierre, 105, 181Brau, Jean-Louis, 200Braudel, Fernand, 87Brault, Michel, 213Braunberger, Pierre, xviii, 61, 68, 69, 75,

185Brazza, l’épopée du Congo (1939), 220Brecht, Bertolt, 207Bréhatine, La (1917), 90 Breillat, Catherine, 249, 250Brenez, Nicole, xv, xix, 214Bressol, Pierre, 8, 33Bresson, Robert, 117, 124, 160, 182, 184,

186, 200, 201, 202, 212, 236, 246, 249, 287, 291

Breton, André, 46, 95, 97, 144, 149Brewster, Ben, 108 Brézillon, Léon, 9Brialy, Jean-Claude, 160, 184Brice de Nice (2004), 251Brigitte et Brigitte (1966), 186Brillat, Xavier, 316Brisson, Adolphe, 54 British Gaumont, 7British Sounds (1969), 187Brizé, Stéphane, 303Bronzés, Les (1978), 188 Bronzés font du ski, Les (1979), 188Brook, Peter, 158, 159Brossat, Alain, 125Broyeuse des coeurs, La (1913), 10

Broyon, Jeanne, 315Bruneau, Sophie, 300Brunet, Jean-Bernard, 196Brunhes, Jean, 41–2, 43Brunius, Jacques, 98, 113, 145Brun-Moschetti, Oriane, 286Bruno, Giuliana, 47, 48Bryen, Camille, 199Buena Vista International, 257Buffet froid (1979), 188Buñuel, Luis, 97, 146, 158, 159, 161, 198Bünzli, René, 6, 23, 24Burch, Noël, xv, xix, 29, 31, 37, 101Burguet, Charles, 9Burroughs, William, 291Bye-bye (1995), 306

C’est la faute d’Adam (1958), 181C’est Madame France que tu préfères?

(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,

170, 174, 181, 184, 185, 186, 187, 217, 227, 229, 230, 236, 237, 239, 245, 246, 247, 281, 321, 322, 326, 329

Cahiers du Film, Les, 102Cahun, Claude, 288Calef, Henri, 70Calino (1909–13), 9Calle, Sylvia, 318Calmettes, André, 8, 9, 33, 34, 35Cam, Maurice, 106Camarades (1969), 194 Cambrioleurs, Les (1898), 32Camby, Alexandre, 6Caméflex, 154, 155, 175, 176 Camera, Je, or La Caméra: I, The (1977),

189Camera War (2008–present), 294, 295Camera Work (1903–17), 295Caméréclair, 24 Cameron, James, 256, 270Camille Claudel (1985), 244Camille Claudel 1915 (2013), 249Camion, Le (1977), 189, 215Camps de la mort, Les (1945), 212 Camps du silence, Les (1988), 279Camus, Albert, 50Canal Plus, 243, 251, 255, 258, 262, 274,

280Candide, 148Candy Boy (2007), 318Canet, Guillaume, 251, 252Cannes Film Festival, 99, 250, 268, 275Cantet, Laurent, 251, 300, 303, 309

Canudo, Ricciotto, 13, 54, 55, 57, 96Cap Cinéma, 270Capellani, Albert, 7, 8, 9, 10, 16Capitaine Fracasse, Le (1942), 106Capitalism and Schizophrenia: Anti-

Oedipus (1972), 330Capogrossi, Giuseppe, 199Carabiniers, Les (1963), 186Carasco, Raymonde, 189, 285Carax, Léos, 245, 246, 252Carbonnaux, Norbert, 181Carbutt, 24 Carco, Francis, 109Carles, Pierre, 302Carlos (2010), 249Carmen (1910), 34Carmen (1943), 106Carmen (1984), 245 Carné, Marcel, 61, 67, 69, 76, 77, 78, 87,

102, 106, 110, 112, 113, 116, 117, 120, 123, 124, 127, 138, 141, 146, 148, 182, 186, 187, 220

Carol, Martine, 106, 126, 166, 181Caroline chérie (1950), 106, 126Caron, Pierre, 115Carpentier, Jules, 4, 5, 23, 24Carpita, Paul, 221Carré, Ben, 7Carré, Jean-Michel, 274, 275, 279, 300Carrière, Jean-Claude, xviii, 157, 158–9Carrosse d’or, Le (1952), 106, 182Cartier-Bresson, Henri, 109Cartouches gauloises (2007), 310Casque d’or (1952), 182Casse, Le (1971), 187Cassel, Vincent, 252, 307Casse-tête pour musulman modéré (2004),

292Castelnau, Paul, 43, 44Castillan, Jacques, 9 Castro, Teresa, xv, xix Catelain, Jaque, 122, 123Caucheteaux, Pascal, 251Cavalcanti, Alberto, 68, 97, 121, 285, 293Cavalier, Alain, 223, 253Cavalière Elsa, La (1923), 123Cayatte, André, 106, 124, 187Cayla, Véronique, 268Cazeneuve, Fabrice, 300, 320Ce que l’on voit de mon sixième (1901), 31Ce que le jour doit à la nuit (2012), 225Ce soir, 148Ce vieux rêve qui bouge (2001), 252, 320Cèbe, Pol, 193Cée, 291Céline, Louis-Ferdinand, 148Cendrars, Blaise, 55, 56, 90, 96Cendrillon (1899), 4, 31Cent mille dollars au soleil (1964), 187Cent Fleurs, Les, 178 100% Arabica (1997), 308Centre Audiovisuel Simone de Beauvoir,

205

I n d e x 351




Centre de Créativité, 200Centre National de la Cinématographie

(CNC), 79, 134, 164, 167, 168, 169, 181, 228, 243, 251, 254, 255, 256, 259, 260, 262, 264, 267, 268, 269, 275, 275, 283, 304, 321, 322

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

(1998), 249, 317Cézanne, Paul, 148, 285Chabat, Alain, 252, 258, 315Chabrol, Claude, 156, 176, 183, 184, 186,

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,

198Chappedelaine, Soizig, 191Charcot, Jean, 5Charef, Mehdi, 252, 298, 299, 304, 305,

310, 316Charles Urban Trading Company, 39 Charles, Louis, 23Charlus, 26Charpin, Fernand, 105Charrell, Éric, 103Chasse à l’hippotomane (1946), 183Chasse au lion à l’arc, La (1967), 186Chatagny, Pierre, 316Châteauvert, Jean, 50 Châtelain, Hélène, 194, 285, 292Chats perchés (2004), 253Chatte à deux têtes, La (2002), 315Chaumel, Alfred, 44, 131Chaumel-Gentil, Geneviève, 131Chautard, Émile, 9, 10Chauvin, Jean-Sébastien, 286Chavance, Louis, 143, 147, 157, 181Cheat, The (1915), 10, 11, 35, 55, 96Chelsea Girls (1966), 216Chemin du paradis, Le (1930), 102Cheminots (2010), 301Chemins de Katmandou, Les (1969), 187 Chenal, Pierre, 69, 87, 105, 107, 108, 109,

110, 220

Chéreau, Patrice, 158, 249, 313, 317, 319Cheung, Maggie, 249Chevalier, Maurice, 102, 106, 181Chevalier, Pierre, 262Chibane, Malik, 252, 307, 308, 310, 311Chienne, La (1931), 121 Chili, la mémoire obstinée (1996), 279Chinois, encore un effort pour être

révolutionnaires! (1977), 190Chinoise, La (1967), 187Chirat, Raymond, 118Chocolat (1988), 224, 246, 311Chodorov, Pip, 286, 290Chomette, Henri, 93, 143, 144Chopin, Henri, 200Chou, Davy, 286Chouans, Les (1829), 114Chouchou (2003), 309, 318Choux, Jean, 102Chrétien, Henri, 174Christian-Jaque, 102, 106, 107, 112, 118,

123, 124, 125, 181, 187Christie, Ian, xvi, xixChromaticité I (1977), 289 Chromo Sud (1968), 196 Chronique d’un été (1961), 155, 177, 186,

213, 214, 215, 223Chute de la maison Usher, La (1928), 96,

122Ciampi, Yves, 181Cicatrice intérieure, La (1972), 189Ciel est à vous, Le (1944), 78, 124Ciel, les oiseaux et ta mère!, Le (1999), 309Cinéa-Ciné pour tous, 36, 41, 44, 145 Cinéastes de notre temps (1964–72), 184Ciné-Club du Quartier Latin, 228Cineffable, 314 Ciné-France-Film, 73Cine-Giornali, 295 Cinégraphic, 18Ciné-Journal, 10Ciné-Liberté, 147, 148 Cinélutte, 194, 279, 298 Cinéma, 157, 158Cinéma, de notre temps (1988–present),

278Cinéma, Le, 10Cinema 1: The Movement-Image (1983),

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,

215, 216, 221CinemaScope, 174, 175, 176, 237

Cinémathèque de la Ville de Paris, 44 Cinémathèque Française, 34, 61, 87, 117,

169, 170, 186, 229, 326Cinématographe, 4, 14, 23, 24, 25, 30,

39, 46, 54Cinématographie française, La, 62, 63Cinématographies (1998), 330 Cinématoma (1920), 90Cinémonde, 64, 70Cinéorama, 38Cines, 9Ciné-Studio, 12 Cinéthique, 187, 227, 231Ciné-tracts, 194, 295 Cinq, La, 274 Cinq gentlemen maudits (1931), 83Cinq millions comptant (1957), 181Cinq minutes de cinéma pur (1926), 93 50 bons films (1977), 199Cinquième Élément, Le (1997), 245Cinquième, La, 280Circonstances atténuantes (1939), 102,

112Circuit Georges-Raymond, 266, 267,

269, 270Cité du Cinéma, 261Citébeur, 316 Citizen Kane (1941), 212, 236Citroën, André, 43City Lights (1931), 145 Clair, René, 18, 25, 62, 69, 70, 84, 85, 91,

93, 97, 102, 103, 104, 106, 112, 144, 146, 180, 181, 183, 187, 197, 198

Clan, Le (2004), 316 Clarke, Shirley, 295Classe de lutte (1969), 193, 214Classic French Cinema, The (1993), 81Clavier, Christian, 319Clean (2004), 249Cleitman, René, 245Clément, René, 69, 117, 125, 180, 181,

184, 187, 212Clémenti, Margareth, 201Clémenti, Pierre, 196Clément-Maurice, 4, 6, 24, 27Cléo de 5 à 7 (1962), 184, 212, 223, 230,

248Cloche, Maurice, 118Clochemerle (1948), 69 Cloclo (2012), 251Close, Ivy, 36, 121Closed Vision (1952), 200Clouzot, Henri-Georges, 78, 106, 107,

111, 117, 118, 123, 124, 125, 187Clown et ses chiens (1892), 3Cluzet, François, 311CNN (Cable News Network), 294Cocktail Molotov (1980), 189Coco (2010), 308, 309, 311 Cocotte d’azur, La (1958), 183Cocteau, Jean, 11, 55, 98, 99, 107, 108,

126, 182, 184, 197, 198Coello, Christophe, 302



Coeur battant, Le (1961), 184Coeur de Lilas (1931), 62, 64, 102 Coeur fidèle (1923), 96, 114, 121 Coeur volé, Le (1934), 97 Coeurs (2006), 248Coffre enchanté, Le (1904), 31Cohen, Gregory, 286, 290Cohl, Émile, 8, 30, 34Coissac, G.-M., 9Colas, Albert, 27Colbeau-Justin, Cyril, 251Colbert, Claudette, 181Cold War, 126, 212, 229Colette (1950), 183Colette, 11, 55, 106, 126 Collard, Cyril, 313, 314Collard, Marie-France, 301Collectif Mohamed, 194, 306Collectionneuse, La (1967), 176, 184Collège de France, 3, 42, 237Collet, Jean, 176Collier de la Reine, Le (1929), 102 Colombier, Jacques, 181Colombier, Pierre, 86, 102, 103, 107, 108Colonial Exhibition (1931), 219, 221Colpi, Henri, 108Comandon, Jean, 8Combat dans l’île, Le (1962), 223Comédie Française, 8, 34, 54, 160Comencini, Luigi, 245Comerio, Luca, 225Comica, 9, 17, 18Comité Catholique du Cinéma (CCC), 138Comité d’Organisation des Industries

Cinématographiques (COIC), 67, 78, 79, 164

Comité de Défense du Cinéma Français, 79

Commage, Maurice, 105Commandant Khawani (2014), 293Comme les autres (2008), 319Comme un frère (2005), 314Comment je me suis disputé (1996), 249Comment Yu Kong déplaça les montagnes

(1977), 190 Commerciale (2006), 292Commission Supérieure Technique de

l’Image et du Son (CST), 174, 265 Committee for the Defence of the

Cinémathèque, 186Communications, 231, 232, 237Comoedia, 10Comolli, Jean-Louis, 239, 274, 277, 278, 281Compagnie des Cinématographes Le

Lion, 18 Compagnie des Cinématographes

Théophile Pathé, 18 Compagnie Éric Rohmer, 247 Compagnie Française de l’Afrique

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

(CGT), 80Congrès eucharistique diocésain (1953), 183Congrès s’amuse, Le (1931), 103Conseil Supérieur Audiovisuel (CSA),

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

Coutant, André, 175, 177Coutard, Raoul, xviii, 154, 155–6, 175–6,

225Coûte que coûte (1995), 278Cozarinsky, Edgardo, 190, 277Crabe-tambour, Le (1977), 224Crabtree, J.I., 25Crédit National, 164, 168Creton, Laurent, xv, xviiiCri, Le (2001), 285Cri du coeur (1994), 308Crime de Monsieur Lange, Le (1936), 111,

117Crime et châtiment (1935), 107Crisp, Colin, xvi, xviii, 69, 72, 81, 101,

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,

166, 181

I n d e x 353




Darwin’s Nightmare (2004), 302Dassin, Julie, 206Dasté, Jean, 98 Daudet, Alphonse, 118Dauman, Anatole, 185Daumier (1958), 183 Dauvray, Maryse, 11, 120David Golder (1931), 119De Bankolé, Isaac, 311De Baroncelli, Jacques, 11, 12, 74, 106,

115, 120, 124, 146, 220De battre mon coeur s’est arrêté (2004), 252De Beauregard, Georges, 154, 155, 168,

185, 223De Beauvoir, Simone, 125, 222De Bedts, George William, 4, 22De Blum à Pétain (1984), 101De bon matin (2011), 300, 303De Bosio, Gianfranco, 192De Broca, Philippe, 155De Canonge, Maurice, 117, 125De Carmoy, Guy, 75, 78De Cavaignac, Jean, 131De Certeau, Michel, 216De Chauveron, Philippe, 259, 311De Chomón, Segundo, 8De Foucauld, Charles, 220De Franssu, Anne-Laure, 286, 292, 293De Funès, Louis, 153, 159, 160, 188De Gaulle, Charles, 169, 170, 185, 188, 224De Gourmont, Rémy, 40De grands événements et des gens

ordinaires (1978), 217De Gravone, Gabriel, 121De gré ou de force (1998), 300De Jean-Luc Godard à Alain Resnais, en

passant par Chris Marker, Marguerite Duras, etc. (1978), 199

De la Bretèque, François, 43De la nuée à la résistance (1979), 190 De la Patellière, Denys, 107De Latour, Éliane, 274De Laurot, Edouard, 193De Morlhon, Camille, 8, 9, 10De Noailles, Count and Countess, 95De Pawlowski, Gaston, 197De Poligny, Serge, 106, 220De Sédouy, Alain, 189, 281De Segogne, Henri, 131De Turkheim, Charlotte, 252De Van, Marina, 252Déa, Marie, 123, 124Des hommes et des dieux (2009), 252Des poupées et des anges (2007), 310Dean, James, 160Debbouze, Jamel, 252, 309, 311 Debord, Guy, 199, 213, 215, 230Debrie Parvo, 9 Debrie, André, 8, 15, 25Debrie, Joseph, 25Debs, Eugene, 217Debucourt, Jean, 123, 181Debussy, Claude, 30, 96 Débuts d’un patineur, Les (1907), 33

Decaë, Henri, 155, 175, 176Decaster, Luc, 300Decaux, Léopold, 5, 24, 26Décembre 79 (1980), 289Declercq, Alain, 285, 294Decoin, Henri, 69, 106, 119, 123, 181, 187Decourcelle, Pierre, 8, 13Decugis, Cécile, 223Dédée d’Anvers (1948), 181Deed, André, 8, 32Défense de savoir (1973), 189Defert, Daniel, 313Déjeuner sur l’herbe, Le (1961), 182 Delac, Charles, 9, 10, 12Delacommune, Charles, 92Delair, Suzy, 116, 181Delannoy, Jean, 69, 78, 106, 124, 125,

180, 181, 187Delanoë, Bernard, 314Delaunay, Sonia, 90Delbosc, Olivier, 251Delépine, Benoît, 300Delépine, Jean-Pierre, 303Deleuze, Émilie, 250Deleuze, Gilles, xx, 116, 233, 328, 329,

330–2, 333Delia, 18Deliba, Fejria, 308Delluc, Louis, xx, 13, 11, 36–7, 55–7, 91,

93, 96, 120, 121, 143, 328Delon, Alain, 153, 187, 188Delphy, Christine, 209Delpy, Julie, 286Demenÿ, Georges, 4, 5, 6, 14, 21, 22, 23, 24Demezis, OraneDeMille, Cecil B., 10, 15, 35, 55, 96Demoiselles de Rochefort, Les (1967), 152,

161, 176, 184Demoiselles ont eu 25 ans, Les (1993), 248Demonlover (2002), 249Demy, Jacques, 152, 155, 161, 176, 183,

184, 211, 248, 319Demy, Mathieu, 248Deneuve, Catherine, 152, 244, 252, 318Denis, Claire, xviii, 200, 224, 245, 246,

249, 250, 251, 252, 308, 311, 332Denis, Sébastien, xv, xixDepardieu, Gérard, xviii, 188, 244, 245,

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

Réunis Européens), 259, 268Disco (2008), 251Discount (2013), 303Disney, 257Disney/Pixar, 264 Disparaissez les ouvriers (2012), 300Disque 957 (1928), 93



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

Dubosc, Franck, 252Dubost, Paulette, 115Dubrel, Jean, 285, 287, 290Dubucourt, Jean, 122Ducastel, Olivier, 310, 315, 316, 319, 320Ducey, Caroline, 250Duchamp, Marcel, 89, 91, 92, 93Duchesse de Langeais, La (1942), 106, 124Duelle (une quarantaine) (1976), 190Dufrêne, François, 199, 294Duhamel, Georges, 149Dujardin, Jean, 251, 252, 325Dulaar family, 6Dulac, Germaine, 12, 13, 25, 27, 36, 93,

94, 120, 143, 144, 145, 328Dumas, Alexandre, 34, 35Dumesnil, Gaston, 27Dumont, Bruno, 249, 301Dupeyron, François, 309Dupont Lajoie (1975), 224, 305Dupont, E.A., 64Dupont, Jacques, 213Durand, Jean, 8, 9Duras, Marguerite, 157, 186, 189, 190,

199, 215Dureau, Georges, 10Duris, Romain, 252, 319Dury, Olivier, 285, 293Dussaud, François, 7, 54Dutronc, Jacques, xviiiDuval, Julien, 322, 323Duvivier, Julien, xviii, 60, 61, 62, 63, 67,

69–71, 74, 76, 83, 102, 107, 110, 111, 113 , 119, 120, 125, 139, 167, 180, 219

Dwoskin, Steven, 190DyaliScope, 174, 176

Eastman, 3, 15, 21, 24, 25 Eastmancolor, 172, 173, 176 Eau à la bouche, L’ (1960), 184Eau du Nil, L’ (1928), 102Eau froide, L’ (1994), 249, 250Écho de Paris, L’, 18Écho des Provinces, L’, 131 Écho du cinéma, L’, 10 Éclair, 8, 9, 10, 13, 16, 24, 27, 33, 73, 154,

175, 177, 213, 268Éclipse, 9, 10, 11, 12, 18, 33, 39 ECPAD (Établissement de

Communiction et de Production Audiovisuelle de la Défense), 225

Edison, Thomas, 4, 5, 15, 21, 22, 23, 24, 25, 26, 29, 46

Ehrlich, Evelyn, 68Eiffel, Gustave, 5Eijou, Brigitte, 316Eisenschitz, Bernard, 36 Eisenstein, Sergei, 192, 194, 236, 287,

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,

83, 90, 93, 95, 96, 98, 114, 115, 120, 121, 122, 127, 143, 145, 196, 200, 290, 291, 295, 328, 332

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




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

Columbia), 215Fargier, Jean-Paul, 274Farrebique (1946), 131, 132, 212Fatmi, Mounir, 286, 292, 293Faubourg-Montmartre (1931), 110 Faucon, Philippe, 309, 310Faure, Anne-Marie, 205Faure, Christian, 320Faure, Élie, 56, 143Faute à Voltaire, La (2000), 306

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,

18, 29, 32, 33, 35, 110Feuillère, Edwige, 107, 119, 120, 124,

137, 181Feyder, Jacques, 10, 12, 18, 37, 67, 74, 76,

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

Fonds Sud, 257 Fontaine, Anne, 252Fontaine, Brigitte, 206For ever Mozart (1996), 246, 247Forbes, Jill, 110, 188, 189Forest, Fred, 292Foresti, Florence, 252Forestier, Frédéric, 258Forman, Milos, 158, 245Forrester, Viviane, 204



Fort Saganne (1984), 244, 225 Fortini/Cani (1976), 190Forton, Louis, 180Fortune carrée (1955), 107, 174 Fossey, Brigitte, 117Foucault, Léon, 21 Foucault, Michel, 313Fouquet, E.L., 10Fourel, Henri, 8Fourier, Charles, 197Fox Entertainment Group, 257 Fox-Film, 11Fraisse, Isabelle, 205Français si vous saviez (1972), 189, 281Française et l’amour, La (1960), 187Francastel, Pierre, 230France 2, 255, 280, 320 France 3, 255, 274, 275, 277 France 5, 265, 280France en marche, La, 130–1 France est un empire, La (1939), 129, 130France et Angleterre for ever (1915), 34France S.A. (1974), 189France tour détour deux enfants (1979),

178, 189 Francis, Ève, xvii, 36Franco London Films, 168 Franju, Georges, 98, 132, 133, 183, 212Frank, Anne, 201Franscope, 174, 175, 176Franstudio, 87, 172Fréhel, 106 French Cancan (1954), 106, 107, 108, 172,

173, 181, 182, 184French Communist Party (PCF), 69, 98,

117, 139, 147, 228, 229, 297French Revolution, 114, 247Frères Bouquinquant, Les (1947), 126Fresnay, Pierre, 67, 123Friedberg, Anne, 47Frodon, Jean-Michel, xv, xviii, 188Froissart, Georges, 6From Madness to Nomadness, 203From the Pole to the Equator (1986), 225Fromanger, Gérard, 194Front de la jeunesse (1950), 196Front Homosexuel d’Action

Révolutionnaire (FHAR), 205, 313Front National, 297 Front Paysan, 194Fuck (2009), 295 Fuite, La (1947), 99 Future of the Image, The (2003), 332

Gabin, Jean, 61, 67, 69, 70, 102, 108, 110, 113, 115, 116, 120, 137, 139, 181, 182

Gable, Clark, 137Gabriello, André, 112Gaddafi, Muammar, 293Gaevert, 173Gai Savoir, Le (1968), 194, 238Gainsbourg, Serge, 187Gaîtés de l’escadron, Les (1932), 83

Gala (1961), 183Galland, Philippe, 308Gallissot, René, 225Gallone, Carmine, 61, 181Gance, Abel, 10, 11, 12, 13, 25, 28, 29, 36,

91, 95, 96, 114, 106, 120, 121, 123, 143, 145, 146, 148, 174, 182, 183, 184, 197

Gance, Marguerite, 122Gang, Le (1977), 188Garbo, Greta, 137Garçon stupide (2004), 316Garçon, François, 101Gardel, Louis, 225Gardiens de phare (1929), 115Gare du Nord (1965), 186Gare du Nord (2013), 283Garenq, Vincent, 319Garrel, Louis, 252, 319Garrel, Maurice, 203Garrel, Philippe, 156, 189, 194, 200, 216,

252, 275Garrel, Thierry, 275, 276, 277, 278, 279,

281, 282Gasnier, Louis, 10, 16, 33, 34Gaspard de Besse (1935), 115Gatlif, Tony, 309, 310GATT (General Agreement on Tariffs

and Trade), 248, 257, 260, 297Gatti, Armand, 216, 292Gatti, Stéphane, 292Gaudeau, Yvonne, 125Gaudreault, André, 50Gaumont Distribution, 269Gaumont-Franco-Film-Aubert (GFFA),

83, 86, 136, 137Gaumont, xviii, 6, 9, 10, 11, 12, 13, 14, 15,

17, 18, 21, 22, 23, 24, 25, 26, 27, 28, 30, 31, 32, 33, 34, 35, 39, 40, 44, 41, 42, 73, 75, 87, 94, 134, 135, 136, 159, 168, 170, 172, 244, 245, 257, 269

Gaumont, Léon xviii, 4, 5, 6, 7, 8, 14, 18, 21, 22, 31, 73, 244, 245, 257, 269

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,

281, 282Ghorab-Volta, Zaïda, 308, 309Gianikian, Yervant, 225Gide, André, 44, 106Gigi (1949), 126Gilles, Christian, 154, 155 Gillon, Léon, 24 Gilou, Thomas, 258, 306, 307, 308Gimel, Augustin, 286, 290Gimello-Mesplomb, Frédéric, 169Gintzburger, Anne, 315Giono, Jean, 115Girardet, Raoul, 224Giraudoux, Jean, 124Girault, Jean, 188Girod, Francis, 305, 316Giroud, Françoise, 207Gitaï, Amos, 279Giusti, Stéphane, 314Giscard D’Estaing, Valéry, 171, 188, 224Glace à trois faces, La (1927), 96Glaneurs et la glaneuse, Les (2000), 193,

253, 302Glas, Le (1970), 191Gluck, Christopher Willibald, 34Godard, Jean-Luc, 29, 154, 155, 156, 159,

161, 175, 176, 177, 178, 183, 184, 186, 187, 189, 192, 193, 194, 195, 198, 199, 200, 202, 215, 223, 224, 230, 233, 238, 239, 245, 246, 252, 285, 286, 287, 289, 291, 293, 325

Godet, Fabienne, 300Goebbels, Joseph, 78, 106Gokalp, Mathias, 300Gold (2000), 287Goldenberg, Daniel, 223Goldman, Alain, 251Goldman, Daniel, 251Goldwyn, 11Gombrich, Ernst, 235Gomis, Alain, 309Gonzalez, Yann, 286Gonzalez-Foerster, Dominique, 285, 287,

295, 296Goody, Jack, 321Gorgomancy (2011), 253Gorin, Jean-Pierre, 187, 194, 239, 285Goudal, Jean, 144

I n d e x 357




Goudineau, Daniel, 265, 266Goupi Mains Rouges (1942), 118Gouttes d’eau sur pierres brûlantes (1999),

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,

181Grandes Vacances, Les (1967), 188Grandperret, Patrick, 200Grandrieux, Philippe, 276, 285, 287,

288Grands Films Populaires, Les, 10 Grands soirs et petits matins (1978), 189Grangier, Gilles, 181, 187, 188Granier-Deferre, Pierre, 187Granowsky, Alexis, 73Graphyty (1969), 195, 196 Gravayat, Jérémy, 286Gravida (1978), 189 Gravier, Jean-François, 112Gray, Lorraine, 204Great Waltz, The (1938), 70, 71 Greene, Graham, 102, 110Grémillon, Jean, 78, 83, 84, 110, 112, 115,

116, 120, 124, 184, 211, 220Grève de femmes à Troyes (1971), 216Greven, Alfred, 67, 69, 78Gribouille (1937), 119Grierson, John, 43Griffith, D.W., 11, 15, 24, 34, 198 Grimoin-Sanson, Raoul, 23, 38Gris, Juan, 89Grisou (1938), 117Grivolas, Claude, 6, 15, 24Gromaire, Marcel, 143Gros, Dominique, 274Ground of the Image, The (2003), 332Groupe Cinéthique, 194, 215Groupe des Trente, 169, 183 Groupe Dziga Vertov, 187, 194, 215, 230,

239Groupe Israélite de Renseignements et

d’Actions (GIRA), 68Groupe Jean Vigo, 193 Groupes Medvedkine, 193, 194, 214Growing up Female (1971), 204Gruault, Jean, 157Guattari, Félix, 330

Guédiguian, Robert, 114, 250, 251, 301Guégan, Maurice, 7Guerdjou, Bourlem, 310Guérin, Christophe, 286Guérin, Gérard, 189Guérin, Syn, 205Guerre des boutons, La (1962), 188 Guerre du feu, La (1981), 245Guerre sans nom, La (1991), 225Guétry, Georges, 181Gueule d’amour (1937), 110, 120, 220Gueule ouverte, La (1974), 189Guibert, Hervé, 313, 314Guiniou, Françoise, 201Guiraudie, Alain, 252, 320Guisol, Henri, 124Guissart, René, 86Guitry, Sacha, 69, 76, 102, 104, 105, 106,

108, 109, 119, 180, 181Gunning, Tom, 29, 33, 39, 50Guy, Alice, 5, 6, 8, 26, 32Guymer, Christiane, 200Guzmán, Patricio, 280

Haacke, Hans, 292Haardt, Georges-Marie, 43, 44Habemus Papam (2011), 162Hadewijch (2009), 249Hadzivilovic, Lucile, 252Hahn, Clarisse, 285, 293Haïk, Jacques, 10, 67, 75Haine, La (1995), 299, 307, 308, 310 Hains, Raymond, 199Hakim brothers, 67Halexander, Jann, 316Halimi, André, 190Hamdi, Nora, 310Hamé (Mohamed Bourokba), 286Hammon, Joë, 9Hammond, Paul, 31Haneke, Michael, 225Hanin, Roger, 305Hanoun, Marcel, 183, 199, 200, 201, 202,

203, 285Hansen-Løve, Mia, 252Happy Birthday, Mr Mograbi (1998), 280Harlan, Veit, 141Harlan County, U.S.A. (1976), 204Harris, André, 189, 281Hart, William, 10, 55, 57Hasse, Laurent, 300Hatot, Georges, 6, 16, 32Haugmard, Louis, 28 Hausmann, Raoul, 199, 291Haut et Court, 251Hautes Solitudes, Les (1974), 216Hayakawa, Sessue, 55Hazanavicius, Michel, 260, 324, 325,

251Hébraud, Régis, 285Hegel, G.W.F., 201Hélas pour moi (1993), 246Heller, Otto, 64

Helm, Birgit, 123Hennebelle, Guy, 204Hepworth, Cecil, 25Herbes folles, Les (2009), 248Hervil, René, 11, 12, 105Herzi, Hefsia, 320Hessling, Catherine, 121Heure d’été, L’ (2008), 249Heure exquise, L’ (1980), 189Heuzé, André, 7Hexagone (1994), 308Heymann, Claude, 68Hicham, Mohamed, 316Hiéroglyphes (1975–6), 276Higbee, Will, xv, xix,Hilpert, Heinz, 62 Hippocampe, L’ (1934), 97Hirochirac (1995), 191Hirondelle et la mésange, L’ (1920), 110 Hiroshima mon amour (1959), 184, 193Histoire d’O (1975), 171Histoire d’un crime (1901), 6 Histoire de Judas (2015), 252Histoire générale du cinéma (1946), 28Histoire parallèle (1989–2002), 278Histoire(s) du cinéma (1988–98), 195, 200,

246, 285, 286, 287, 288, 325Histoires d’A (1973), 189, 204Histoires d’images, images d’histoire (2014),

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



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,

138Hubert, Roger, 181Huelsenbeck, Richard, 291Hugo, Victor, 186Hugon, André, 11, 83, 106, 115, 118, 220Huillet, Danièle, 155, 189, 190, 200, 2858 Femmes (2002), 252, 318Humanité, L’ (1999), 249, 301Hunebelle, André, 181Hunters, The (1977), 190Huppert, Isabelle, 247, 248, 249, 252Hurlevent (1986), 247Hurtado, Éric and Marc, 285, 291Hurwitz, Leo, 193 Hussein, Saddam, 294Husserl, Edmund, 56Huth, James, 251Hutton, Peter, 290Hypergonar anamorphic lens, 174

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

Cinématographiques (IDHEC), 80, 168, 221, 223, 328

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),

158 Jeancolas, Jean-Pierre, 101, 104, 110,

171Jeanmaire, Zizi, 181Jeanne d’Arc (1999), 245Jeanne Dielman, 23, Quai du Commerce,

1080 Bruxelles (1976), 189, 215Jeanne la pucelle (1994), 247Jeanne, René, 145Jeanneau, Yves, 275Jeanson, Henri, 104, 110, 156, 181, 212Jenkoe, Thomas, 286Jenny (1936), 102, 110Jetée, La (1962), 193 Jeudy, Patrick, 225Jeunesse dorée (2002), 309Jeunet, Jean-Pierre, 251, 260Jeux arborescents (1928), 93Jeux des reflets et de la vitesse (1925), 93 Jeux d’ombres (1928), 93Jeux interdits (1951), 117Ji, Qing-ming, 190JLG/JLG: autoportrait de décembre (1995), 246Joannon, Léo, 119, 120, 124, 181Johan (1976), 216, 313Joli mai, Le (1963), 177, 186, 213, 215, 217,

223Jolles, André, 194Joly, Henri, 6, 8, 22, 23, 24, 26, 27Jones, L.A., 25Joubé, Romuald, 120Joubert-Laurencin, Hervé, 150Joueur de quilles, Le (1969), 203 Joulé, Luc, 301Jour de fête (1949), 180 Jour se lève, Le (1939), 69, 76, 110, 120 Jourdan, Louis, 123 Jourjon, Charles, 8, 24Journal, Le, 10, 18 Journal d’un curé de campagne (1951), 117,

182, 200, 236Journal d’une femme de chambre (1964),

158, 161

I n d e x 359




Journiac, Michel, 288Jousse, Sébastien, 301Jouvet, Émilie, 318Jouvet, Louis, 104, 118, 137, 138, 159Jouvet, Pierre, 200Joux, Frédérique, 318Joxe, Stéphane, 302Joyce, James, 332Joyeux, Odette, 123Judex (1917), 11, 12, 33, 35 Juge et l’assassin, Le (1976), 189Juif Süss, Le (1940), 141Jules et Jim (1962), 176, 243Julien-Laferrière, Gabriel, 310Jullier, Laurent, xv, xxJument verte, La (1959), 181Juste une image (1982–3), 276, 277 Juste une question d’amour (2000), 320

Kahn, Albert, 41–3Kahn, Cédric, 250, 303Kaiser, Gabriel, 8Kalfon, Jean-Pierre, 203Kameli, Katia, 294Kamenka, Alexandre, 73Kameradschaft (1931), 62Kaplan, Nelly, 189Karina, Anna, 160, 184Karl, Roger, 122Karmitz, Marin, 194, 247, 248, 257Kashima Paradise (1974), 191Kassovitz, Matthieu, 299, 307, 308Kast, Pierre, 155, 183, 184Kastor, Paul, 9 Katorza, Charles and Schelmo, 6 Kaufman, Boris, 97Kautsky, Karl, 200Keaton, Buster, 33Keats, John, 115 Kebadian, Jacques, 194Kechiche, Abdellatif, xviii, 242, 252, 306,

309, 310, 318Kechiouche, Salim, 316Kelber, Michel, 65Kellyann (2008), 295 Kermesse héroïque, La (1935), 76Kervern, Gustave, 300, 303Kessel, Joseph, 155Keufs, Les (1987), 306Khelifa, Hedi Ben, 223Kinepolis, 270Kinetoscope, 4, 5, 6, 15, 21, 22, 23, 26, 46King Lear (1987), 246King, Henry, 15, 35Kirchhofer, Patrice, 285, 288Kirsanoff, Dimitri, 95Kitsopanidou, Kira, xv, xixKlapisch, Cédric, 303, 319Klein, Jim, 204Klein, William, 189, 193, 223Kline, Franz, 199Klonaris, Maria, 285, 288, 289Klotz, Nicholas, 300

KMT Coutant-Mathot Éclair, 177Kodak, 15, 25, 56, 64, 173, 176 Koenig, Rudolf, 21Kohl, Helmut, 244, 255Kommunisten (2014), 285Kopple, Barbara, 204Korda, Alexander, 62, 70, 102, 103, 114Kordon, Béatrice, 286, 290Korsten, Lucien, 23 Kosma, Joseph, 67, 110Koster, Henry, 174Koundé, Hubert, 307Kowalski, Lech, 293, 294–5Kramer, Robert, 277, 278Krause, Georg, 64Krim (1995), 307Krim, Rachida, 310Kruger, Jules, 110Ktari, Naceur, 305Kubelka, Peter, 287Kung-Fu Master (1987), 248Kurosawa, Akira, 196Kurys, Diane, 189, 318Kut, Ahmet, 196

L’Herbier, Marcel, xvii, 12, 18, 25, 27, 29, 36, 41, 57, 74, 78, 95, 96, 102, 106, 120, 122, 123, 143, 220

La Rochefoucauld, François de, 199, 200 Labarthe, André S., 176, 184 185Lacan, Jacques, 195, 238, 289Lacasse, Germain, 50Lacassin, Francis, 35Lachine, Lakhdar, 306Lacloche, Francis, 49, 50 Lacombe, Georges, 97, 106Lacombe Lucien (1974), 189Lady Jane (2008), 250Lafaye, Yves, 155Lafitte, Paul, 8, 33 Lafond, Pierre, 131Lafont, Bernadette, 184Lagrange, Yvan, 200Lahourcade, Catherine, 205Laisse béton (1984), 305Lajournade, Jean-Pierre, 200, 203Lallement, François, 9Lalou, Serge, 251, 282, 283Lamac, Carl, 62Lamartine, Thérèse, 204Landru (1963), 186 Lang, Fritz, 63, 73, 194Lang, Jack, xviii, 243, 244–6, 249, 260Lange, Rémi, 316, 317Langlois, Henri, 34, 37, 120, 170, 186,

229, 289, 295Langlois Affair, 187, 238Langmann, Thomas, 251, 258Lanzmann, Claude, 200, 274Lapipe, Alban, 24Larquey, Pierre, 123Lasky, Jesse, 10Latouche, Michel, 155

Laughton, Charles, 286Laurent, Hugues, 27Lauterjung, Fabrice, 286Lauzier, Gérard, 305Lavant, Denis, 245Lazar, Florence, 285, 294Le Bargy, Charles, 8, 33, 34Le Besco, Isild, 252Le Caravage (2015), 253Le Chanois, Jean-Paul, 69, 108, 181, 187Le Forestier, Laurent, xv, xviiiLe Fraper, Charles, 10Le Gac, Franck, xv, xx Le Garrec, Félix, 194Le Garrec, Nicole, 191, 194Le Masson, Olga, 191Le Masson, Yann, 191, 192, 204, 223, 279Le Pen, Jean-Marie, 191Le Péron, Serge, 274, 305Le Petit Soldat (1961), 184, 224Le Pogam, Pierre-Ange, 261Le Rouge et le Noir (1954), 107Le Saint, Lucien, 42, 43Le Somptier, René, 12, 27, 37 Le Tacon, Jean-Louis, 194Léaud, Jean-Pierre, 117, 160, 184, 212, 245Lebel, Jean-Patrick, 293Leblanc, Georgette, 123Leccia, Ange, 285, 287, 295, 296Leclerc, Ginette, 117, 119, 120, 124Leclère, Alexandra, 252Leçons de ténèbres (2000), 315Leconte, Patrice, 188Lecoq, Roger-Marc, 266Ledoux, Fernand, 123Leenhardt, Roger, 147, 182, 183, 184, 329Lefebvre, Henri, 211, 213, 214, 216Lefebvre, Léo, 39 Lefèvre, René, 67Lefranc, Guy, 181Legann, Cyril, 314Léger, Fernand, 91, 92, 93, 96, 123, 143Légion saute sur Kolwezi, La (1980), 225Leigh, Vivien, 70 Leiris, Michel, 98Lejeune, Jérôme, 206Lelouch, Claude, 184, 187, 213, 223Lemaître, Maurice, 99, 196, 197, 198, 199,

200, 203, 227, 285Lemercier, Valérie, 252, 317Lenin, Vladimir, 192 Léo, en jouant dans la compagnie des

hommes (2003), 249Léon (1994), 245Léonce (1913–16), 9Lépine, Charles-Lucien, 16, 33, 40Leprince, René, 9, 10 Leprohon, Pierre, 220Leroi-Gourham, André, 176Leroux, Gaston, 13Leterrier, Louis, 252Letter to Jane (1972), 285Lettrism, 99, 196–200, 227–8, 230, 287



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),

301Lipovetsky, Gilles, 216Liszt, Franz, 30Litvak, Anatole, 62, 64, 65, 66, 71, 76,

102, 140Lochakoff, Alexandre, 73Loi du marché, La, 303 Loi du pardon, La (1906), 7Loin du Vietnam (1967), 186, 192, 193, 194,

223, 224Loiseleux, Jacques, 193, 194Lola (1961), 155, 176, 184Lola Montès (1955), 106, 107, 108, 172, 183London River (2009), 310Londres, Albert, 293Longval, Jean-Marc, 306Lordier, Georges, 10Loridan, Marceline, 214, 224Losey, Joseph, 189, 245Losier, Marie, 285Lotar, Eli, 98, 183Loti, Pierre, 115Loubignac, Jean, 181Louise Michel (2008), 300, 303Louise Wimmer (2012), 303Louisiana Story (1948), 293Lourié, Eugène, 110Lowder, Rose, 285Lucachevitch, Joseph, 61 Lucarne, La, 278, 282 Lucas, George, 325Luccioni, Anne-Marie, 283Lucrèce (1943), 124Lucy (2014), 245Lumière, Antoine, 4Lumière, Auguste, 4, 6, 23, 114Lumière, Louis, 4, 6, 22, 23, 25, 28, 29, 32,

174, 186Lumière brothers, xviii, 4, 5, 6, 14, 15, 19,

24, 30, 32, 38, 39, 46, 47, 48, 53, 197, 287, 289

Lumière d’été (1943), 110, 115, 116, 124 Lumière et ombre (1928), 93

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

Marais, Jean, 107, 123, 124, 126, 181, 182Marc’O, 160, 200, 285Marchal, Georges, 181Marchal, Olivier, 251Marchand, Corinne, 212, 223Marche des machines, La (1928), 97 Marcie, Florent, 286, 293Marée noire et colère rouge (1978), 191Marey, Étienne-Jules, xviii, 3, 4, 14, 21,

22, 23, 89, 288Margoline (1974), 299Marguerite Duras: pour en finir avec cet

escroc et plagiaire généralisée (1979), 199

Margulies, Ivone, 212Mariano, Luis, 181Marie du port, La (1949), 116Marie-Jo et ses deux amours (2002), 250Marie-Martine (1943), 124Marignac, Martine, 247Marinella (1936), 103Marines, Les (1957), 183Marinetti, Filippo Tommaso, 54Maris de ma femme, Les (1936), 105Marius (1931), 102, 103, 114, 146Marius et Jeannette (1997), 114, 250Marken, Jane, 113, 114, 125Marker, Chris, 69, 97, 177, 183, 184, 186,

192, 193, 194, 195, 198, 213, 222, 223, 236, 239, 253, 274, 277, 288, 298

Marret, Mario, 183, 193Marseillaise, La (1937), 114, 115, 147Marseille contre Marseille (1996), 278Marshall, Tonie, 318Marthe Richard au service de la France

(1937), 120Martin, Adrian, 217Martin, Rémi, 299, 305Martineau, Jacques, 310, 315, 316, 319,

320Martineau, Monique, 204Marx, Karl, 149Mary, Charles, 10Maselli, Francesco, 200Maso et Miso vont en bateau (1976), 206,

207, 216Massart, Guillaume, 286Massenet, Sabine, 286Masson, André, 199Masson, Laetitia, 299, 307Mastroianni, Marcello, 162Maté, Rudolph, 65, 66Matelas alcoolique, Le (1906), 7 Maternelle, La (1933), 83, 98, 110 Mathieu, Georges, 199Mathot, Jacques, 175, 177Mathot, Léon, 103Matin, Le, 13, 18 Matras, Christian, 181Matuszewski, Bolesław, 53, 54Maugras, Émile, 7Mauriac, François, 118Maurice, Georges, 24

I n d e x 361




Maurice, Léopold, 24Mauricet, 40, 41Maurivard, Georges, 193Mauvais genres (2001), 316Mauvais sang (1986), 245 Mauvaise foi (2006), 309, 310, 311Mauvaises Rencontres, Les (1955), 184Max (1907–25), 8 May 1968 events, 170, 177, 180, 186, 187,

188, 189, 193, 194, 204, 214, 216, 230, 234, 238, 239, 278, 280, 281, 297, 298, 301, 315, 331

May, Joe, 64Mayerling (1936), 65, 76, 140Maynard, Serge, 306Mazuy, Patricia, 250, 252Méditerranée (1963), 184Medvedkin, Aleksandr, 194Meerson, Lazare, 61, 62, 65, 73, 110Méfiez-vous, fillettes! (1957), 181Meier, Pierre-Alain, 316Meilleure Façon de marcher, La (1975),

189, 313Meins, Holger, 291, 294Mektoub (1970), 305Méliès, Gaston, 5 Méliès, Georges, 3, 4, 5, 6, 8, 9, 14, 15,

16, 19, 22, 23, 25, 26, 29, 30, 31, 32, 38, 287

Mélo (1986), 248 Melville, Herman, 246Melville, Jean-Pierre, 68, 175, 185, 186,

188, 200, 201, 212Mémoires d’immigrés (1997), 310Mendel, Georges, 4, 26Menegoz, Robert, 183Ménessier, Henri, 7, 27 Ménilmontant (1926), 95Mennegun, Cyril, 303Mensonge de Nina Petrovna, Le (1937), 108Menu, Jean, 264Meppiel, Jacqueline, 214Mépris, Le (1963), 29, 156, 161, 176, 195Merad, Kad, 252, 311Mercanton, Louis, 9, 11, 12, 35 Merci pour le chocolat (2000), 248Mercredis de l’Histoire, Les (1997–present),

278Mercure insolent (2013), 291Merde artistique américaine, La (1977), 199Merleau-Ponty, Maurice, xx, 150, 235,

328Mérode, Cléo, 26Méry, Jean, 8, 24, 26Merz, Mario, 294Mes petites amoureuses (1974), 202Mesguich, Félix, 4, 27, 289Messier, Jean-Marie, 251Messieurs les ronds de cuir (1936), 102Metamkine group, 286Métayer, Alex, 308Méthode 1: Exercice de cinéma direct en

1962 (1962), 177, 213

Métisse (1993), 308Metro, 11Metro Goldwyn Mayer (MGM), 18, 68, 73Metz, Christian, 47, 48, 227, 232, 235,

237–8Metzner, Ernö, 64Meusy, Jean-Jacques, 47Meyrou, Olivier, 315Michel Strogoff (1956), 181Michel, Ariane, 285Michelini, Stéphanie, 317Miéville, Anne-Marie, 178, 189, 194, 287Migé, Clément, 9Migeard, Valérie, 314Mignot-Lefebvre, Yvonne, 204Mihaileanu, Radu, 251Mike (2005), 294 Mille chemins du temps (2014), 1771305 (2001), 290Miller, Claude, 189, 313Millett, Kate, 204Million, Le (1931), 103Milton, Georges, 102, 103, 104, 106Mimran, Hervé, 311Ministry of Culture, 169, 244, 257, 283,

314, 322 Ministry of Agriculture, 127, 128Ministry of Education, 127, 130, 322Ministry of Health, 127, 314Minne, l’ingénue libertine (1950), 106, 126 Miou-Miou, 188 Miquette et sa mère (1949), 106 Miracles n’ont lieu qu’une fois, Les (1951),

126, 181Mirages (2007), 293Mirages de Paris (1932), 66Mirande, Yves, 102, 104Mise à mort du travail, La (2009), 300Misérables, Les (1912), 9Misérables, Les (1958), 108, 181Miss Mona (1987), 316 Mission spéciale (1946), 125Missonier, Marc, 251Mistinguett, 11, 102, 106Mistons, Les (1957), 183 Mitchell camera, 24, 176Mitrani, Michel, 275Mitry, Jean, 50, 69Mitterrand, François, 211, 216, 219, 224,

243, 244, 250, 254, 255, 257, 274, 297, 313

Mitterrand, Frédéric, 206Mizrahi, Jean, 268MK2, 257, 269, 270, 322MKB Provisoire (Messageros Killer Boy),

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

(2003), 309Monsieur Klein (1976), 189Montage (1976), 197Montand, Yves, 162, 166, 188Montazel, Pierre, 181Montebello, Fabrice, 228, 232, 322Monte-Cristo (1914–17), 34Montesse, Alain, 196Montmartre-sur-Seine (1941), 106Montparnasse (1929), 97Moore, Franz, 294Moore, Geoffrey, 268Morand, Paul, 96Mordillat, Gérard, 189, 278More (1969), 186Moreau, Jeanne, 159, 160, 161, 181, 184Morel, Gaël, 316Morel, Pierre, 252Moretti, Nanni, 162Morgan, Daniel, xv, xxMorgan, Michèle, 68, 108, 115, 116, 119,

166, 181Morin, Edgar, 155, 177, 186, 213, 214,

215, 223, 324Morin, Jacques, 117Morlay, Gaby, 119, 123, 124Morouche, Leïla, 286Mort au champ d’honneur (1914), 34Mort du soleil, La (1922), 94Mosjoukine, Ivan, 73Mother Dao the Turtlelike (1995), 225Mouchette (1967), 186, 201, 202Moullet, Luc, 186, 302Mourir d’aimer (1971), 187Mourir pour des images (1971), 191Moussinac, Léon, 13, 96, 139



Moussy, Marcel, 156Moutout, Jean-Marc, 300Mouvement de Libération des Femmes,

216Mouvement, Le (1894), 3Mozart, Wolfgang Amadeus, 200M6, 255, 320Muel, Bruno, 193, 194, 214, 215, 298Muet Mélomane, Le (1900), 26Münsterberg, Hugo, 328Munz, Manuel, 251Muriel (1963), 186Murnau, F.W., 73Murphy, Dudley, 91, 92Murs, murs (1981), 248Musée de l’Homme, 176, 214, 221, 228Musée Galliera, 94, 136Musée Grévin, 3, 4, 5, 6, 7, 21, 30, 47 Musée Grévin (1958), 183Musée imaginaire, Le (1947), 149Musica, La (1966), 186Musidora, 11, 35Mussolini, Benito, 131Muybridge, Eadweard, 3, 21Mystères de New York, Les (1915), 10Mystères de Paris, Les (1912), 9Mystères du château de Dé, Les (1929),

95 Mystères du continent noir, Les (1926), 44 Mythologies (1957), 237, 238

Naceri, Samy, 252, 310, 311Nadar, Paul, 22Nadja (1928), 46 Nadoux, Étienne, 131Nagra, 177Naissance de la soie (1942), 131 Naissance des pieuvres (2007), 318, 319Naissance du cinéma, La (1946), 183Nakache, Géraldine, 311Nakache, Olivier, 252, 259, 311Nalpas, Louis, 9, 10, 11, 27Nana (1926), 68, 121Nana (1955), 106, 107Nanarland, 323, 324, 326 Nancy, Jean-Luc, xx, 328, 332–3Napoléon (1927), 25, 95, 96, 114, 174, 183Napoléon (1955), 106, 181Narboni, Jean, 239Narmada (2012), 290Natan, Bernard, 67 Natpwe (2004–12), 290Natteau, Jacques, 64Navarre, René, 12Ne touchez pas la hache (2007), 247Néa (1976), 189Near Death Experience (2014), 303Nebenzahl, Seymour, 64Negro, Marylène, 285Neiges du Kilimandjaro, Les (2011), 250 Neil, Louisette, 276, 278Nénette et Boni (1996), 246 Neufeld, Max, 62

Neuilly sa mère! (2009), 309, 310, 311 New Old (1978), 196New Wave, xv, xvi, xix, 34, 79, 83, 87, 101,

107, 150, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 164, 168–70, 175–6, 180, 182, 183–6, 187, 189, 212–13, 223, 229, 230, 234, 237, 243, 245, 246, 248, 250, 252, 259, 263, 264, 315, 319, 329

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

O’Shaughnessy, Martin, xv, xix, 220Oasis (1955), 107, 174 Obama, Barack, 295Oberland, Frédéric, 286Oberon, Merle, 70Occupation (1940–4), xviii, xx, 67, 68, 69,

70, 71, 73, 76, 77, 81, 87, 101, 106, 120, 123, 124, 125, 128, 130, 131, 134, 138, 140, 141, 148, 168, 175, 182, 183, 189, 329

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,

251Ossang, F.J., 285, 291–2Osso, Adolphe, 62, 75Otero, Mariana, 252Ott, Manon, 286, 290Oudart, Jean-Pierre, 230, 231Ouedraogo, Idrissa, 308Ourbih, Pascale, 316Ours, L’ (1988), 245Oury, Gérard, 188, 308Out 1 (1971), 160Outremer (1989), 311Ouvrières du monde (2000), 301

I n d e x 363




Ovid, 288Ozep, Fédor, 61, 66, 73Ozon, François, 251, 252, 314, 318, 319

P’tit con (1983), 305P’tit Quinquin (2014), 250Pabst, G.W., 62, 64, 65, 66, 102, 123 Page, Antoine, 286Pagliero, Marcello, 117, 181Pagnol, Marcel, 102, 103, 104, 105, 109,

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,

109 Parfait amour! (1996), 249Paris brûle-t-il? (1966), 187Paris chante toujours! (1951), 181Paris Exposition Universelle (1900), 5,

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, 8, 11, 13, 15–19, 24–7, 28, 30–4, 39, 40, 41, 54, 75, 87, 94, 110, 134, 135, 136, 147, 159, 170, 172, 251, 257, 269, 270

Pathé, Charles, xviii, 5–13, 14–19, 22, 24–27, 31, 32, 33, 34, 41, 47, 73

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,

159, 160, 166, 181Phillips, Alastair, xvi, xviiiPhilosophes Guerriers du Yeumbeul (1999),

294 Phocéa, 12, 13Phono-Ciné Gazette, 7, 54phonograph, 5, 6, 7, 14, 15, 16, 25, 26phonoscope, 4, 21photographic gun, 3, 21 Piaf, Édith, 68, 106Pialat, Maurice, xviii, 183, 189, 190, 200,

201, 202, 211, 245Piault, Marc-Henri, 43Pic, Roger, 194Picabia, Francis, 91 Picasso, Pablo, 89 Piccoli, Michel, xviii, 161–2Pickpocket (1959), 182, 200 Pidduck, Julianne, 314, 318Pieds Nickelés, Les, 180Pierre: or, The Ambiguities (1852), 246Pierrot le fou (1965), 176, 195, 238Pierru, Albert, 196Pigault, Roger, 126Pinel, Vincent, 29Pinochet, Augusto, 217Piolat, Jérémie, 286, 294Pissarro, Camille, 113 Piton, Monique, 208, 209Pivot, Bernard, 207Placard, Le (2001), 318Place de la République (1974), 215Place de la République (1993), 294Plages d’Agnès, Les (2008), 253Plaisir, Le (1952), 106, 108, 183Planer, Franz, 63Plein soleil (1960), 187 Ploquin, Raoul, 67, 78



Podalydès, Denis, 251Poe, Edgar Allan, 36, 96, 121, 186Poème optique (1920), 91 Poetic Realism, xix, 64, 65, 66, 70, 71, 87,

101, 105, 106, 109-11, 120, 146Point du jour, Le (1949), 117Pointe Courte, La (1955), 184, 185, 230Poiré, Jean-Marie, 258Poirier, Léon, 12, 37, 43, 44, 74, 120, 220Pola X (1999), 246Polémiques de cinéma (1976–present), 198Poliakoff, Olga, 223Polisse (2011), 251Politics of Aesthetics, The (2000), 332 Poljinski, Serge, 279Pollet, Jean-Daniel, 183, 184Polyvision, 96, 174, 183 Pomerand, Gabriel, 99, 198, 199Pommereulle, Daniel, 194, 196Pompidou, Georges, 180, 188, 224Pompiers et les escrocs de l’art moderne, de

César à Balthus et Ben, Les (1985), 199Ponette (1996), 202Pont du Nord, Le (1981), 247Ponti, Carlo, 168Pool, Léa, 318Popert, Siegmund, 7Populaire (2012), 251Popular Front, 78, 98, 109, 112, 113, 114,

147, 148, 149Pornographe, Le (2001), 252Portapack, 177, 205 Porte, Pierre, 143Portrait d’une Présidente (1995), 316Portrait of Jason (1967), 295Positif, 153, 169, 186, 237Poste, La, 53 Pottier, Richard, 66, 102, 106, 126, 181Pouctal, Henri, 9, 13, 34, 35Poule aux oeufs d’or, La (1905), 6Poulet au vinaigre (1985), 247Pound, Ezra, 92Poupaud, Melvil, 319Pour faire un bon voyage prenons le train

(1973), 196Pour Vous, 65Pourquoi pas! (1977), 189 Pourquoi pas moi? (1999), 314Poursuite sur les toits (1898), 32Pourvu qu’on ait l’ivresse (1957), 183Poyen, René, 9 Pradot, Marcelle, 122Pravda (1969), 187Praxinoscope, 3Precision Optics (1920–35), 92Prédal, René, 114, 116, 158, 180Préjean, Albert, 66, 67, 102, 126Prélia, Claire, 122Premier bal (1941), 124 Premier film (1991), 221Premier Homme, Le (1960/1994), 50Premier rendez-vous (1941), 123Prénom Carmen (1983), 246

Présence africaine, 222 Presle, Micheline, 181Presque rien (2000), 315Prévert, Jacques, 104, 110, 120,

146, 183Prévost, Abbé, 125 Priester, Jean-François, 300Prieur, Jérôme, 278Prince de minuit (1934), 86Prince, Charles, 8, 9Prisoner (2008), 295Prisons (2011), 293Prisons de femmes (1938), 102, 109, 110Procès de Jeanne d’Arc (1962), 186Professionnelle camera, 24Profil (1996–2003), 278Promeneur du Champ-de-Mars, Le (2005),

250Promenoir, 93 Promio, Alexandre, 4, 8, 39Propagande (2004), 292Propre de l’homme, Le (1961), 187Prose du Transsibérien et de la Petite

Jehanne de France, La (1913), 90Prostituées de Lyon parlent, Les (1975),

206, 207Proust, Marcel, 89, 249Provencher, Denis, 315, 316Providence (1977), 248Pudeur ou l’impudeur, La, 314Pudovkin, Vsevolod, 146Pujol, René, 102

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

(1905), 6, 31Raimu, 104, 105, 108, 114, 115, 119, 123,

159, 160 Ramettre, Noël, 131Rampling, Charlotte, 318Rancière, Jacques, xx, 328, 329, 331–2Rank Organisation, 174Rappeneau, Jean-Paul, 157, 245Rapp-Meichler, Gisèle and Luc, 285RAS (1973), 224Rassam, Dimitri, 251 Rassam, Jean-Pierre, 251Rassam, Paul, 251Rauch, André, 120, 123Ravel, Gaston, 102Ray, Man, 68, 91, 92, 95, 197, 287Ray, Michèle, 223Rayon vert, Le (1986), 247Razzia sur la chnouf (1955), 181Reader, Keith, xvi, xix Real D, 269Rebatet, Lucien, 68, 148Rebecca (1940), 116Recréations (1993), 279Réfugiés, Les (1957), 223 Regain (1937), 115 Regarde, elle a les yeux grand ouverts

(1975–80), 204Regardez chers parents (2006), 292Regards sur la folie (1962), 177, 213Regeneration (1915), 33Région centrale, La (1970), 287Règle du jeu, La (1939), 107, 115, 120, 141Regourd, Serge, 160Reichenbach, François, 183, 189Reichert, Julia, 204Reine Margot, La (1994), 249Reisch, Walter, 64 Réjane, Gabrielle, 9, 26Relâche (1924), 91 Remords, Le (1974), 191 Remorques (1941), 115, 116Rémy, Albert, 160Renaud, Madeleine, 124, 181Rencontre, La (1996), 253Rendez-vous de Paris, Les (1995), 247 Rendez-vous des quais, Le (1950–3), 221Renoir, Auguste, 114Renoir, Claude, 64, 67, 110Renoir, Jean, 25, 61, 67, 68, 69, 70, 74, 76,

83, 87, 95, 97, 98, 101, 102, 106, 107, 108, 110, 111, 112, 113, 114, 115, 117, 120, 121, 127, 141, 147, 148, 172, 173, 180, 181, 182, 183, 184, 186, 236, 243

I n d e x 365




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

(1968), 301Resnais, Alain, 69, 97, 157, 176, 183, 184,

186, 189, 192, 193, 194, 199, 222, 223, 245, 248, 249

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,

293Rififi à Tokyo (1963), 187Rigadin (1909-20), 8Rigolboche (1936), 102Rigolini, Luciano, 278, 283Rimbaud, Arthur, 196, 294Ringart, Nadja, 206, 207, 216Riva, Emanuelle, 184Rivette, Jacques, 157, 160, 176, 183, 184,

186, 190, 245, 247, 248Robbe-Grillet, Alain, 186, 199Robe, The (1953), 174Robert, Yves, 184, 188Robert-Houdin Théâtre, 4, 19, 30Robic-Diaz, Delphine, 225Robin, Jean-François, 155Robinne, Gabrielle, 11Robinson, Madeleine, 115, 126Roger, Jean-Henri, 187Roger, Philippe, 63, 118Rohmer, Éric, 156, 176, 183, 184, 186,

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,

186, 189, 213, 214, 215, 221, 222, 223, 274, 275, 287, 290, 292

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),

10, 33Schaeffer, Pierre, 177, 276Schefer, Jean Louis, xx, 328, 329–30, 333Schell, Maria, 181Schiller, Friedrich, 294Schivelbusch, Wolfgang, 39Schlegel, Friedrich, 195Schlomoff, Jérôme, 285, 290, 294Schlöndorff, Volker, 158, 159Schoeller, Pierre, 301Schoendoerffer, Pierre, 155, 224–5, 311Schönberg, Arnold, 332Schpountz, Le (1937), 105 Schroeder, Barbet, 186, 247Schüfftan, Eugen, 63, 64, 110



Schumann, Robert, 30 Schwartz, Vanessa, 47Sciamma, Céline, 252, 310, 318,

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,

283Simon, Michel, 60, 70, 98, 104, 111, 112,

120, 125, 181Simon, Simone, 67, 110, 181Siodmak, Robert, 64, 68, 103, 112, 117Siou, Ludovic, 325Siri, Florent-Emilio, 225, 251Sisley, Alfred, 113Sitcom (1997), 314Situationism, 194, 199, 213, 227, 230,

291Situs heureux, Les (1970–6), 196

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,

103–4Souviens-toi de moi (1996), 308Spaak, Charles, 67, 104, 110, 181Spacagna, Jacques, 198Specht, Georges, 44Spinoza, Baruch, 197St-Germain-des-Prés (1955), 198 Stahly, Antonin, 316Staiger, Janet, 101Stalin, Joseph, 237 Stämpfli, Peter, 194Star Wars (1977), 325Star-Film, 4, 5, 31, 38Station 307 (1955), 183Station Physiologique, 3, 4, 21 Statues meurent aussi, Les (1953), 97, 183,

222 Steinhoff, Hans, 63Stelli, Jean, 106, 123Stendhal, 293Stepanek, Emil, 64Stévenin, Jean-François, 200Stewart, Kristen, 249Stieglitz, Alfred, 295Stiller, Mauritz, 11Storck, Henri, 98Storia di Caterina (1952), 200Strada, La (1954), 115 Strand, Paul, 91, 193Straub, Jean-Marie, 155, 189, 190, 200,

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




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

(SFA), 162

Taeuber, Sophie, 90Taghmaoui, Saïd, 307Tahri, Zakia, 318Taillibert, Christelle, 326Tales of Manhattan (1942), 70 Tapage nocturne (1979), 249Tare, La (1911), 10Tarek, Karim, 317Tarik el hob (2002), 316, 317Tarr, Carrie, 308, 309Tati, Jacques, 157, 158, 180, 182, 183,

184, 211, 236Tatou, Audrey, 252Tavernier, Bertrand, 117, 189, 224, 225Taxi (1998–2007), 310Tchao Pantin (1983), 305Téchiné, André, 250, 313, 314, 318Technicolor, 173Technicolor Italia, 176 Techniscope, 176 Tedesco, Jean, 89, 90, 93, 94, 96, 97, 98Teguia, Tariq, 286Télévision Par Satellite (TPS), 255Témoins, Les (2007), 313Tempestaire, Le (1947), 96, 115Temple, Michael, xix, xxTemple, Shirley, 137Temps, Le, 11Temps modernes, Les, 235Temps qui reste, Le (2006), 319Temps retrouvé, Le (1999), 249Ténérife (1932), 98Terme, Louis, 117Terrain vague (1960), 187 Terre, La (1921), 37 Terre Adélie (1952), 183 Terres froides, Les (1999), 316Terrorist, The (1963), 192Terzieff, Laurent, 203, 216Testament d’Orphée, Le (1960), 182

Testament du Docteur Cordelier, Le (1959), 182

Tête d’un homme, La (1932), 70 TF1, 244, 255, 274Thé à la menthe, Le (1984), 305Thé au harem d’Archimède, Le (1985), 298,

299, 304, 305, 308 Théâtre Optique, 3, 21Thelma (2002), 316 Thèmes et variations (1928), 93Thépénier, Christine, 300Thiele, William, 102Thirard, Armand, 18135mm, 4, 5, 6, 23, 24, 25, 26, 139, 154,

174, 175, 176, 177, 178, 187, 271, 287, 288, 289, 290, 292

Thomadaki, Katerína, 285, 288, 289Thomas, Gabriel, 3, 6Thompson, Kristin, 101, 108 Thorn, Jean-Pierre, 194, 274, 296, 298,

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,

230, 231Tobey, Mark, 199Tobis, 61, 62, 75, 78, 83, 84Toledano, Éric, 252, 259, 311Tom de Pékin, 290 Tomaszewski, David, 325, 326Tomboy (2011), 318, 320Tomorrow Tripoli (2014), 293Toni (1934), 110, 115Tonnelier, Le, 131, 132Toporkoff, Nikolai, 73Tosca, La (1909), 34Toscan du Plantier, Daniel, xviii, 159,

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),

33, 40Tourjansky, Victor, 108Tournée (2009), 252Tourneur, Maurice, 9, 10, 15, 83, 86, 106,

123, 124Tous les matins du monde (1991), 245Tout ce qui brille (2010), 311

Tout est pardonné (2007), 252Tout va bien (1972), 187Toute révolution est un coup de dés (1977),

189Toutes nos envies (2011), 303Toy Story 2 (1999), 264Tradition of Quality, xix, 101, 106, 108,

154, 156, 157, 158, 168, 170, 181, 184, 230

Traffic in Souls (1913), 33 Traforetti, Henri, 193Train d’enfer (1984), 305Traité de bave et d’éternité (1951), 99,

197–8, 227, 228 Trans-Europ-Express (1966), 186Transmission d’expérience ouvrière (1973),

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,

155, 156, 175, 176, 181, 182, 183, 184, 186, 187, 189, 212, 223, 229, 230, 231, 243–4, 245, 246, 313, 323

Tryyps (2005–10), 290Tsar Nicholas II, 53 Tual, Roland, 68



Tucker, George, 33Tunisie Tunisie (1985–90), 199Tuscherer, Eugen, 64 Twentieth Century-Fox, 68, 174, 257 Twentynine Palms (2003), 249Twin Cycle (1995–2000), 288Tzara, Tristan, 90, 91, 99

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,

181Varda, Agnès, xviii, 183, 184, 185, 186,

189, 190, 193, 212, 215, 223, 230, 248, 253, 274, 275, 298, 299, 302

Variot, Frédéric, 299Vaude, Johanna, 286Vaughan, Hunter, xvi, xxVautier, René, 183, 191, 192–3, 195, 203,

212–13, 214, 221–3, 224, 285, 287Veber, Francis, 318Vecchiali, Paul, 186, 313Vécés étaient fermés de l’intérieur, Les

(1976), 188Vedrès, Nicole, 212–13, 214Vellay, Cleews, 316Velle, Gaston, 6, 31Vendredi saint à Policarpa (1966), 215Ventura, Lino, 160, 181, 182Ventura, Ray, 106Vénus aveugle (1941), 123Vénus internationale, La (1921), 123Vénus noire (2010), 252Vercors, 185

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,

127, 146, 148, 196Vilardebó, Carlos, 183Vilgard, Othello, 286, 290Villa Amalia (2009), 252Ville est tranquille, La (2000), 250Villeglé, Jacques, 199Villette, Guy, 176Villon, François, 294Vincendeau, Ginette, xvi, xix, 120, 160,

186, 311Vincent, Christian, 309Vincent, Pascal-Alex, 318Vinter, Georges, 33Violence des échanges en milieu tempéré

(2004), 300Violet, Édouard-Émile, 12Violette Nozière (1978), 247

I n d e x 369




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

Wajda, Andrzej, 159Wakhevitch, Georges, 65, 67, 110Waldeck-Rousseau, René, 5

Wallon, Dominique, 167, 168Walsh, Raoul, 33Wargnier, Régis, 224, 311Warhol, Andy, 216Watts, Philip, 212, 229Waxmann, Franz, 64 Week-end (1967), 186Week-end à Zuydcoote (1964), 187Weil, Édouard, 251Weinstein, Harvey, 260Welcome (2009), 309 Welles, Orson, 29, 149, 184, 198, 212,

236, 285Wenders, Wim, 155, 245, 246Werner, Eugène, 4, 22Werner, Michel, 4, 22Wesh wesh, qu’est-ce qui se passe? (2001),

252, 309White Material (2010), 224, 252White, Pearl, 10, 34, 35Who Pays? (1915), 35widescreen, xix, 76, 79, 85, 87, 88, 107,

166, 173–6 Wieder, Ioana, 205, 206Wiene, Robert, 64, 73, 93Wiener, Jean, 83Wild Bunch, 261 Wild Side (2004), 317Wild, Jennifer, xv, xixWilde, Oscar, 57Wilder, Billy, 64Willemont, Jacques, 301Williams, Alan, 33Williams, James, xvi, xix, 183 Williamson, James, 31Wilson, Lambert, 319Wiseman, Frederick, 280With Babies and Banners (1979),

204 Witt, Michael, xixWitta-Montrobert, Jeanne, 62Wittig, Monique, 209Wollen, Peter, 235 Wolman, Gil, 191, 199, 291Woman’s Film, The (1970), 204Woolf, Virginia, 332

World War I, xv, xvi, xviii, xx, 10, 15, 19, 20, 27, 34, 42, 43, 51, 55, 73, 78, 89, 95, 120, 127, 128, 129, 131, 134, 135, 136, 164, 169, 189, 221

World War II, 61, 71, 76, 127, 129, 131, 132, 134, 136, 164, 168, 172, 192, 196, 201, 211, 216, 219, 221, 228, 310, 329, 331

Worms, Jean, 109Wyler, Robert, 62 Wyler, William, 29

XXL (1997), 308

Y’a qu’à pas baiser (1971–3), 206Y’aura-t-il de la neige à Noël? (1996), 115,

307Yaa Bôe (1975), 196 Ymagis, 268, 269, 270Youn, Michael, 252Young, Terence, 155YouTube, 323, 325

Z (1969), 188Zapping Zone (1994), 253Zauberman, Yolande, 274Zazie dans le métro (1960), 184Zecca, Ferdinand, 6, 7, 17, 26, 27, 30Zeïtoun, Ariel, 308Zeitschrift für Sozialforschung, 148Zem, Roschdy, 252, 309Zemmouri, Mahmoud, 308Zéro de conduite (1933), 97, 98, 148Zidi, Claude, 188, 258Zigomar (1911), 10Zigomar, peau d’anguille (1913), 10Zigomar contre Nick Carter (1912), 10Zilbermann, Jean-Jacques, 308Zimmer, Jacques, 161Zoëtrope, 3Zola, Émile, 5, 34, 109, 117, 121Zonca, Érick, 117, 299, 307Zone: au pays des chiffonniers, La (1928), 97Zouzou (1934), 102 Zukor, Adolphe, 35Zulawski, Andrzej, 245



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