In lieu of an abstract, here is a brief excerpt of the content:

295 Index Note: Page numbers in italics refer to illustrations . Abel, Richard, xi, 61, 101, 244n56, 252n76 abstraction, 13, 42–43; arabesque and, 116; dance and, 132; films and, 5, 39, 68, 103, 147, 153–60, 226, 257n23, 261–62n87, 262n90; influences on, 18, 42–43, 62, 110; as means of social expression, 130; move from figuration to, 4, 5, 153–59, 210; rhythmic, 132, 149, 255n120; symbolist, 97, 143 “L’Action de l’avant-garde cinématographique ,” 188, 269n62 L’Action Quotidienne, 27, 236n81 activism, corporate, 78, 80–83 Adorno, Theodore, on Gesamtkunstwerk, 15 aesthetic and narrative strategies and techniques . See caricature; mise-en-abyme; irony; parody; stylistic dualism aesthetic concepts. See cinéma integral; cin éma pur; expanded cinema; life-material itself; movement; objectivity; rhythm; self-reflexivity; stylistic dualism; “vie intérieure/inner life;” visual symphony Aide aux femmes des combattants, 48, 213 Alliance française, 27, 187, 235n65 Alliance universelle des femmes pour la paix par l’éducation, 29, 213 Allin, Alexander, 145–47; La Coquille et le clergyman/The Seashell and the Clergyman , 225 Amad, Paula, 55, 154, 243n46, 251n54 Amaury, 220 Âme d’artiste/An Artist’s Soul, 26, 35, 39–40, 63, 64, 66, 67, 92, 93, 123, 136, 215, 224, 258n38, 259n41; commercial demands and, 134; cross-dressing in, 63, 152, 259n41; distribution in the United Kingdom, 85; mise-en-abyme, 85, 136–37; orientalism and, 70; photos from, 137 Âmes de fous/Mad Souls, 22, 62, 67, 69–70, 105, 108, 214, 220, 245n80 Amiel, Denys, 125; La Souriante Madame Beudet/The Smiling Madame Beudet, 223, 256n1 Andréyor, Yvette, 82, 123, 224 Anik, Djemil, 47, 108–10, 151; Âmes de fous/Mad Souls, 220; L’Invitation au voyage/Invitation to a voyage, 225; Malencontre/Misfortune, 109, 222 “Anna la bonne” (Dulac/Renoir, 1936), 198, 273n11 anti-Semitism, questions of, 205–6, 275–76n53, Antoine, André, 13, 38, 40–41, 67, 92, 251n61 Antoinette Sabrier, 12, 16, 43, 57, 67, 86, 93, 106, 144, 224–25, 258n35; adaptation of, 239n130; distribution of, 86; female sexuality in, 40; heroines portrayed in, 42; orientalism and, 70; photos from, 144; plot of, 260n66 296 index Arabesque. See Étude cinégraphique sur une arabesque arabesque company logo and, 59; musical motif or dance gesture in Dulac’s films and, 17, 34, 110, 116, 127, 131, 145, 156–58, 261n87, 262–63n96; Stasia de Napierkowska and, 17, 44, 52 Aragon, Louis, 56 Armell, Yvette, 225 Armin, Richard, 55, 243n45 Arna, Jacques, 225 Arnould, Albert, 168, 265n18 Arquillère, Alexandre, 39, 106, 125, 132, 223 L’Arrivée d’un train en gare de La Ciotat/The Arrival of a Train at La Ciotat (Lumière Bros., 1895), 191 Artaud, Antonin, 56, 103, 144–47, 225, 260n27–28, 276n1 art house theaters, 144. See also Salles spécialisées Ashida, 225 Asselin, Georges, 221 associative aesthetic, 15, 117, 121, 149, 255n127; editing or montage and, 125, 128, 130, 182 Athanasiou, Génica, 145, 225 athletes: 103, 172–73, 252–53n80; Henri Cochet, 98; Raoul Paoli, 131, 223; Suzanne Lenglen, 98; Taris, 172–73 Aubert, Louis, 132–33, 223, 225. See also Gaumont-Franco-Films-Aubert Audry, Jacqueline, 197 authorship and auteurism, 15, 78, 80, 88, 106–7, 145, 147, 171, 248n7, 248n9. See also Société des auteurs de films Autrefois . . . aujourd’hui/In the old days . . . nowadays, 164, 226–27, 263n2 avant-garde, conceptions, definitions and goals of, 79, 82, 83, 125, 249n17, 258n38; documentaries, 166, 171–72, 174, 182, 253–54n95; movements, 206. See also abstraction; Dadaism; impressionism ; scientific films; surrealism “Ayons la Foi,” 84 Bakst, Léon, 69 Ballet mécanique (Léger, 1924), 147 Ballet-pantomime. See Pantomime Ballets russes, 52, 62, 69, 70, 97, 214 Bandi, Mikos, 155 Barbusse, Henri, 57, 101, 102, 244n52, 252n75 Bard, Christine, 89, 241n15 Baroncelli, Jacques de (pseud. Jacques de Javon), 61, 87, 91–93, 251n61 “Le Barrage,” 200 Barré, Félix, 224 Bartout, Renée, 220 Bataille, Henri, 42, 43 Bataille, Lucien, 145, 146, 224, 225 Battleship Potemkin (Eisenstein, 1925), 129 Baudelaire, Charles, 69, 127, 144, 225 Bazin, André, 2–3, 67, 183, 255n116 Un beau mariage/A beautiful marriage (Guitry), 39 Bebel, August, 26 Bellavoine, Lucien, 225 La Belle Dame sans merci/The beautiful woman without mercy, 5, 25–26, 35, 41, 42, 57, 63, 64, 67, 82, 88, 92, 94, 105–7, 145, 151, 222, 254n107, 255n109; arabesque, 110; cinematic impressionism in, 110–13; distribution in the United States, 85; distribution of, 86; double ending...

Share