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

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90 no. 88 (1 July 1917), 11. During these years Tedesco devoted several articles to the Vieux-Colombier in CinéaCiné pour Tous: "Au Répertoire du Vieux-Colombier," no. 30 (1 February 1925), 21-22; "Le Repertoire et 1'AvantGarde du Film," no. 31 (15 February 1925), 5; "Le Cinéma de 1926 au 'Vieux Colombier,'" no. 52 (1 January 1926), de 157See "Jacques de Baroncelli Parle au VieuxColombier," Cinéa-Ciné pour Tous no. 35 (15 April 1925), 6-7; and advertisement, Cinéa-Ciné pour TOUS: FO. .2 7: 1S Deceiee Teee RR ie omic mia te 158New York Times (5 January 1930), VIII, 5. 159Ibid. See also Pierre Lherminier, ed., Armand Tallier et le Studio des Urselines (Paris: Association Frangaise des Cinémas d'Art et d'Essai, 1963), 2-3. 160studio 28, Revue-Programme (Paris, 1930), Ne a 161366 Cinéa-Ciné pour Tous no. 100 (2 January 19P 8) 28: 162tnterview of author with Marie Epstein, 7 July 19743; Leo Braudy, Jean Renoir (New York: Doubleday, OTe Fes AOC 163mor a charming memoir of Parisian avant-garde theatres, see Alexander Arnoux, Du Muet au Parlant (Paris: La Nouvelle Edition, 1946), pp. 34-315. 164 Georges Lecomte, "Un Art Nouveau," Exposition dé 1*Art dans le Cinéma Francais (Paris: Musée Galliera, iS de he eile 1651bid., pp. 5-11. 166see Cinéa-Ciné pour Tous no. 50 (1 December Soe ee On 167For background on Art Deco consult Yvonne Brunhammer, The Nineteen Twenties Style (London: Hamlyn, 1966) and especially the catalogue "Les Annees '25': Collection du Musée des Arts Décoratifs (Paris: La Musée des Arts Décoratifs, 19 ‘