By Rene Clair
This can be the 1st English translation of this groundbreaking paintings, first released in France in 1970. the writer provides a sweeping imaginative and prescient of the cinema dependent upon experiences of French movie comedy performs written over a span of a long time, with unifying notes and imaginary discussion with himself throughout time. blending own thoughts with serious conception and aesthetics, Clair discusses the making of works from the delivery of sound via 1970. Edited and with creation by means of R.C. Dale.
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Extra resources for Cinema Yesterday and Today
Sample text
The 'Treasure of Arne, The Outlaxo and His Wife and The Phantom Carriage marked the apogee of Swedish production. In stating that "their technique is becoming more like American technique," I was, without knowing it, announcing the decline 44 CINEMA YESTERDAY AND TODAY of the Swedish film. Let us extract from another article a few lines written in the same period: What is more serious is that American producers seem to be looking for the "international" film especially. They ask for works that are easily accessible to every country; everyone knows what childish nonsense has resulted from similar solely com mercial preoccupations.
No doubt Providence wants to console us for our charming modernity- a five-year war, bankruptcies, remote-control destruc tion, taxes, poverty, influenza epidemics, stock market speculation -and for the still rosier future it holds in store, by making us a gift of this universal toy and then watching us to see that we do not break it. THE OTHER: Please let's not talk about war and remote-control destruction. I would be afraid of the accuracy of your predictions. . Instead, tell me what ought to be done if your cinema is to realize its destiny fully.
It will be what the children of the cinematic age make of it. Our task is limited to preparing the instrument that they will use tomorrow. Indeed, the best that can be said about a creator of films today is t hat he has a film sense. Tile compliment is not often bestowed. This proves that we expect a great deal from the art of the film and, on the other hand, that most of the productions offered to us are still unworthy of that expectation. What painter would be flattered to hear that he has a painting sense?