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EXPERIMENTAL FILM IN FRANCE
never been considered before, or were now ignored, or had simply been obscured by routine. Not all these subjects were imperative, but not all have ceased to be interesting or topical, and some would be worth rediscussing now and then. There can be no question here of recording details of the abundant literature devoted to these problems. One would have to obtain complete collections of the best reviews of the time: Cinta, Cine* Pour Tous (subsequently merged), and even Cinemagazine which, though more popular, was still open to new ideas; books by Delluc and Moussinac, Rene Clair's articles in Le Thiatre et Comcedia Illustre, Robert Desnos' articles in Le Journal Litteraire, the texts of lectures given at the Vieux Colombier on 'The Cinema's Creation of a World' and 'Creation of the Cinema',* the special numbers on the cinema in Les Cahiers du Mois, and finally the Revue du Cine'ma which, from 1928 to 1931, formed a kind of summing up of all the ideas of the foregoing decade. Even though one succeeded in mustering these records possessed by no film library, by having recourse to the private collections of the people concerned, the comparison of all the contradictory themes would be wearisome and unending, and it is sufficient to choose some of the most pertinent and characteristic opinions.
Photogenia and Light
'Not enough attention is paid to photogenic objects. A telephone receiver, for instance . . .'
'Light, above everything else, is the question at issue ... a director must realize that light has meaning.' — (Louis Delluc, 1920).
The Film's Power of Scrutiny
'It really dissects the soul, takes physiognomical samples, swabs from unalloyed feelings.'— (Jules Supervielle, 1925.)
* Some titles of the lectures given in 1925 deserve mention: Meaning of Cinema, by Lion Pierre-Quint; Photogenia of the Mechanical World, by Pierre Hamp; Psychological Value of the Visual Image, by Dr. Allendy; The Formation of Sensibility, by Lionel Landry; Human Emotion, by Charles Dullin; Humour and the Fantastic, by Pierre Mac Orlan; The Comic, by Andre Beucler; Time and the Cinema, by Jean Tedesco; Cinematic Images, by Jean Epstein; The Cinema's Fetters, by Germaine Dulac; Photogenia of Animals, by Madame Colette; The Cinema in Modern Life, by Andre Maurois. Technical problems were treated there by Rene" Clair, Abel Gance, Philippe Horiat, L'Herbier, Cavalcanti, Moussinac.
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