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NOTES 329
23. Quoted by Richter, Avantgarde: History and Dates ..., p. 5. I am indebted to Mr. Hans Richter for having put at my disposal a copy of this unpublished manuscript.
24. See Mekas, "The Experimental Film in America," Film Culture, MayJune 1955, vol. I, no. 3:18, and Knight, "Self-Expression," The Saturday Review of Literature, May 27, 1950.
25. Cf. Mekas, op. cit. passim; Knight, op. cit. passim, and his The Liveliest Art, pp. 280-85; Jacobs, "Avant-Garde Production in America," in Manveil, ed., Experiment in the Film, passim.
26. Dard, Valeur humaine du cinema, p. 1 1.
27. Artaud, "The Shell and the Clergyman: Film Scenario," transition, June 1930, nos. 19-20:63.
28. Deren, An Anagram of Ideas on Art . . . , p. 46.
29. Artaud, op. cit. p. 65.
30. Ouoted from "Sang d'un poete (Le)," Film Society Programmes, April 2, 1933.
31. Allendy, "La valeur psychologique de 1 'image," in L'Herbier, ed., Intelligence du cinematographe, p. 318. (First published in 1926.) In the same year 1926 appeared the Pabst film, The Secrets of a Soul, whose dream sequences seemed to implement Dr. Allendy's idea. But their semblance of surrealism is deceptive, if only for the reason that they form part of a story which could not be more realistic.
32. Poisson, "Cinema et psychanalyse," Cinema (Les cahiers du mois, 16/17), 1925, p. 175.
33. Brunius, "Experimental Film in France," in Manvell, ed., Experiment in the Film, p. 100.
34. Morrison, "The French Avant-Garde: The Last Stage," Sequence, Winter 1948/9, no. 6:33. Wallis, "The Blood of a Poet," Kenyon Review, Winter 1944, vol. 6, no. 1, passim, goes still far beyond Morrison in reading symbolic meanings into the Cocteau film.
35. Cocteau, The Blood of a Poet: A Film by Jean Cocteau, p. 51. (Translated by Lilv Pons.)
36. Richter, "The Avant-Garde Film Seen from Within," Hollywood Ouarterly, Fall 1949, vol. IV, p. 38.
37. Clair, Reflexion faite, p. 107.
38. Cf. Brunius, op. cit. pp. 102-5; Knight, The Liveliest Art, pp. 108-9.