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

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Onan. PP oig5.; 85. 41p, T., "Le Nouveau Film de Mme. Germaine Dulac," Cinéa-Ciné pour Tous no. 28 (1 January aoe Pikes) Me As ah 42clair, p. 29. 43See Bettina |. Knapp, Antonin Artaud: Man of Vision (New York: Avory/1969).¢ pil Op. +4 Canudo, p. 129. See also Léon Moussinac, NaisSance du_ Cinéma, reprinted in Léon Moussinac, L'Age Ingrat du Cinéma (Paris: Editeurs Francais REUNTS, 1967) . RD? O45; 45Quoted. in Anonymous, "Notre Avant-Garde aux Arts Decoratifs," Cinéa-Ciné pour Tous no. 46 (1 October P9AS bys (1x CinUHGee Ue oo CT he 46 Quoted in Jeanne and Ford, p. 242, “TGermaine Dulac, "L'Essence du Cinéma: L'Idée Visuelle,"” Cahiers du Mois no, 16-17 (1925), 64-65. 48cermaine Dulac, "Le Sentiment 4 la Ligne," Die ay 49Henri Chomette, "Seconde Etape," Cahiers du Mois mo. 16-17 (1925), 86-88. 5° Pierre Porte, "Le Cinéma Pur," Cinéa-Ciné pour Tous no. 52 (1 January 49261) 149%, tge6. for samples of such exchanges on the role of titles: the following articles: Lionel Landry, "Au Sujet des Sous-Titres," Cinéa no. mSeO4 C2) Fly aaoe). 12; Léon Moussinac, "Titres et Sous-Titres," Cinémagazine Il, 7 (17 February 1922), 205-207; Jean Mitry, "Abel Gance Nous Parle du Cinéma," Cinéa-Ciné pour. Tous no. 3 (45 December 1923), 8; Anonymous, "Film sans Sous-Titres," Cinéa-Ciné pour Tous no. 7 (15 February 1924), 20-22; Juan Arroy, "Robert Boudrioz Nous Parle du Cinéma," CinéaCiné pour Tous no. 6 (1 February 1924), 8; Pierre Porte, Textes et Images," ‘Cinéa-Ciné pour: TOUR no. e779 Ct5: Pepru~ OPVAeORT gn tAeGh2), PL ies. eho val: Tee 52 Quoted in Claim; 220;