DOCOMENT

BD 093 000
AUTHO~

'1ESUftE
CS 500 731

TITLE
PUB

NOTE

DA'rE

Harpole, Charles U. Probes into the Actuality of Fantasy~ Jean Epstein's uLa Chute de 1a Maison Usher. II Apr 73 33p.; ~ape[ presented at the Special Seminar Series of the Department of Cinema Studies of New York University, AP4i1 2, 1973 MF-$O.75 HC-$1.85 PLUS POSTAGE Drama; *Fantasy; *Fi1m Production; *Film production specialists; *Pilms; *Fi1m Study; Nineteenth Century Literature; Surrealism; symbolism; Visual Perception Auteurism; *Epstein (Jean)

EDRS

PRICE D.ESCRI PTO RS

IDENTIFIERS ABS'IRACT

liLa Chute de 1a Maison Usher" is a film adaptation hy Jean Epstein of two stories by Edgar Allan foe, "The Fall of the House of Usher" and liThe Oval Portrait." This film vas typical of Epstein's arti~tic preoccupation with the ambivalence of reality as expressed in fantasy or surrealism, in qualities of movementw and in the vagaries of seeing and hearing. There are three aspects of Epstein's work on this film that merit attention: his deployment of filmic motion and superimpositions for the purposes of h9t~ re~ealing and concealing, his synesthetic "playing" with the faculties of seeing and hearing, and his use of the elements of fantasy. With this film, Epstein questions both the nature of reality and the natur~ of fantasy. (The author's purpose is to discuss ODe film as an aes+het.Lc unity.) (RN)

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PR03ES JEAN

INTO

THE J\CT1..'ALITY

OF FANTASY:

EPSTEIN'S LA CHUTE DE Ll~ MAl SON USHER

Presented to the Special Seninar Series of The Deparbnent of Cinema Studies of New York University
11p r il 2
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1 97 3

by

Charles H. Harpole

Charles

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York, NeH York

The seminal
Epstoin
v,'8s

Artistic ambivalence

preoccupation of reoJit:rl

of fl1~n-lllaker

Jean
in fantasy

the

as embodied

or surrealism,

in the qualities

of movement,

and in the

va garic s of. see i ng and he s i-Lng , 1·1AISONUSF-lE;R,Epstein

In hi s LA CHUTE DE LA

explored

these interests
C 0

primarily lemen t s of in

and mos t 1n tens 1. ve 1y 1n the

two f01':11al film! but

veri-motion

and superimposition

also more generally of tho quirks and
The early

special scenes ond dovices
11mltatio~s
a van

indicative

of visual

and aurDl

perception.

t- ~a rd e LA CHUTE DE LA 1·111 I ~ON u;; tEn2 of LmtFt~Y/reality

make s

us e of

cinema's fluidity beyond ~ost other Epstein's

in .... that go far 'ays Tho working
out of

clne~a of 1928.

vis! on of the me d l.u:n was an d remains truly
t

"in the frc~

line s II of the crea ti v o us e of film.

) in~ireci b:{ the r-e nc e r his ou ts Ldo is P10St:. and. r-e a u Lt. 80 Epstein r ounc into a story based the the best way.2. that it hav~ the pointed out so w011~ of tho film fon1 is so greatly r-c vo r the out lens r-e p r-e s e-i t.c1o:1cy "Jestrs }'8!"ldor poetic nn d tho of this to'. an d Siersr""iod Epstein t u rne d to KrRca~er su i t e o to turns. of t then. Ep s te i n s a i d thnt l'e""lD[. CHUTE DE LA HAISON USHEH.rtur-e t n t e re s t. in He was not developing film Pell is of LA CHU'l'E DE LA HAISON USHER a Lt. t:'18 "things Bpsto~_n's there" to the c a n be seen 5 to s o Lu t i on s fancy genius d i oh o t on y tct'.ltl~ a Lrned for particularly.e d ordinary in tho The thines poetry. E~st. A1 tho c i nema tH':1 B W0 r ~{C r in 0 t 11 r e D r t s too.i ng mood n o r-na I t}lrough the r-un of purely one in ffct~ fruitfully c cn s i de r-e d hlithin its s Im o sc "to other In to i~1VC:lt for 01' t nem s e Lv o s . In seekins a &elf-reflective fo n to s y .. to VOl':' t r an s r i. l)~shecJ film is Epstein to thus s a y» ho 0'''.eon me d i um t s ter'.. f r om Lt tc r-a t u re 1)..nts he Vlflnted c Le a n t h e a r-t a r t s . [is he 1 t s e ern s t ha t 1n said. film from the of a L) the tclnd theetl'o. or l~pressionistic Lu t .h o uch on the Hou~o of Edg9r Usher was Allan and Poe short Oval stories. own Instead.1I Po e stories film.e t Lon the with his r-e a Li t y-o-who c op t es "r-e a Lne e s " of t:H~ eyes.·J8rd "z-e a Lnc s e " a r-e t he .ein expr-e s s i on ona Ll t i e : and for expression t n r ouch explicitly filmic meeDS. POl'trt1it. n ar ra t t ve ttThe 3 onrJ Tho films.. as An d r e Bazin ambience.

Ii 80 wrotc Epa t e In .ne s in the ftIm's its c1eployment synesthetic of filmic rco t i on and the f'acuJtius s upe r-f. fil:n is rather Howc v e r-.3. R IT] 1 t. the basic exprossion of f111:i ort. the never if nar-r-s t t vo eonta1. the ril~st principlo of film often in Tc begin 'I'he r e a r-o s evo r-a l tho~r. an r..UTE DE LA MAISON USHER. the is ObSCUT'a Ln t r-Lc a t e ond "re ve e Lo d " i s morely ob v i ouc (that are nUive the Ls . D mention should be ~ade uf his preoccupation with move~ent.ns as 8S 8 some i nc ons Ls t enc Le s that the of e xp Ju i ne d and.l3s rJhiCh ort iu plnstic :·lOVO~Ol'1t:. LA CHU~ Dg LA MAISON USHER lies in an d perhaps can best be s e en as a 3tudy in but the e on c e a Led an d the the r-eve a i od-o-Le as in of the film medium. movement~ of It!!ht. the aspects tho na r-r-a t i v o told It 1 s thl'ouGh that c e rt z i. lie on c e e led It which 1s hardly more een t r-a L Ls sue than work. of In the the case of the Lhe story.s ""':11ch r-o v e e L fl!)rJ II of various spcodo and tho things. a series anc events). \':hl1e the t:'"loatre is bused on tho s poko n word. of s e e i n z and a 1" t The 0 p Le y i rig with f 8 r. nOve:':l~nts of tho objocts. re-told of pu i-e Ly story. move~ont3 of the CA~ors. of of movemen t .n Ly in of r use t. movcrnon t . tho rl~ht usa 1'ne ra ovemen t.en t sis a t 1 e 9 s tap f the LA CP. e three 8 S P e c t S not. t 8 S Y 11 ear i n g . e x ar-r-c r-a t e d notion. e d Hi 1 ) bce)r din t u r11 • reoccur very Ep s be Ln I s wc r): and in hi s wri t Lnrt a • with. a Lov motion: Tn Ep~tein's ~~r~ W~ can s~e tho m01t boautir~l examplos rhytin~ the "In V01'/ tho e a e e nc o of the s Lt un t l on s c Incmu .r. its artistic he a r t of e 1 e .mp o s Lt i on s . that c o.h e uouchs tone I tJill endenvc "tho to c once a Led and muk e c Le a r some revealed" of Epstein's the film. ex e c ut Lon c oric e a Li ng r-e ve a Lt nr.

!l. had to d i ao ar-d the no rma I movemen c . po op Le and the use of move-rent And. is a1:'\0 and scones artistic of fl~n-orlgin9ted of the veri-motion. to}':'. thero 1s indeed on emphnsis In ovornll tho on the qualities both in the subjects photographod ~nd filmic motion. By dl s o e r d 1n~ tho emp! ri ct sm 01' tho movement as 0 5cparate nction. logically. the c on t r-Ibut o s to of the ms s ue rp t ec e t e '. Of c ame ra t c chn as w~ll ns providing evocative creative movernen t 1n LA CRUTE DE LA HAISON USH8R and Epstotn'. t r-a vo Li nn shots _. moves.7 in L/\ CHUT~ which a r e Ln d t c a t t ve of so ve r-e I e~O!lee .6 18 not In LA CHUTE DE LA HAISOn of motion.l'1glois ha s said. and po rhap s bettor." In c i nema . ~)'.l. film work.a t ed an d contl'ollod by the dramatic movements of the theme.que ge ne r-aLl y . £'~l.D. f suporlmposi the e ffec t of a c los e analysis of movement effect~.:! 8 h/BYS ed1 tlrlg tho "'-. 1'11:11 sw1nS3 hOB scen08 in which about There tho point 0: ~lewing oven rapidly.:l801ute mastery slow motion.It "Ro exco e de d whnt everybody movemen t ••• this Thoro are to be tho re01 nature of cineMstic of 'I'r-ave Li ng Shots •••• " (my Itallca). p La y thei r pa rt!l.s "Everything i. tho tonn crestes movement and the movoment creates form. In Epstein's fllm~ the mov emoub 1s i-c gu l. Put in o bho r-. meaningfully thought Ph. USHER.mity: and _ .110 rhythm _ In and j/hich a mobile __ eupe r-tmpo s i td cne . o asre r-a movement and nle fl~nlc aspect 10 doployod i11 chsnge s in the r-unn Ing ape e d of the carriers. separable from tho r orm . Henri thltl L.. 1n this tl on hB8 thing! recorded erl'lployment 0 on film.4.!. and by uniting motion and for:~\ into one J c tnemn .

tho middla (ovocfltiva the we s e e whet of of c Louo s t I'osi t i cn to hoed.nat makes tho datod and within hall In b l.. vlawor near they theae 18 placed the floor in bohind tho the position of vigorously a flurry of Moving along leaves as \'. a film all.5. either the into tho of t. obj')ct1v() point of vlovling.o» along shots 1~ rnr. face the hera. This subjective treatment in Manifest the shotB of tho pointing viewing of v!ow. aftoI' tale of my. this tho e xamp Le s dreadful looks LA CHUTE is.icully painting. the rapidly movea from e wide limited to tho blurred an~lo to a n~rrow of the pointing faco In another instance nmong many which could bo Cited.ud~X~ of B c on t.then noted (At us subjoctively..l~~n U~. eubjoctlve in what camera most nunni ng time".nd us with in tho filmic dcv1r. Lnno r truth tho even t e 1 s d i sp La yed Hhi 10 tho p r og re s s of th'3 no r-r-ati '/0 ..a omp11f'les thet 819m3 lulls ob j ec t i ve carse ra.r Le ave s and the cases £15 Hell an others.) to bo a dooth's r-usn of tho :Tn these tyro or into wind tho mysterious tho e the re a L) . of Madeline 1n which our point of fiold olono. the power of th1s a~pect of the cinema as Epstein revealed it.he hypnot. wlthir.ox t of tho film. two out! tand1 ng C B a e s of c ame r-a movement in (change the point of vi owing) ple c e the vioH'e r in tho pos I ti on of in the comoro eye. of note th9re the viewer is (the especially deservln~ represented not fi~n only Is hl~torlcol 1928) those into its B innovation also the fact but tha t . L. since is he is for fOl'oed of aho t e servo as a shock posture. to the ~.<Jtcl'j' tone as it end horror9. F01' ex ampLe .

1tny :~·f t. CHUTE D::.htly in ~. spceti sound an d var-f -mo t t on ftlm. thoro 1s more than enou~h apt u~o of slow motion to r-oc orenend 1 t QS U. what wo miRnt feol if these fsntastlc notLlallty. 'fno scene C10BO in que a t i on is trucking ~hot which fol1ow8 Ushor and ruehos up on his fece as he swirls aimlessly about with the body of hi~ doad movement 9S Modolina in his &rnD. Using Dobr-Le hi gh :.ho scenes of UI CHUTE and groatly in aove r-a L.n'HU'On(:: 13 of ~ a t\ that all tory 1n t. gl'Oelter Lnn ova t t vc filMic t echn I quo i s fcund Evan in Q Epstein's use of varied. cxpro~~e9 vividly the sonso of Qxaltation disbfllio\'1. Thero is ano the r quite arl'est1ng occasions scene of c emo ns motion thnt obsou~e~ a ~onoe of place ~o effoctively (. 1. seemed to think 1n his of t nom .4 HrdSO~J uStmn a ml non . 'I'hnt is. tho splra11ns ca~era bockWfll'd in front of Usher he c omes ~lC cD~orn) cc~blnod with the wildly distraught and lOQk of U~her. at theso. in Howavor.6. motion.. I!O chn rn c t e r-i zas the film's view .l1g foal' which of cleo th .moments..he tG 111 ng is 10st whi 1e the Image A is cO:r1ple'~~c:ly Lndu lge d . c ano t o full frulti. as the Epstein f1Jm-rr.p~ed c amo 1'08 Epa to in and hi D brill1 an t crow (which inc Lud ad Bunuo L) regula t e d tho C Amara running spo ed slif. 9 'These expe r-imen t s .on.. espocially slow. variablo- 1. 89 viewers experiencing became to be Lna I de tho r rnmc .akor said.E TEl1PBSTAIFS (1947). 1B h a Lt o d and mO~r1ontarl1y we seem obacur-e d . (whIch s e e-ns to tri!ck toward Hero..

nor in light these 1n flashes scenes.n'R msstortul Dnd it 13 tho to slow 1080 we 800 time t ha t he g avo such dr-amot. "In ordor Marie Epstein. with to us e l"ogu191'1y aspects catching of lifo o rde z: to Agoin . for without example. no pal't 'Epot. "motaphoric" distortinG cut-sways 'roo.er most flf)ot. rnastorpiece. tokes us out of the poetic tithe real" Imago s . s Lov motion LA CHU'l'P: DE LA }jAISON US!!SR is 8 a control use of the aspect filmic. Epstoin BOYS: the a Loui ng down nnd studyln~ fOl' s e oms to HIe that it would be impossible ah oo t a fl }:n \Olt thout ha v i n g 0 high s po e d c ame r e (It my d i ep caa L. •• it . of the continuity of visual • superimposition scenos examined scole nor objects photogl"aphed keep their lenr. LA CHUTE. or po r-s on . otherwise effectively distorting vf s ue I l'ho result lifolllHHvlus of the photol!l"ophed object (that ia. 'filer" oro lin me to .Lc importance in which of th8 he was lot. Epotoin first motion.o1. Jenn to exp re s s th15 ue(id 011 his mystf:'l'Y and tl). 1s po~ent181 for interruption Even In the the pOGtlc wrought) Bxpression vernlmll1tudc in detail without • below.os oro bho u80d and appearance--no ovocflt1va.is tr3chnlquo. quito Slow mo t i on . ~l~ use to of vari-motion ove i-c cae the 1s 0010 of the major the moena Epstein usual "r-e a Ine aa" employed of dlchoto:ny wish be tweeu the fllmmediu:n and his to r-ende r Molded.1.. says of the tone or charm. of tho "l'oveollng" activity in of Epstoin' Tho "r ovee Lfng ' occurs of motion.inr. 10 preoccupation the o Ius Lve amb i va Lan t reality of lifo..

nc apab te of comprehending. as much among my human actors as among tho thing3 that act in my films and In all tho details 01' eVl)ry landocape that the nOl":nal c nmc r-a 1s mechanically i. of sol~lng. 1n s Lou motion. of simply or bizarrely deco~posing a few subtle plastic aspects of the mobile world. an entire pr-opnr-a t Lou . motton actually brings a new rango to dramaturgy. This POHSl' of ae pa ra t Lon \o:hlch be Long s to tho mechanical and optical sUPQr-~yo makes tho relativity of time c10arly manlfoot. Epoteln believed. tho issues several of Epstein's scenes vari-motion havo been 1118 to the ralood. Finslly. are sucn th:'3. to a preGnancy. objects aro shown blowing And in slow motion. F11'st. typical scenes. a a Low t ev o r . we have alroady witnossed its long and magnificent d avn . purely psychologics 1 pe r epe c tl ve 1 S obto ined . of which it's hard to soy if it should bo co~parod to the incubation of a d1sease. more grossly. Slow.l)' And being more ape c I fie. Its power of laying bore the emotions. or. 1l>newing of tho eye 11 d end tuft of the chin pulso together. of expressions. A nev . ho observes: I know of nothing 80 absolutoly moving ~8 a face. It's true then that aedonds lest for hours! The dra~a is situated outside of brd1nary timo.6. brooks tho rigidity of a muscle. dcliverin~ itself of an expression. Ln LA CHUTE to observe 'The question must of the addition for B of' superimposition until we so» va ri e c [notion one technique In four fDllln~ be delayed moment opol'£ltlng independently. infinite n~~bar of movements. It's not a question In the use I mako of this slow-motion. And whon the lips fina lly sapo rn te to Ind! c a t e tho cry. a progresoive maturity. thot . its infallibilIty 1n tho do s t gna t t on of tho sincere movements of the: soul. all this effort overflows. of reproducing. of dramatic enlDrgements. A conta~1on of movemonts ani ma t e s the r aco .12 Now that ll}t us consider practice. he said.tt obviously ourc Ln s ae s i all the known tragic modes at this time.

. 1n the slowed to foe 1 tho e e r'1 e effe e b s of tho large billows tho b lowinc..i on .Ihat of tho drapes 1n reo 11 ty.l act. \~!th heavy ObjOCt3 $eominr to resist.mse Lr . S t\.beco!i'i. timo J But the key here is tho fact that we hove mot 10n. Exploration movement of tho qualities ..nolit.. later. whon Madelino's f'Lonts on tho "lind Ln ox agge 1'0 ted s 10 .udc s j" and Jonas l1clws observes servo the of aame remarks LA CHUTE DB LA Y'J\ISQN' USREH thnt • pUlpoaes "objects are B~ ee t o~s •••• . i~ 'rna Llol!Od armour take foIling of b o oks and. thl3 fllnl to evoke jn that clrcr.cninBt cr-e.y lmoHledge typical veil-liko "p Le yl ng lJ.o of this wt th slow motion in a Poe shroud embienco o~ that whito Similarly.a Ina (in Po in motion.s be s the tele.H.II. forco of grDvity. about tho oven whilo b e very in our minds fest.s ou usa of the when considering t hu t undu Ls t e 111'(~ tho floating S1011 veil Dud blowing The cur t. of ". agoin mysterously.tie io thr-ough 81''ld UShOl' rthe ef'f()ct c ompa r-ab Le to the in other naked trGa~ lining darkened landscapes ports of the work.9.13 'flwse IJtpndngly accur-e to espoclally curtains of hDll) of' myat£ll'Y tho mai. tho 0 moun t o d suit added flllip of of the on tho smile e rr e c t . rno thi 8 t one and en i.. through POllOI'S e kind tone shown l'cp(jotedl:l tho inr!xpliCClblo hl.le.gma of lif(\ . Thin and tell us that e onbf. grain" l'tJflocti\. CBU'l'E r·B LA HArSOH and slm-l motion- um~ER to ue e of supo i-Imp os Lt.ing-aeoth eep ecLc Ll y made evident. Ls joined of motion--vla in c~moro L. Tho r-o saLb is nn ompllficotlon of .nov condit1C'. tlobjects hn ve Qtti t.na t1 on the would W() l.

.way.. now 1n th ree In'Ages. wHli um shot 1n fl'on of t S omo Cuz-t aIns HRde 11ne s tends r1"nen 8wayirl(j nJ. and to loo:n r-s tber t. nonoAa dupllcata is of tho othor. to Usher. 1s of equal clarity.10.:ertlon.owly as if ne a r-Ly fainting fl'orne:-.. Then.-. f()lloHln~ the next brief is a~aln dl~played in triple superimposition.. after another cut . sttrtl1ng effect combines varl-motion and suporlmposition. ne8atlve Image 1~ of Madoline's beod os it might look in a . a fourth suporlmpoeed but this letter overley is in negotlvB printing t han (1. but only for a few mc~ents. Madeline 1s seen a80in 1n 8uperimpocition. the s ens e of movemen t impl1 61 t In the film..0. snc each imB[O After 0 cut-Dway shot to Ushor cut . perhaps negAtive 1s lorger This rather then no~nnl blacks ond whites). and each sways among tho others so that they ere 011 only pB!'tl nlly v . a s~c0nd imago of her is added. Epstein!s beat techniquos. 880:n8 the others.. ove i-Lepp t ng at B anyone moment.hnn move.wey a polntins madly. imago 1s used. However... again with three images. slightly out of reglnter with the first.. In this fourth segment.lno's energy 1s finally drAined psychic end physical of completely. tlon Tho a eque nc e expr e c s Lve of Madeline 1 s desintegl"'tI and dooth begins with hal' posing for Ushor In (I AD he paints. The con tl'a 1 scenes of the ~ork.. 11'110 images do not move at n orrnn 1 ps ed a 11 the t11ne: each Lndependen t 1y seems Thus this to slow and spoed slightly in a rDndom pattern. the fourth of theso shots a eppeer3. whorein Madel. are n compendium these. but not a duplicate.

The dee th 's he ad shot 1. some times f'r-om onglos.'ames and he s tho Is pt e rc 1ns of' t. thnt S Hsylnp. Than.. the tho d~ath tho last do~lnatlng 11vln~ ono. faint. a ftcl' anothct' c u t"SW9Y to Usha 7' a t 'Work. slow soon after and again wi th the odd! \J. since ghost. face 1n an ecstasy of crcatlon. like n later condles. Most notable . ae queno e especinlly since of this PI31. and ropl~yed--oll In tho Ls tt~ r p a rt arc to the end of seeinfi moro full~ filr. 1-1ac1011no returns sinks down 1n a real faint 81'0 to her mcdo L. repeated visually with a second (or more) imese. z-eve a Led r lysis of rrovemen t Is completely the motion is slowed. portions differont Ep s t. The shot i 8 POh'OI' fl. is Tho 111\pllco tl on Ls ..e f n t s comere .'"l of tho arc t hus of her fall. hove ve r-. a second image of her follows her 'l"'he fall c cve r-Lng 1s not continuous.t of the like is of Madoline's B hBsd seen alone SE)VOTJ and looking 1n lang th dead. coO th mask.'l f of the mor-o lllow mo t i. through sartos of shots lntcreut or glo'r1ing and AS with brief views of Ushe~ at work figure fo110 in slow motion. worn tono .on motton and supo r-Imp os' tlon replaying . on and arc tho sconos 1n supe rfmp os l tions used. shots tho a rc of he r fa 11 rl~peD t. tho Hadoline she falla.11. The t 1 a. figures erG v1s1ble--the l'eguls figure shot l' negative ima gas.8 followod maddonod After a wild.14 an interludo 1n Hhlch she s omewhat recovers p os I tion 8S from her She ne o r . one only tvo 8uperimposed and one of tho perhaps.' used of S0:110 A of port1ons of he r movements.he shout ~1g mouth ono t in E1sens teln by Ushe 1"" STllIl{E.

convey in tho remarkable nailing same use of the multiple lid.ur awareness use 1t s oun c• 'roo. bh r-ough of of the medium. ouch Os an the C~'ll.. These expoaune scenes shots. with movement of the charucters in ordinary of sp~ed. these best scones. T'ne UHO of olow motion susponse.tho reasons as those 1~ which M~doline Ther-o 1s more motion analysis.t oxt r-ome c l.. can gnd should be u8ed •••notably 1n poetic films or in fl~ns of fantasy •••• «16 . incressing of motion. oro on of the coffin as povo r ru I roi. in a m'-nol"\.La Ic s t.thel' flcxob1l1ty as movement also.12. and allows for both more end full avs r-ene es of movement greater a fUl. in c cme i-n movement 13 1:ll1de ell the more powerful.ISO!l USHER wl th tho faculties of seeing end hoortn~ 1s eS30ntlo11y a perfotmDnco fOH 1n the r-evosLod and the obse ur-o d • silent of 'l'hl a 1 S one of the of and mako s creative fIlms that S 110n Dhows t na t. tends toward An Epstein the dr·o:r1atlc ••• s a y a . Epstoin t a ploy in LA CHUTE DE LA H/. whioh Mod~llnots medium. collapses. opens possibilities renee of film poe try. for its suc1don bursts distonds time. the fi Im shows mo r-o than . The use of supo rLmp oe 1 ti 011a artistic floXDbility and subject Motion also compound Epstein's for oxprossion of subtle moods and tonalities. "ThElt aur-re el. body 1s carried to the tomb and.n e which t t by careful use of slow motion. BY.oso-up of' the c Loake d back dr1 V~H~J15 rI"no but nothing to oqtwl the scquenco s de s c r-Lb e d anovo .

nnd buIlds 1. ~~en to We are door right he 8trug~les to heer. that. fl'ustrates our: s en s o of he a nLng . would ord1nerl1y be audlb1~.\1r.l'f!ngene~s qU~01{ly of dlcc.hetic e yo s Gound .o wi th th8 S 110n 1.:s1ng sound thDt in a o11(:lnt ftlm17 1s ove rc o'ne \ihbn we l'I.nlly eurnl ovcnts.1e do v i co .\ CHU'fE is in ps rt 0 d a Iltanc(l t-nFJ n e of the:: modi um .uf.lB Mere Epstoin by silent fl1~ would be too sm~ll a convuas.. mus t GO tall of our sound clues from ou!' v1sion .. TIlet is.(~t apho fi Im as fl'0:11 it.8 HO a continuing tho fi 1mi c r-.in a silont f111:1 \<1hot s l"'lostly c e xp r o s e I ve Ly :J. the o)d man t o o ar. meroly But more than prosentinG tnl{es tho oharacter 0 silont fibn in itsolf. of a control p La c e s tho position old man.t c hflnd11ng of. tho creation de ar cha r-a t o r.0 are we tchir.(. 1 f the 1'8 vo ro a trnck. be eeen .tl'U.Y~i nud i enc e both Bettlelly along 1n tho with tho of the char~ctor. £IS for both vlsual The £Inlblvalenco will end of actutl~. cb s cur-e s eoun d . but not to be lictu811y (no Bound track).IEJS poss1bl11tios ottentlon. ~~pstolntH e yne s bhc t.. ~lly 1s thero nothing we strug~lo DOHl'd hear. -quite oxpe r-Lenc c 1n l/~self tN:a A synest.11POt played r' by Charles Lamy). frequontly wl thin the .13. -ond h i s ear tl'llmpet d l re c ba our Hh£l rd tho caus i ti \'0 e Lemen tn of t. Por. rho old men 1 t \lhtch mesno as dO!'J f in ":. Tli(j Gt. he (carried by R si:GP.ty through and fantasy to tho fore. visual potent1. a superficial confus1nt~ control r.nd pointing of up tho medium's OU1' CO:i.e. a man who wished ordinsry not only to see but to he~r tho grnao grow.

or whn tever aoundf'u L'' can not on occasion effect 10 at hand. unuso d clock.wy t Li'& CHUTE. Gnd hIt In extreme close-up. ho or what ae o to be rrlFlld. the we Bee evidences of n roaring thl in S ga Io 1a s Li.lil. tho characters Conversely. old man thinks ho h~ara house.) Too. of In ono Bcene thoro beln'< any Bound.l'ony In t ho "ho a rd " ond tho unho a r-d 1n this Along Hi th the e8. (Inc 1dc.o the ~ noise existence in Unher's of sounds.c Ing t~rp1cnl throu~h h(l11. vlbrot1ons."S sc one of thri acurc. a kind tho characters. Usher seem to hear what we neve r dramatic l)_"!'()ere is of real and reverse film.o Vf. of' the huno r' thot . set t~3 striker pull back A fIlm-msl{er lacl·:lng Epsteln'n go at falling thot. ImNlobout.R c on t a ins excollent tho visual to reveal the idea of sounas being made. clock .. but best ~1~ it} and the f~lllng striking books nre minor tho tho old.bell is do~e shaped and covered W~ with grainy dust. ~le ther. 811 y. LA CHU'f'S m~ LA USJII. then shlikes h1. the bell.1' t r-umpe t pointing l'JlISOH the way toward sound use of make r s . 1.nM.s head in l'ojoc. \-10 At times. context of the story.:.ng aounds . especially. off but lnventlvonesa moy hnve lot tho effect show the grDins of dust Epstein goes on to tho boll. just aa he is rejocting tho idea Howevor. t wind silent a rmour-. c our-s Lng 'l'h i s ou twa r-d and d own almost c omp Lo t.Lon like sound 1s a genius's of the s ync s tbo t Lc-o-l'v Ls i b Lc sound.. is doubt as t. hla rejection or fa lling CC:lUIH)S us all the more to c oncent rc ce tf on tho.lo11of the idea.o r-oLovat. at leert. The nolling shut of the coffin exnnp Les ." .

The re 1s in thi rovoaled the 6 wOl'k an exe cut Lon of obscur-e d and For example. skillful in glass over a wvltten like 8 message.lm. that mysterious consc1ousness. at one point 19 r'go sight as well as sound. II the. fol10\t~ GRANDPA I S HEADING GLASS. Epa teln s a ys .1l19 1'11'il reve s 1.. Far example. i t se It' t s judie! ous end the use of the close-up The de vi co has. . old man pu ts down hi a e e r t rumpe t and toke s up his reading glass-. early in tho fi~n tho start11n~ toxturo is seen later to be tho back of 8S closo-up of moving cart driver's The s arne kind A clank he hurries away fro~ the house of Usher. cmne ra mOYGH on tho magnlfy1n~ concentration Fur the r. and the fantastic and the Howove r-. dlrectine framo w1thin the film frome. tho '-lind in nee r shots in close-ups . close-up can also conceal.l).. end. for example. the true nature becomos clear. clo8e~ups The viewer is misleAd by extreme of what appears to bo only a msss. hat tho enr tru1pat in that it highlights !.. t s~crot froedo~.l1 tho film fl's:ne. LA CHU~.of texture but. Much l1k~ the and directs attontion tho ve.'y oarly in rs. that true 'Ihe closo-ups of enigMo which resides in th! D 1n a mera close_np.:1ngLeavo s .he changos sensoa mogn1fy1ng clothes! like changing like Thot mognif-ying glass is used s cme t. upon cuts to wider engle shots." blo.!. ot obscuring and reve a Llng Is pe nf'o d in shots rme oC Ushor's of vInes on 0 wall. 1n its na r-rov selection moro thon once of (I flo1d of viewlnti. but the e~trome closo-up .bhe of tho frogs guitar strings breaking with no visible cause.tll!.

13 stl11 en t i r'o Ly U::Jcc1p:'nhended.It pu i.n t t ng hung We 01'0 "Lady t. ~~ loo}dnr. bOyOll:.. Thu8. Epstein a ay s . bo nnton1sha0 in the prosonce of R reality which.llowed ee e enough enigma.11{)~~ us f~~(). 'Iho o remo n t. Epste~. By 1:it. haA no dlscornable 1'00.hd:rD. is Epotoln's t. by din t· of a h.p:J. which ho Le t e r Lnd i o a t e a contains some mnrvelous to Vl0W01':'l.lnc u in tho c ren t e e s uopenao hnll..8ll!~.16. p8tt~~1 or evan n faco. por'hr. (rho us o of v i nun l s to kind of s yno a tfte s La .s auo t enc e t s s c cLng And h'3f. v t 1 t in the j':'3 SM10 ]. to DOO it.l . by even c o a a I n s. h'O hove fj_nnlly oxhs ua t e d .. 1n obscuring and revealinG.c1ium. oro against qut ue important 1n this the traditIonal modos of n9~rDtlve h'lthin roa11ty of his cinoma.he cln(~·.am1<31'. f's Lnn t Lon '"lith tho fanto3J' sc the "Refllity e vidon In of Fa i r-y Land " chapter ~ll9E. by e xp Lr Ln i..h '~t the fi Ll tea ch e s us D n~-'" to Cinem8to~r8phlc sj. tho technical film which filmic strikes Lnncva t Lona ._0 .. b Le . meoning a s in the cloae .ght ellow9 us to note inc oii:pl'ohonsl .s of faot8sy.o s o Lvo thnt neve l' r. in 'The exp re es sound 1B on intel'ont1nR tts f1L'11 lnon:t:)uJ!lte. pa Ln t e r-t s palette.1 tho r-ou t i no of 0111' sj r.ng it cn t Lr-o Ly . to laboled shots Hadelino of the . QtlJ. and of wht c h pe rhnp s n o 0 )_(jilien t 1s unnU3Dccted duntho of fDirylen~ 1n natura whlch-.lring of actuality t.n deploys tho 1Jnposslbl~l 1n any athol' lil<_. p fI'llm.w • such a WDy thnt Hith tho ambiguity 1s procla1~ed olong thEl fluxAblo powc r of .

tho own Loc omo t t on . of his is GO a pain croate life a "likeness" Hsdellne into true-to-lifo painting. a r e only as dead.~~. white shroud.lnn's of tho thC".a expo sur-o . n21 LA CHtT'FE. for example. til I !il. of these it is stop-motion animotlon scenes scene s of the movln~ an that cosl:et or tho double ambience Poo '.n s e yn . a a \loll fl:'o:n the na ~c.o sue of' tOl' LA GJ{U'l'E DE JA !lAISON tho art driven and i tfJ to tion to lifo and dea th.22 c i oa t od which presents soul nO}1 .. ~ m~'s tifle The r-o is tho now.}n~ or tho aupo r-na bur-a I flr1sint. the candles 01'0 Pl'O o e r t o tomb.e t ns statemonts about elements and the tho or nrt and a r t Ls bLc c rca t i on .flcation of death tha flowing TIle element~ the casket of fsntnsy providing its and death.h CoctO(l\l'S OF A POET (mo.cr.sy of p')'Hel' LA CHU'rE DE LA HArSOH USHER ccnt. Thus. "thesE) dead people tB slightly in So too . of that the in her see~s to be flowinG tho Her final of art.:o of 1"018.1~!jt1ctroflt:nant whether.m~R Is Usher Tll(~ oentl·!tl power' i. HOH(3VOr. there a mystS. MAGICIAN are a part. Epstoi. a tradtti(H\ c res ti on of of fl1!!lS trent:tng THE BLOOD 81'tlst and nrtintic whiC'. Clnc. u~. Barg~. is o as en t.Le L 1n most. tho double e~posure3 of burhlng lond 3C desolnte abundance. can also the completion she the work X'cd::urns to vltallty.. those have bollef of tonder d~eod--reflectlve not na c ebr-e but "'I'ho mystery [l of Epstoin's rather BSY s t o rf o s ora thnt "do s th itsolf Is 0 sort of cha nn . ove~ son t in mists. uhi ch exalts destroy.b r-Lurn 1s death. art collapse coincides with o~1d when it bum s lcd.!' Ls vho rc 1n life. a t1 on of dee. ape s ond tho t\'-iO C ouplod f'z-o gs . of c curno . Tho fant€. this now in o qud Ll.17. s And .

.. 1n t. occurs inside the main roo~ of the houso and at tho end of tho fl1rll ".sceno Many of tho settings.111sttcto the stylized. themselvos.:!~ the b Lac -----.£... wo can observe the demonologicBl of the Q~ossin8 of water.ok. ~~1..Epstein's f8nt8sy-re~11ty..tdr'8.hen the house burn s . Stylization mise en .. tho candles. Those shots of b Leakne aa are used me t ephon It as a ldnd of "visual f (or' 1n the t~rma of Chri s thm Notz. d oz on a bl. e Lso a part inspired Extensivo demono Lony is of tho ~2._. --. of thoflroploce... especially the slow motion c on t cx t fil-:n and thA and superimposit1ons cmooth The ~ !U !£~~ of LA CHu~e also is realized by a series \ (five or six) of similar shots of bleak lnndsc8po~ and espocially of bare trae limbs crossing the screen In the foreground.. psrhops.. thosa of Usher without Such part of the nor~attve ex smpLe . --~ . and - the £!l. is alsD reflective ...._x .... exteriors.. . that com~ents "non . 18. and tho final the -- tho firo destruction. be expected in a film by Poe stories.._. . Without going i. lege tic d shot interpolatlonH23) boing explicitly shots are. the ll)l~ge ££....._..... ~1l !!. of 8 jarring note s t r-uc k when therE) are bub the 1'he:reLs somewhs t cuts f'rom 'the of thC1 r()!. for 9 upon the narrative at tho mo~ant... -.. ~Ilood of scone.. of ambivalent 011 of tho c~ue through the film mediwn with groat realism.e r spe rae d wi th expressive the of the naturc Singing or of and are the of the aong.nto too extensive eld~onts analY318. lnclud1n~ .~ as 2111gh!.....

. balance that of the wholo delicate fantasy find reality of the 10 strikes only mode possiblo roi eo en ---.19. then. Epstoin flnnlly._ tho elemonts ------ .t end aupe r-Impoa i tlon Too.-.. scc:no. ( . nnd auperimposition the oporation botween through hoa olroady boon dODcr1bed..hieh ' basic roliability The film is is.wdium.Loni ng of s en s e s of aeeing And hearing synosthesiA come in for speclDl challengo obscuring fl1ni c II in the of "sounds" from of hln and playful and revealing and siEhts in the film. So probe too)24 L~ 1s \!hDt fantosy to tho filmic t..e Ln t a o re e t Ive the nature fantastio of reality pne oc cupa t Lonc. que s t. CnU1'E costs doubt ordinnrly operate of tho sen30S as they reality by in the world motion of accustomed deploying filmic have jUf. the in the ways tho "10 discussed.. Tho a s pec ts "00 of fan tssy a 1'0 a Ls o devo loped 9S thl'ough tho of filmio motion However.. Jenn Epstelnts inspiration Poe and solf-reflectiveAronderlng inspire tlon ilL LA CHUTE £2 poetry. LA CHU1'E DE LA HAISOH USHJ~H.hl'ough elements on tho r.1! of thu tonolltios trtlns figur~ ordlna ry thl ng s 1n to . . 1s en emb oddmen t of Jean into Bps t.

. 1<o1'e1'.working of tho film t e x t . c erno na t Oo o rne Lucas..d 'V~l~["~IQt1Qnl '3<\ G.()l'-tltlo cu rd s .posr. od.·qn. l-ioroJJ. ori(~ns tons . Vo Ls .'d "!'cullty'! hel'o to..f.. kf. y.:'flc(Juor. (Berkeley: Unlv.9) used in this f$ tudy 1a a c Lncu La tin g print r r om the }. Fail'ylond" of -.'Oto 111uminotomy point about. ry'':J~-. this p r tn t \][19 judr~'od r o Lt ub l e en ouch for t~e purposes o~ thilJ sttld~r.C'r usmsn print WDS viewud cc·.: (Crod! ts token partio1ly fro:n the ac re en s ) l 3 Epstein ·r~!:. Jeon. becou9o of tho Musewn'9 reputation for vo1ieb111ty.pecil11ly fro:n The Oval Po!'t)"'nlt. Howo ve r .plotoly b:1 p i-o j c c t o r.H.ho e x t en t of Lhe t.'I-s~ii-r~.8 .r:os~~\..< vic\loX' four times.". find motion ann lY3i s 1S C c.: Oxford Un1v.. 11 (:-1ay 11. -_: ~ <..ntorn!ll e v i don o o . even tlH re .i1"th '3'e on -ips torn. Lo:nborton _ sud l'opl'in \.ho machine I used 'J~S not fi b t od for "s i. :"'il':Jt C(\·'l)re-h~ll:'d. lind... atld i1.ho10gy Flbl Ar-chf ve s . find pe r-hapu not.cl.·ltir..-ers~ t rO))-.()~·.o.:ith<oll.<"'~~ll'oto-cJ-"fn'lrA c-o~i"\.1 prin t 1 s in good c ond i tl on. 1fI have ct'ysta11i~ed !l numbo r of scent e e Lemcn t s fro>1 Poets Hork. h6avlly on ma. Chn s ..6spuc 1'. Fl1~~(!f .useum of' Hode rn IIrt in 110\1 YOl'){. by Hugh 01"0'._. c hangou 1n tho IJtyle of Hord J.. Q~not. Tho 1:'1 CHUL:~ J)S LA :~f~-r:~. Y Ilr'('in. Sll€::1ce. E·.1tno t.TiIfu~~C!£tXI-<ii:·--JT:-Y:: thO·-Ul. tho HuseUr.etterl11f! on the int.\·c Pr-o s en t..NO'l'ES 1 Se o o ape c Ln Ll y "Reality OLnoma -_.tuBift l~.---__ (1955) and e e rcc t..three t1nos and by Stoonboc!. t. .WOl'IA. trsnslatcid 5 S1egf\l'iod and Kl. in tho Anthology Fll:n A l'c111 v e s se no on 1ng notos of 00 tobo 1: 1971.2£.Oupfw Film n..e t i on of th':l \oIorl< 01 Je~m ~r~~:~(QIi-£r2~. trans La t c o by H. I found no extant textual c r-i b Lc i. tmy fO(lt:t1r~O notations ere fro~l the S~(lcnbock mnch i ue . c os bume s r Oclicoj "lntol'pretod by H.ho.. Houov e r-.. Ganc o and Joen De c our t j " Cast: Usho r-.. phvs 1 co 1 J.Y.osts at Lo a s t SO:ilD r-e . i':edo line .ext ua I vaJJ. J.e r of --- ESP1'lt du 2 The pl'int of LA CHUTE D8 LA HAISmr USHER (192.::·:.. T0201X.. '(~nic(..1''1'0. least one bit of ~. Pross.-o1tan or"l. As quotod in tronsJ. chap t.n7. 1. vrana.' (l1jne tiw \..ntion in Gideon Bor ~nann.t ons nne.j:i--f.. I 1'(3['0).refel' tophot:>~'1'8phed sttuations looKmQ~e ko·t.o(!CS.'i!r. Short of a trip to La C1nonlnthequu Fl"nncaiso i n Paris (Hhore it 1s likely thBt earlier gen~rntlons of prints may bo aval1oblc).'1 to thol r c l... and ot. Se t e t p.Jcn t spo ect" nor vn r-Lao Ie speed fibl advcmce..ho pl'int I flt.. Old man .•tb1Jnd o the.o dofend t Krllotluer or 13o~ln~ . I~nd II.. fol' tho Ep s to1n 1"'0 tl'ospec t1 ve so reoning~ • 4 Epstein.~£'. fl'om tho buc~wnn'R French (jditton l'CJJ. 1960) Jindro Bii31n.o 1a tanc1BntOl.n I found.~i?n. h12pt is_ 91nu.f'n.n j " As s t s tnn c t Luis Bunnel. IIbo l~G£mco.56). of Colli'~Pl'ess.:~:)--C ro~:.':"rl C:t'odits: If A 1'1JJ)1 by Jean Ep s tie i. AIR 0 thanks should go to the Ant. ha s sold.nt~oU'~YfllJ..'e . Sll:. it hs 3 been tr 1poS sib 10 for me to (10tOl"'i. Epatointhan to tI'~'. Dehne ourt.o.sru of this print nor elf the worJ~ as it c ame from Epstein's hand.ieS in 2iDr:~. p.terial II 2 (1955 . F'U..tht~ir:()Jr~..1967 &. 1972).. du ---. 5...re~.dity of t.0 Cln(l~n(l Dll:iGfo-r191i7).>l)fs~pel. 1928).CJ. Lamy . St udy._-_.Q ·~~.2P.ucHoci. r-ep o a t t o r-y of tho bost collection on rpst()~.uc n S ur-n to 1y le S 8 a c curt: to.1.

:1P('C tl vo f~(... 19S~1 lHl tl'fmr::Lnted by)_).' 11.. 171 am unable to estcbllsh any use of live Mun1cal porfonnances wi th tho shovdnr.u~hly the 50o-~50 footllgO points t300 fa e t of the f1lm. Pr-ance and repl'in tod in tl'C.. ( p. . . fl"om his book k Eo chmann . j 1 ?'J o en p p e t e 1n . • 4 0':0 y 11 192c) [.~.· ..'...U'. _. r:}.:y Ftlu l. C1r.. in Slow l'!ot1on.aClltr~ann..!-~9.NOTES.ogy It'! 1m IIl'chi ve e ..11.: . 11 • t:.(·tn. '1 Ol. : t tho 1.. notes of the /.)' 'i. or . "'fao Lifo of tho Lt. 2.():1 in Antholo8Y Film A1'. ?J.'Cjol'ton in the pr-cg r-cm notes of tho Antholofj. '. c".rch1v~ls. p. .:.-L3h..O}:['l'ie Ep!!t.11 t.ntholo£.~Y Pl11~l Ar-ch i.._ ._: AntbolN.~ J_GH P t ~on . 5.ng Lo i a .' Fill'll At'chives. :"..d by }~. (Oct.0 a . l~En )'ly in 16Joon the firs n t l'c. 1971).1:0). II Pi! U". p. t":nbert.p. 2 (1955» n s t r-an s La i.i(!chroann. it oppaored in Bnchmenn. P. "Sound 4~. J r : . t: . 1:oll1'o r ton in the pl'ogram.9.. . p.}{-.V ':'(In. 13. C(P~TJ lHn . pp..:1 d repl'i r1tc d in t..i 6 Jonas ~:01~as in l:. ~..." (19!(1) B$ it appna r s in 2in~~!.o.41. <.('.hoJ.'nfllil ti VI 0:.l't'l1 S10 't(ot1l)y'.JlI[HH~n •.92~) Pr-anc {3 PierrEJ o "JoRn Elf: no t. 44. of thl u 1'1.1I ClnC.vc s .J ) 5. _. the p:r'o~rbIl1 no ce e of -_. It e s it appeared in 19Je en Ep s t e in.ein.ld.. 7 Henri # Lr. .. Ern'. II in ESP11. ~r" . . II tr(ms1t:~.. Diej::l~ I1S11pernatUl'Dl Hoollty..01~f1S 1 n L'.c:::. p ..'>j' JI11Hn POl.." :in l.e s of tho 9 Epsb i..n' s Et}. pp.\. 20Ib 1.'/.<:"d by D.i\lQ "I\~:':: o f Je&n Epn(. )J: 'rn! s se que nco tnte: c place 1n tho film..'1. t ~~ Q_1 nOfllQ. cnin r. IlrYllo Cl'ttd'. Epst.. S.:llAP:cA... (Ap:r-1J.·.-. 10 ena 12. 18Joon Bachmcnu . p . Epstein.ly s110n t filii!.• ' If 2 11J8sn Eps t e in J a f. p. 10 ..--"udo in 'i~ho Pl'Of!l'E)!1JnotEJ3 of tho 1'0 t 1'<. ill!. (Pa1'ls= Jehebcr# 1955)&8 "Ree It ty of F'(:1r y Land .)J11 and thus am dealing wi th '-t as a pure.--_ CbH. quo tet ~r.:S'_~):j~ by Pie rre. )..ein.

v distinct fl'Q:rl th« e ve r-yday wOl'ld ••• 11 ("Surr-cr. S() A p8rt .o the two only on the be s i s of context..J. l\s Ps u I llie ob s e r-ve s . Ill... ~.. in ' ·. is a probe into the Fun t asv and l'€:!:llity arc two sines of ono c once p t ua I coin... _ 1.·.:::. 88 0 ns tur o of r-e J i t y ...." ~_~~I:_L~ic~.::___.....-"'" Is.'f. .. # 1 (1971). ." 24·rhat ~-- Semiotlco.-nn+-GJ'" . 11 F' )"""i~"r"S _'::_. if 4 (hinter )972). of ~r. '-.i vc intc!)sltie~.) this is not to'SHY that s..~~lt . 23chr1st1an Motz... 1R 9 r)OCll.1 VI J it' 6 (ilpl·illS73).:. IV..y O.. ~Entrctlcn ~ur 10 s6m101ogie du cln6ma.2)-27..9_....NOTES.. e strflte~y in art.lis~('! and Ci. I .o r-ecn r-e a Li t y is rcnJ1ty fantasy.... ' in the usual S(~:1S0 of tblt HOI'd..H~:!.... . In rballzin~ those qua Li. l \'ie'~l of this ~ to:c':'c C·S!l to seen. of Ep~ t e i n lin Is 0 C ens ide red screen re eli ty to bo 9 s ec cn d r e a Li t..:_ _ . tho ~lnd can dlffer('ntiFlt. \.::. of life--l1fe is mor-o intenso in h1~~cene9 of fantasy.I . Eo s t o Ln conveys the 1~80 tho i-e l a t.n. '[nus in Ep s tc i n t s fil~l.ettr:·T'. tho pr-es enc o of' i-ihat I describe o s r-e a Li t v servos as a counterpoint to the sequences of fent~sv. . CO~lTINUED 22lli. IJ. t i e e in his film.

Pr-cgr om •• tl 1:oc10\1. H • Y . I nnd II... J. rl'rr. Haub. 19S5.. 3. HC1tz. _. e d I ted lDC)7. G(Jl'e:ld.n. Y." (Apr1l 1955}J 189-190.: "Joan lssuCi Eontoin. "Sound 1n SINl Hoti on. K1'I1gh t ~ k:r·tllur. Kraceuer. Lepr-ohon I1Joan Ept.II Chl·i!Jtl0. an .BIBIJOGRAFHY Bacbrnarm ..e t n . Hour1otto.fried. 1970. S.oin.enstt:in. ~r• y • : FibiS in -. the issue of Glnemf1~es.1! H. Ul>o\ipl:~()r-Frh. lQ60. .1 21V-_t. HorriJ.F~_S. liThe flct1li ty of F'olry1t Pa r-Ls r ~Tohob(Jl'. ry B.X~~'!}f. Pl€1l:·ro._ L::'Gu'C'ern F'~'-'~ t OU G~rr"".1953.t lli Filn. Lo yd a . Tfh0 the Fork B~la. 1948.l." by G..~ of J 0 sn Eb~\ >li\'1n T ed .. JeDn. Bo nke 10 y: -Url'l :-~o·f(fi)Tff. Lindgren. r~ g. Pro v Whet 1s Cino~a? Vole. Art . "Entr'.l.:. ---~. Dover.. Ba1uzs. Bozln. Trons..1~I. r~vieH. -VI.tsTii0~.·~ Xh00:::!. . App o lila um end H91'COUl''c.. N.--fr:-y:-:- Cv:'1tll'ehonsiv0 Pr€'sentotlon of -_. Set'gol.. Ba chmsnn ." t r-an a .. # Hew Arno1"1c an Lib ra ry. ib!?~. n. ClnoMr~~s . Jo tr:ln:.: __ 1957.ii:m. _..k~lon.--- O~ford Unlv. Andr6.!f: I1fJ . IInoflectlon~ on Je&n Ep s tie Ln t a t'!e:norial }.u. by B. e 11 Q!.. # 2 (1955-56). !~t:!.. 2 (1955-56)..tein... J[!(. 1f3 n:ay .. Y.. JG8n.s. . H.: 5 S. t:~-6t. Bl'~ude in :L·Hch. : du Bobbs. # 2 (1955-56) I Epnt.. Slor.~-. Eps t e i n . 1967 tl'sn sn d 1972. I. Gray. # 1 (19(1) cinorno .nn. #4 1964.Y.:!!. . Pross. Bl'CiUde in "Sup e r-na t ur-c 1 Re~ 11 ty Eoch:tL. Pa ri s : tdltions London: Seghora. 1h2.a.._'id..r:slatcd Eps t.June 1955). 33. H. 194·9. Er-ne s t . I~~l~ E~~~::'~l't r-an s ... 1972~ E5..et1cn nul' 10 sO:'1iologto Sc~iot!~QJ IV. Lehmnn . T'ne o rv zt '"~ of ___ F1 Im .n.a.1'Q. Tho Jt'jrst Fho'-C:1rtOO'8'ffi'teS.1':Hnn. by B.. Gideon.

V. . Hontagu.-llib(j:.!11 Ar-chf.):Pl..Y..· HOt.Y. Pud ovkfn . .Y. '1'-I8Y11O. II "l~. FU1°l ~ £itn&.._-_ -trans..y. "The l<"rench Avan t-Go r-d e . pmo~g2l2S.t. H~.. GG orge .nd. Edge l' A lIon. I Val'. ).cl"eoning ~otefl.-..-flr/~f-.BIELIOOHIIPIIY. Paule rJ'll!l I.ion.: Gl'OVO -Fi. N. El}~..nthology FU. Ft ll'l Tochnimt0 p. " 111Q.j~!"t.f Fllr.-\... UjrliS Jacobs.. Morr! son. T{~i)'<t E1i. ~69.. N..~Df' ..971). . Be 1 tlmor~ : Penguin Eooks.'_1'111 L~~~:. . I.ve s PrM.d.: Lake . 1964...!Jnta Tho Films of J(lfn1 E.pstein. rpt. CON'l'INUED Fl1I:! World. 'fhG Pell of tho House of Usho rend N. _ Poe.'..£ !.: Now Amol~rctl11LTbri~l:." (oc t oj..l. --- OthC:ll' Ta laa ~ ...: Hopklnson(.l.Y. N.19-26..tloi. Montagu. EJd. Anthology }'ilm Archi vo s Pub11ct. 1960. .. 1967. n.o r.

.t!..3-34. st.~..:X! th_.•. II 3 (nay-Juno.Ltl~~t 1/ S.: IV.. Flh1 Cult\u'o.- (April.~ Q.56). .l~ 111 It~. Editions SOGhors..-·n:a·:·-ATsop·tti):ilstle(r~c:'l-·f(~rea-n L'pate1.r.~~_q . Lepr-chon . Pierro..Andrc Lehman. J·12Q. ~8..~. C Dalo.ll Pq_!2}). k_'lJu.Y.' f :~t-[lt.lEl" . Pori s : # 4 1964.~flEil!E." 189"190.~~1_9. ~!:~. )f65 . 01oir.7.~:::QJ. . ~ £!l £.:)0011(1 s t 1967.1!'t. S.·. I __ "'"'__. Ph1lippa. 52.1. U "Un Entretlen Franco.~· . Delao H. II. • Gt do on. "Bps t.~). Theor'V of F'11r!.~ 2At. L ~!o.~::~J. VI.2~ ~ Ner~.Cl ~/~!. S1ogfriud.9 (Augtu.. 'Unit . Ph9.d..!.. n Ep s tol ~1. Jacqu~ n Chn l'r1el'EI. 178. I. . II (1~pl'11._ - U:1!voztsi ty Cah i ..~.·X9. Henriettf{..1'5 du r:J --. ~ .'1n. $!. 19(8)..Q. Prasa.. "Joan El?staln.:::.if 8.?:l0. f QE)1iex . 51. 9. .: ))OVI3l" ..J.:1.' Y2.. !". Y. F.y._r~r:~.~~r.es •• l..gJ~~)}Y.1953).' if: 2 (195S. HO!'florinl ' ." . Progrom...P•.Q.n.e i. Lp~'\~lban'..f. Pa r1 D : Ed1 t1 ons de L I AV~1!l . od 0 _!!:t_0. PP.BIBLIOGRAPHY OF WRITINGS ABOUT JEAN EPSTEIN Bachma fC.L<m.r!. 128.. 1<)70$ p . b. Oxford Labartho.: £it}..~~.$3).~!::~~!. PLe r r-e .Y.~'(.. 53.r::::2. ItL 1 f~dgAl~ Poe de Jor. Ffiiii ~>·GudY.[~() Joan r .~~y" _t~1..1l c i 1 . PPo 70"73f' ave c Joan Epsta1n. 19~D).Teen Ep!jt~lrn in 1't!1. If ~~ (Juno. Fil."AQ.T£lcl:90n.~ge1!.'.).lS:}2. _. (Nny 11." 202 (Juno-July.. "HomIllE.f:!. ed.I?:t. !l. }!acLo\-. 19S3.Lt. .t:." Sopte:nbor.lr:. 195. "Jean Epstein. 1923).trtl Q. h5 .. ! and edit8(1 by H.l. l." tho Work of .. PP. Q. "Refloct1onson Jean Epstoin'..XIV lInudiquot. 1955) t 33. . Kracau(~r.:·~lAC! t. "Epst.!. 1960..: uove i-.!520..psta1n.tr.'::li8.C). .:j:oup J~()1·· Balo:-... 1972. 100.- Garror:?. .. _.n a l"Et:nt Ufl1sssnt. 1\:)no...

.1'd Edition.~to1~ .if) Fu Lc on Pl'O}jS.-1:(/(ci". __ .__ l:£{}'t. 1949. Sudoul. 23. Rot. Siaht and Sound.1.)L:. Go or-g e s .1n~~.. on.. 'I'ho F1)nl 'TU. t • -. ~. 'l"wn yuo ~ l"i._. -31(.)n.W~lt1ncs about Epst~in...: I.i(: and --~ }:'. Flarn.. !::~~S!J]~l!vl_L~s. .. Pllul.~ I. V' .Y. Lono on : m·~. Montagu.l nm. --j (. N.."?l0 r1. 1953 . V.-~u -~-.~l£tt . 1953). trans.j. P11!n TochnJ. tiEidoul. # 2 (October-December. continued Pudovk i n ... __ . 0u Q.Q\. N•Y • : Gl~OVO -Fi:~·8 s.GOOl'gOS.-~ ~t1..jG"6.I. '111:\..

Il.': L:ppeOl'~ ~\ _..(~'~l~: !!?H....:: . ~_'.. d fl'or. PO'J'j f: ErI. n _ (il) )'Etna. .th t':(: ..t9. Br-aude . l'OrlD: j:\} 1>:' :I.. ~ --Cl:' (~lr:.r:~!. Q. Hov.3 au Hois II 16-17 in Cinema f PP.. (l.~:QJ. 1928).~ .res·..~.'~. It !~2."7:... tr'nnslntocl 5 4 by B.:. 1926 • (' u --·._. 9. . (1947 .. 1'< 1'. BY JE:'.LIOGn. it' C!....-f925.. wo·)· . :~U•• \I ':'!~(l Co l~·~·"r)..:l~.t 011S • It '!~/lC} . 3-190 ('.: ).l "Le no(~or'd du VO).<J. _. tt La Rolen t1 du Son. Q.0J~(_:_t:...~.2..fEIl'io: £ Edt tions 1935.e.:.Ehot2.'... 19!~7.__ Lo:3 Ecr1vElins Reunt s .l'. ~··t'riis· · in • C1no'[": ._."l~i:£\ linn by G.:··l~.1'3. ) (A PlH't in 1-0 Ci.~"'J.Pr-(':·J::.'dic: c l\(. 1 - . 1930).T(lCOL~CS 1':olot. \! 1~·I_(:." -\ d'. lutod s Poris: I!Supol'n:]tul'n1 bJ' i3ont:rico EODlityU Bro udo . (N OV~:-11lJe l.n~~.. Cincottl. .'!:.Y Film Al'ch:tv(l~ ir. Ci T)_~..~n~tt 1928).. g_~l.. 19. 0 'I 11 £lp..r. to.1i~'.i::h us r:itions l.:.• fj 1I ~>::'}:':":-. ::tl~ of' V:-l'J l1bl'Al"Y · Antholot.n EPSTEPl (PX'optlr~l~ H5.. 195.t("l(.~_.... f':.J:l'fms]rd'. t..._. . n·'\<ln. tl L:lEH'lnirJic..BIP.}} J.~"··r.. 2..~_~ .~. ) u L 1 I J. n ~.11 Pu i-Ls r tdi t t ons E:·iflo:-f·3tlI-Yl'u. 1 tk:I!.....' ·. »U03 r.. 10 v IIPPl'oocl)(: de t.~ Enc('~. CBht ~L~gt ill!._..~..~. '~.:."~)u) Vu t:.! of the ULtl~mo "Le s AU R£l1(...c-.~:~~'Ol.48).per:\. L:(:_l!. R..~.f C 1-' • P (I r· j_ h: ~: }: d i t ion:3 J0 h (1 b 0:"'" . (J a nuany 11.~'l .·.'..~!:). .· .n F::l~ltfjh (\s tI'nl!) Honli ty of Fairyland" 2 (19.:ri.~ '...Lt'. lJ3 .) tlDos Acc en t e Pf.:)..~.. 2 (l'/j._..l'O[l. HAvar::l1r::t.>.~P}JY OF i'!1\Td:.nM ..5• (A pa 1" t 0 f i..':'11 YOr')~.n2.'()t'!:. I..!". rA_~ r/'::.. ( J »i y .'!r[·")··~f) .'.. 1929) • CorYl:lb~ I .J 7 (2C)53). 1"!'MK i l~ r~.~ . 6)... Dec embe r .. .r.__.(J o~r (:1.

A ORI "E1oquenco d 'Yeux" (1922). "Do111'e d t uno Et{chinc (19!}9).) Son!} iBis" (1921).l. 0 de 1 f Irnpondal'ob 1e II (1934). lJ.l'npho Continuo" (1930).<. t r-ans 1a ted by Jac quo e Bonbs s sa t.Ga rd 0 II (1920 ) • d t CORYVBE: un 11ytholt "Photogeni (1936). Oth~l' I.1J.!l~eO du Cl01" (1928).otl (1921).11 (:I. 1!Dol~... CIHE POUR reus ~ "L'EJ.:. " CIKEGP).·G_~:.. nSaIl e 5 e t Film s d' II VM1 t . 2 # (rr:rcll101atod by Beotrfco broU(ie." C~.GU1·cJ. "LA Hona d 'Abol Gancel1 (1922). ).n Cint[!_~~tr..~ r10t II (1926). at F1JJns continued.Y..~8).ronscript uf the c oru'e rcnc o lItloirees do Lauae nno s) "Some Conditions of Photogeny.6).. Poge 2 1928).sBonce (191.5.'. "V3t) Il11. CO..) (19. (1931)._~':l9. "Lcndr-c s Pn r-Lan t " (1929).ogc n i e " (1924).OUl' d(i Onn r-Lo <l'nn Stylo" I1P1na11te du Cinema" (191~9)" HoynkaY!a'l 1·~j"3t.~ll81qu(js Conditions de Pho t.Writings "Sa1101-: by Epstein. PETE! "Six 0 t dem1 onse .5.CLrB: "Ls Gl'snd Oeuvre do L'Avant-Gardo" (1949). "SclfHlue (1922).md 111 Slou Hoti on. "Pour nne Avant.~s·:K:rh~uprlnted rr o.<!. Q. "L~ Clnernatogropha vu do l'Etnat1 (1925) "Lt ope r-a do 1'0011"(1926) "Amour do Ch... If}3i1nn do Fin doli \. "Quolques los I:nagG3 douaes rr ~UE (1928).'~A 1!:.:~~g£~~. "L'Object1f Lul"!:onloll (1926).H!'~' (1924).961).. BIANCO E NERO (HO::lO): CI!:=/.). ('r. notes sur Edgiltt "Paychanlllyso at Cinema" Pot') ot .Sh8)..e:?}_~.1q·. " ~tn'?. d 'Avant-Garde . Rp_\!. oupage "10:11'3 at Pe z-scnnage s du Dr ame " (1927).l e t (.: "1(1 Cln(. 5 Dat-.ement Pho t og e nt quo ' (1924) t "Do C.~: .() 1:ou\. CINEA ..~: . # 1 (J8nuar~.t XO. cr~. "Ho:r"YfLaga a Co.'(:ntot. -ex tra it do dec.tt Scenario II.·!O?Dlk: (1927) . CI:·:~. t " (1921).lft8 Fa i i-o onka " (1<)21).sllo"(192':. (Fro~tl East Hockaway.nudo II (1927). "N::d.C}1 Dnd LIAGE ~iOUVEAU: "Le s Paux Dieu. N. (Jonunry 31.'itings Llat:od by l'oriocl1c.1.f:: 4t~. "Art d' Evenemont" ( 1927 ).!le. ) ttSo~. "L'Ijc'·1 (J930) IILo Cino. "Hcaltsatio?1 co DetDila" (1922). CINEHATOGRAPHIQUE: de V1o" (1928). Ill.:. tI La Hal a s anc e LE CRAPOUILLOT: l...

'lo Spoc bu t.lll. Hn:nfin? LITT!..o ur. "Pour-quo t nos Film:.. C1.llc sur (:0:1 l"of.nC'L1ilt du Diablo" (1946). "Abel Ganco " (1927) ~ "Lu V10 Chnnc.Wr1t1ngo by Ep:'Jtein. Puge 3 ill Ji'IGJJW: LE PI01IRO ttVOOUJ: C111Clnot:or. con. "Des Honde s t omben t d a nu un Eap ac o (10 Lunii e i-o " (192D).~!l!lrRE: "Do 1e B(IJ)n r11achn:i..CinE:>'.!. Dr: FRAlJC:~: "Fin()l1. "Le s Appr-cche s do In Ver1toll (1920).t . du Son" n:t'.l'A!'1dn Doc t eur-s " (1927). 11 FORCr:S FR!lHCAlSE~S: INTlmcn:E: Ii~ LIVhC LUMIEn:~: (1946)G ):~'c:b:tnoll "LtIntol11cI.11J_J_~[:cj . "~<. (191~ 7) • "De c ouvo r t.J.~r~u() de IIHo:n. Clncr.~.i ) (l922) • (1947'·40)... s " c (.JUfTV'-cX" 19:51).que" sur' 10 Cinema I..o" (1933).wtogl'aph1.1119. LA POR'l"IT_G (i'NER'tE: "Le Clno:nn sur ~ E'lt L(JS l.8 (1935).E ROUGE ET IE NOIH : tlOpin! Ol'S 'I . l\L.lyse (1929).u-dals de Des c ar be e " (1946)D et ltAdaptEltlon POlm VOUS: !lInter'viol-! C1nematogl'nphlquell FSYCnD: IICino-l\l~r. l·n:RCUf:-.Gnc~ D10H DU CTHEHA ROU.tinuod. NEUE ZUl-\GHER OPERA: ZEXCrUNG: "Nflturfiltn': Ci!lo:'.(jt~O ou un /11't plus (l.:. tog raphe uLe (1928).uos Notes sur Edger PO~'I et los Ir'i{'ges douo e a de Viel: (1928)....raphlc:' . Pur?1i d+uno (1949).·L.t(~ du Cin0l':fl" (1<)L~9)f tlRnpicUto ('It Fr.o du PHOTO··C·'·':-L: "L~H r.nt1t~lr. )'oosle 10 Filln PS1'lent (In Quontlto Industriollo"(1949)o (1926}o (1922).tJl(l). Lxpr-o e s t on d'Existonce (1956).cnt.. "La d' Abe 1 L1~ MAOA~IN DU Spr~CTACLE: "u.'C/lIS: GSllCC" I:r. "Qucl<.ils s1 v'-te?" "C1n(.mC'es" (1920). RFICESFIViBUiTT (Uol"lln): "Film una Kino" LE REVUE NOHDIIIL:-:: "Ohr-oni que DeC01' au Cln(jmo" (1923)..

.("·' Conntnl(.!-'t).6).11"n t emen to 11 (J 9h 7) J "Do c oupar-c1 -Ccn s t r-ue t i on v1.Oons tir-uc t t on s onox-o " (19h?).'))[. "D:etnlfltul'ei(. "nU:'!cnt to dn Cll1(':<ll'i (). "Cinema PUl' at. "1)0('.t«.oglquo des imAgo nil (19h?) J "Deux Gr-s ndu ma Lt. "Lo Film e b 10 mcnd o " (19. "Ohs l'1.o re " (19L~6).'."0 dans 10 Temps" (:l.ql)~1I (lS\h?). "1.' du h€ll'[. TECHHIQUE CIHE: 1ATOGHAPHI QUE: "eul t ur-e 05. do l'Esp8ca" (191.1ot c t do son '1.ot Debt t('1.0 Bel Agonio£lnt" !':03COU): "Clnc. "Vortt\ (It Dsn['.j. (1932). 46).lc II (l9l.0 Sans du c i nema!' (). "f)ocoupoeo.ll'u Fee r-Le Reo11elt (194~().9L~·n.or'ni'ltiortolc do Sossuo" (10(J2).'.51)..d(lolOtd. "Dnamu ttu. "La Page 4 SPECTA ~'gUH: (1946).t.(jo do l'col'f.!-7). "Du Sl\.(...~.ntl (19L~9).'g.$OlU" ~T())iot~ ..D.. Cur-Le ot. "Lo )'rofOr. 1If. Film Sor.. "La X..1Cinema au peril d e l'histoil'c'l (191~[n c LgS Tr:i~PS HODERTlES: "cur ont quo " (1949).<.9 s Morte" "Pe r-ee i de e " (1946). VU: ZE?a'l'H "j:tsore (Itovue Int.'<) uo J. liN a J [l Banet> (Puna 9 Aoodemie II (191f6). J.91~7).Cf1.mel·" (19L~7). Wrltln~6 by Epstein.-' . 10 c Lne ma " O. "Voir et Lntondl'o Ponsel'!! (946). ..' "Avan t-Gs l'de P..i-e s a rU.. (1921).. "1.w" (1922).cl" (:t91~"). "Amour Unpublished Alcool. d 'Hoaclick't "La HondCl Flu1. (1 q46) .. ot - manusoript: CinOtlO ----.. Il.noms tog:'('ophi quo It (19h6). continuod.

... [DOUBrl~ compile now do s troyodo by LF.l-ruLE l!OTP$t).t·$DE (THE Hum's PACE). LION' DES l·:OGOLS (192Lt) l'!lYFICE:~ cC' OF rnm 1·:0GULS).a-Om:E A TROIS (tm KODflK) (1926 . AU P/1YS DE GEOPGE SIX ET dooume n tc l'Y oen tel'i ng on bhe c e a tIe of Hohan. DOUEE'.vr:H'l~um:s MAUPRAT (1926). IF. .. sheot1ng$ drama with non-nc tor s SA 'rE1'E (1929) MORIVf\Al~ (19. s cc nard o by Horie tlon fl1rn. by Alphonso Doudet • OF' BLOOD)! aft:c):' r .'SR FACES (1927) (THREE-SIDED [THE ~rr RROR ). 1923 It (1923) [TIl:-! PEf. after sterian by Edger Allan (Elm OF THE (1928) OF Tff13: HOUSE rr'ERHAE 0..FIL~rOGHAPHY .t\ OF'RAVEnS). u\ ]·W!!'l'AG:m INFIDBIJ~ (1923) [rl'll£ FAITBIBSS MOUTAIN]j documontllry of the e rup t t on of ~jolln t 1. US}.. DE ROBERT r-~JICArRE (1925)~ d r-nma in fivo by Goorge epd s odo s . Films d11 6cted by 1 Jean Eps t e f. sf tor story BalzAo. dr-ama with ox t en e i. LOVE]. b1og1'llphy of the scient1ot.. (!l"'c~nn. DELLE llI\'EI:t.0 tma on J"tmo. ctors a find . (1923) [THE HED INN)J fiction..928 . USH[R).'ArSE ~ story .29) (H!S and oxtcnslvo locat1on EIIR'llH). scenario 1·~~u"10 Epstein!) rES f.30) IA'PAS DE LA. (19. fiction.~S VEUDAGES L'AUBERGE fiOUGE (1922) [THE wnm HAhVEST). SAND aftor (1<126) the (IlT novel TEE Sand.30) READ)... PEO'rOOENI ES (1925) At·~OTJH (1925) [PHOTOGENY). drama.ve location shooting. (192L~) ['rHS POSTZH). drama.. scenario by 1·la1'10 Epstoin. COU1lTRY OF GEORGE Dr:~.27) (SIX AlID A lUI L}' BY ELEVEN: A KODAK). drt1lilO. FALL d rnma . LA GOUTTE DE SA NO (1924) [II DhOP the d Lr e c t i on of this [THE LIOH film l)or1y Epl) toin in the left p r-oduot Lon .. COUR PIDELE (1923) [THE FAITli}'UL HEAfl1'). dr-ama .. (TW~SE. non . SAlm). PAm:s( 1931). .U'l'Y r'h(lH IHVEHH!dS). LA GLACE otory by PDu1 Mornnd.n PASTit:R (1922). Narbonne 1'eg. drama. flftor OF POGo U CHUTE FIKIS DE LO\ l!AISON drEmo.t on Ln Franco. Epatoin. . Dccumo nbs r-y of tho by L.

EAT NEVISPAPER).:') n01'O fl'C:il tho IN P!~h!S). drama. drama. LA CH1'ELAINE DU LIBAN 0. L'E0.r. LIFE). with ncn-ao D. documontary.NSON ill con IJ'CH c onul nue d .cole.IEF): [SPRING \':Nl'ER). LES 13ATISSEURS (l938) fA RELE'IB (J. poetic. p oe t. {'l'EE BUILDEF. doc umo ntiar-y .\'OHAN FROH THE Elm OF' 'l'HE \WHLD). 1.( 1937) 1'IH:~ l.938) EAU·VIVE AR1nEES {193f}) [THE REl. .1'Hphy. [TEE 8'1:'01\11). doc ume n tal:'Y. OF A OF. ItEllfHn ve rs t on : [BRITTl. dr~~G.(H D'/1m:O:t LA VIE D'UN VJIRJUS (193ld [SOJ7G Or' AP~'~OBIC.:AUX C~\ADLES). COEUR DE GUEUX LA in (1936) lfmA~T Of TP£ HOBOES). LA POUHGOGHE (1936) VIVE LA VIE (1937) locotlon shooting •. FROH ~'HE SEA). CAR).:: OF 'RIBBONS).. dre.NO' nft~l' tho novol by P1el'1'8 Fr.933) (THE LADY OF tHE LEBANESE 11ANOR droMD.ur-y • A PAEIS Er>fltoin (193~) Hi E:T OLIVE thd:ro\l his liT. with non-actors and oxto-nbi.ontary.l'W."1lental'Y.. ofter the novel by Pierre Eenolte J: CHM:::.'H '!"TIE 'HISPt. DF~l n':UPLII~lIS (1931) [rr}lE HOlm). drr. SOlID OF THE POPLAHS): (1931) METI~ p ce td c . (THB Page 2 poe tn c .en s i ve LA F'E!·'l}:r: DU BOU'r DU ~':011DE. LI\ \':rLI:\1iliLL'~ V~ D1::S RUBAHS (1932) (THE VILLA1TELL. t1 tlo CT'6d1 t. OF FRA!WB]. (lo}W LIVE COUR CI VAGkEOlmO.. A Lrl1I~~PMro {1932} lTHE M(\U VJI'J. DE FRNrGE U~TEl·:l'gSTJ\lRE (1947) . dccumenba ry.\)..Ep s t o Ln Fl1J1I0[. n1no apPGored Br.velocsti on nhooting I usod "s lOll-motion sound.NY). (BUHGUHDY].:. dr-sma . with ex t.S). drc~no.:C l'l\01iE r (1936) doctl!(.r. CLIV:~ GHMm JOUn'~tIL (1934) docunen t.Hitlt and ex tenn i yoloc ot t cn shooting.L'd1D (1932) ['£118 OLD SeO'd].1\ CtIt.U1a. rn'vx CHl. drama locntion shooting. (1939) (AR1'EHIES docu." [TH~: FIM:~$ OF THE S~A]. aftol" the novel by Alain Set'dQc.>'j (1932) (1932) and oxtensive rfHE (GOLD t or-a L'SS LLHC. [THE LIFE [If/dUDS drama.Lo . poetic.s ..

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