Celluloid : the film to-day (1931)

Page scan 000267 from Celluloid : the film to-day

Record Details:

Title:
Celluloid : the film to-day
Date:
1931
Publisher:
London : Longmans, Green and Co.
Volume:
Celluloid : the film to-day
Leaf #:
000267
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
June 20, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE REVIVAL OF NATURALISM EMILE ZOLA AND THE CINEMA The birth and progress of the Naturalistic novel during the nineteenth century, and the fight pursued with inexhaustible energy by the exponents of Naturalism against the Romantic and Academic traditions are familiar facts with the student of literature. That the battleground of this struggle, with its far-reaching effects, should have been France is not unnatural. New ideas were at the same time revolutionizing painting and politics. And France has always been a country eminently suitable as an environment for intellectual campaigns. In brief, the Naturalistic novel proceeded from Balzac (hide-bound in a defence of monarchy and authority, yet " observing from life ") to Gustave Flaubert, who laid the foundation stone of the new movement in the immortal, and at the time, immoral " Madame Bovary." But Flaubert turned his back on the realistic method, disdainful of his own accomplishment. It was for Emile Zola and his disciples to lift the stone of Naturalism and to fling it in the face of the world. And the missile has left its dent on the face of the cinema. 215