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French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

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Léon Moussinac, articles on vaudeville and music-hall, historical essays, biographies of American stars, articles by actors, and essays by directors.119 ‘Thus the Sspeclialized audience of Le Film was also appealed to in Le! Journe nal du Ciné-Club, as the publisher made plain in the first issue: "Il nous accorderont, sachant bien que -1e Journal de Ciné-club doit représenter une élite d'écrivains s'adressant 4 une élite de lecteurs."120 But according to Delluc's biographer Marcel Tariol, Delluc became disilluSioned by the failure of the Ciné-Club to materialize in the wake of the magazine and so left after sixteen issues. The €litist itpalse or Le Film and Le Journal du Ciné-Club subsequently gave birth to Delluc's Cinéa* (first published 6° May 1921); the’ title’ of which he wodeled on the celebrated contemporary beaux arts journal Comoediaie1 Like Le Film under Delluc's editorship, Cinéa contained a range of diverse material: not only lists of programs in Paris cinemas and a letters-to-the-editor column but also columns on the theatre and the music-hall and translations such as those of Chalipin's memoirs and 0. Henry stories. Many of Cinéa's articles fed its readers’ appetites for information on the American cinema: Pickrord., Valentino, Stroheim, Griffith, Keaton, and Flaherty were all subjects of essays; an entire issue was devoted to