The Classic French Cinema: 1930-1960 by Colin Crisp

By Colin Crisp

"We can frequently anticipate anything clean and diversified to emerge from Australia, and this research is not any exception." —American Cinematographer

"An vital contribution to cinema historical past. . . particularly awesome in its research of the French cinema undefined, by way of either mode of creation and body of workers, and in its research of the French technological base." —Richard Abel

From 1930 to 1960, France produced the most well-known movies ever made, corresponding to Jean Vigo’s Zéro de conduite and Jean Cocteau’s Orphée. right here Colin Crisp investigates this serious interval and info the intense ingenuity of French filmmakers, who labored less than monetary and technological constraints that affected either the creation and the intake of flicks.

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This may seem convincingly precise; but of course it was meant to seem so: it was a plea for tax relief to government authorities as part of an appeal from a company in straitened circumstances, itself part of the industry's ongoing campaign for tax relief. Another "balance sheet" drawn up in 1938 by Pierre Cheret for the Cinematographie Fran�aise attributed the current cri­ sis to an 80% increase in production costs over the previous three years, whereas receipts had only increased by 40% . But he does not indicate whether the initial 1935 situation was favorable or not.

Even the retreat of some nations from 1932 onward to the practice of dubbing was not reassuring. In "pretending" to speak French, the foreign actors were intruding unfairly on a linguistic market which the French themselves should be allowed to exploit alone. The Union des Artistes spoke of dubbing as the "spoliation of the actor's personality" and forbade its members to participate;41 the Gaumont house journal, defending its pro­ duction interests, spoke darkly of "A terrible change [which] menaces not only the industry and commerce of the French film, but above all the French soul, " likening it to the insidious threat of Communism;42 and Rene Jeanne asked rhetorically, "Can we accept, even if they aren't presented explicitly as French, films .

Natan, long associated with the film business, had entered film produc­ tion in 1926 from a base of film processing and film publicity.

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