Translation of Cinéma d'hier, cinéma d'aujourd'hui
Contents:
TABLE OF CONTENTS -- Time going by -- This is not a history -- A scientific toy -- Laser and co. -- Ramblings -- By way of an epigraph -- The theatre de Champs-Elysees -- Picabia and Satie -- A major premiere -- The pleasure of inventing -- A dialogue -- The cinema is too young -- The public at school -- Learning to see -- An opinion poll -- From Louis Aragon to Paul Valery -- An autonomous medium of expression -- Louis Feuillade -- Children of the age -- A revolutionary era -- Introduction to black and white magic -- Another battle of Hernani -- Leon Moussinac -- Albert Valentin -- Paul Gilson -- On youth -- Return to 1900 -- The error of the film d'art -- A manifesto -- Sergei Eisenstien -- Georges Sadoul -- In the beginning was the image -- The Germans and the cerebral film -- The Swedes and the honesty of the image -- Importance of the screenplay -- The suggestion of sounds -- Symbols -- Done Juan and Doctor Ox -- Marcel L'Herbier -- Lyricism and naïveté -- La Roue and the romantic spirit -- Abel Gance -- Othello -- The three unities -- Thomas de Quincey and the Elizabethan theatre -- Douglas Fairbanks and Victor Hugo -- On film comedies -- Louis Delluc -- 'Vanina, it seems, is based on Stendhal' -- The Girl I Loved and Charles Ray -- Coeur Fidele -- Lonesome -- Under the sign of desire: Homecoming -- On critics -- Three masters -- Mack Sennett: a forgotten founder -- An unknown personality: Chaplin the author -- D.W. Griffith: meeting with a shadow -- Pure cinema and poetry -- Attempt at a definition -- Primarily an industry -- The images are enough -- Cinema and surrealism -- A poetry of the people -- The lesson of the Ursulines -- Writing in images -- The state of half-dream -- Thus spoke Marcel Proust -- Who is the author? -- First skirmishes -- Grandeur and servitude -- The 'cinema people' -- Erich von Stroheim -- Our films are test pieces -- A prophecy -- The avant-garde -- Robert Brasillach -- A history of the cinema -- And the world came -- His Majesty, chance -- What people though about the sound film -- A savage invention -- Was it necessary to despair? -- A visit to the monster -- Music and sounds -- The Tower of Babel -- Stage conventions -- A few good achievements -- Chateaubriand and realism -- Opposition from the great masters -- On film editing -- In self defense -- Film sense -- Jean-Paul Sartre and Pirandello -- Marcel Pagnol enters the scenes -- On poets and Tristan Corbiere -- Authors -- New men needed -- Theater and cinema -- Renewal of the theater -- For a true conservatory -- What is a good film? -- Production and manufacture -- Beginning to take stock -- Useless regrets -- Cinema, theater and novel -- If the theater had not existed -- Difference in techniques -- The argument goes on -- What the public wants -- Condition of the film author -- Speed and shape -- The frenetic past -- Change of ratio -- A lucky poker hand -- A regret -- On Hollywood -- Pioneers and financiers -- Robert Florey -- Cecil B. DeMille -- A hero in the studios -- Orson Welles -- Preston Sturges -- A wartime cinema -- A government matter -- The idea of pleasure -- On international cinema -- The screens invaded -- Intellectual and commercial value -- A retroactive revolution -- The concept of 'anti' -- Expressing oneself -- The quest for genius -- Blushing in good company -- The official avant-garde -- Mayakovsky -- Meetings that failed to take place -- On the morals of our day -- In a 'house' -- Commercial boldness -- Against the current -- On comedy -- What is the best film? -- The tragic and the beautiful -- Laughter and liberty -- On television -- 'Live' and filmed television -- The Lumiere brothers and television -- 'Specificity' -- On credits -- In the sidelines of history -- An odd practice -- In defense of creators -- Time that does not go by -- 1925 laughs at 1910 -- Should films be preserved? -- Depot legal -- An art dedicated to the present -- A motionless cinema -- The comic strip -- The Iliad and Superman -- Paying respects
