"Le Cinema Premier Alice Guy" Solax gaumont dvd video 
3 commentaires
3 commentaires
Un documentaire qui réhabilite la mémoire de la première femme cinéaste au monde, morte oubliée de tous, au New Jersey, en 1968, à l'âge de 95 ans. Le film reconstitue l'univers de cette femme remarquable grâce à des entrevues réalisées par les télévisions européennes autour des années 60, des extraits de ses films, des archives familiales, des témoignages de personnes qui l'ont connue, d'universitaires et d'historiens du cinéma
2 commentaires
ALICE GUY, PIONNIERE DU CINEMA (1996)
Un film de Florida Sadki
Betacam - coul. + archives N/B - 52' - docum.
Réalisation et scénario : Florida Sadki
Images: Franck Rabel, Julien Weiller
Son: Gérard Achille, Raphaelle Gosse-Gardet et Patrice Dodin
Montage: Lionel Hayet
Musique : Serge Roux
Production: Cine-Cinefil, Centre Georges Pompidou, Les Films de la Passerelle, Triangle Production, Lobster Films, Zeaux productions, RTBF, le CNC et la Communauté française de Belgique.
Alice Guy est une pionnière du cinéma. Elle fut notamment la collaboratrice de Louis Gaumont à la fin du 19 ème siècle.Elle réalisa un grand nombre de films en France puis en Amérique. Tombée dans l'oubli jusqu'en 1955, elle fut redécouverte notamment par Victor Bachy, professeur belge de cinéma.
votre commentaire
Synopsis :
A la fin du 19 eme siècle, dans les années 1895-98.
La vie d'Alice Guy, fille d'un bibliotéquaire français, installée au Chili.
A travers le récit de cette femme, c'est aussi un peu l'histoire du cinéma que l'on veux raconter.
Sa naissance, sa venue au monde, ses premiers pas.
L'histoire commence dans un endroit pour finir dans un autre,
en passant par ci par là,
comme une ballade - main dans la main, entre une femme, le Cinéma et les hommes qui ont traversé sa vie.
C'est aussi un récit romanesque avec ses épopées, ses hasards et ses erreurs;
celle du récit lui même, de l'auteur ... de la vie.
celle du récit lui même, de l'auteur ... de la vie.
votre commentaire
Barbara Streisand produces this documentary look at four early cinematic female innovators -- Alice Guy, Lois Weber, Frances Marion, and Dorothy Arzner -- narrated by Shirley MacLaine, Susan Sarandon, Hilary Swank, and Minnie Driver, respectively. ~ Jonathan Crow, All Movie Guide
Barbra Streisand, executive producer of ''Reel Models'' with Cis Corman, should know that achievement speaks for itself, but in her earnest introduction she seems a little too eager to sell us on the whole idea. And that tone lingers over the program as Shirley MacLaine, Susan Sarandon, Hilary Swank and Minnie Driver narrate segments on the four pioneers.
First we hear about Alice Guy, an early director and producer who made hundreds of short films in France and the United States beginning in 1896. There is plenty to credit her for: realizing very early the possibilities of close-ups and fade-outs; even hand-tinting films long before color. Some of these things have been erroneously credited to men who came later. But here as elsewhere in this program there is a tendency to go overboard. Ms. MacLaine, for instance, implies that Guy alone came up with the concept of using film to tell a story rather than simply to record real life; surely this was so obvious a step that it occurred spontaneously to many who were there at cinema's creation.
To say that Guy’s life affected film would be like saying Henry Ford had something to do with cars. Alice Guy (pronounced “Gee”) started movies as we know them today. Certainly there have been great innovators along the way improving film, but Guy got the whole ball of wax rolling.
Guy was working as a secretary at the Gaumont Company in France who along with other contemporaries such as the Pathe’ brothers, and Louis Lumiere made motion picture cameras. Guy managed to convince Gaumont to give her a crack at filmmaking so he would have a product to entice people to buy his cameras and in short order she was promoted to the head of the filmmaking division of that company. And here is the remarkable thing, Guy not only directed the first narrative motion picture, but was the first to use close ups, (something usually attributed to D.W. Griffin), she was the first to film a motion picture in color. First is a word that remains synonymous with Alice Guy. She did the first film noir, the first gay themed film, she was the first to step out from behind the camera to direct actors, at the time all directors handled the camera themselves, and she made extensive use of wax cylinders to give many of her short films a sound track, in other words they were talkies before anyone had coined that term.
Moving to America, Guy ran the largest pre-Hollywood studio in the country. Over her lifetime Guy wrote and directed over three hundred films and yet this Grand Lady of cinema has been all but ignored. It is time that this wrong is righted and Alice Guy given her due as the pioneer among pioneers in film.
My thanks to Barbra Streisand and AMC for bringing the deeds of Alice Guy and other women of cinema to light. For more information on Alice Guy a search on the Internet will turn up several pages of information about this remarkable woman.
 |
So narrowly white-male is our perception of the past that it is tempting to construct a Television Documentary Subject Generator, one of those comic charts that would let a producer choose randomly from Column A and Column B. ''Our documentary will explore the long-overlooked role of blacks/Asian-Americans/southpaws/vegetarians in Vietnam/early baseball/medicine/the Industrial Revolution. . . .''
That such programs have become somewhat formulaic is a good thing; slowly, our view of who shaped today's world is being made more inclusive. But with each revisionist nudge the bar gets higher: the more sophisticated our view of the past becomes, the more we demand from the revisionists.
So ''Reel Models: The First Women of Film,'' tonight's historical corrective on AMC, has the burden of doing more than simply telling us that women have been overlooked in the history of cinema. Unfortunately the program seems content merely to identify four female pioneers and gush about them.
Barbra Streisand, executive producer of ''Reel Models'' with Cis Corman, should know that achievement speaks for itself, but in her earnest introduction she seems a little too eager to sell us on the whole idea. And that tone lingers over the program as Shirley MacLaine, Susan Sarandon, Hilary Swank and Minnie Driver narrate segments on the four pioneers.
First we hear about Alice Guy, an early director and producer who made hundreds of short films in France and the United States beginning in 1896. There is plenty to credit her for: realizing very early the possibilities of close-ups and fade-outs; even hand-tinting films long before color. Some of these things have been erroneously credited to men who came later. But here as elsewhere in this program there is a tendency to go overboard. Ms. MacLaine, for instance, implies that Guy alone came up with the concept of using film to tell a story rather than simply to record real life; surely this was so obvious a step that it occurred spontaneously to many who were there at cinema's creation.
Ms. Sarandon tells of Lois Weber, who by 1916 was a top director at Universal, making daring films on social themes like birth control and child labor. She was a bit too committed to these subjects, as it turned out; in the 1920's public taste took a mindless turn and her films ceased to draw crowds.
Ms. Swank introduces Frances Marion, a screenwriter who, we're told in one of the program's funnier factoids, got her start writing lines for extras to mouth in silent films in case anyone in the audience could read lips. Here, though, the program veers from the theme of women who did not get their due. Marion won Oscars in 1930 and 1931 and, as the program acknowledges, was the highest-paid writer in Hollywood for years. There is a difference between being disenfranchised and simply fading into history.
Last, courtesy of Ms. Driver, comes Dorothy Arzner, a director who gave Katharine Hepburn and other future legends their first starring roles. She was, the show says, the only female director who managed to find a place in Hollywood's studio system.
Certainly ''Reel Models'' leaves no doubt that these four women made major contributions (and some of their films will be shown on AMC after the program). But it gives little sense of them as people.
Was Weber a domineering type of director or the kind who worked collaboratively with her actors? Was Marion a brooding writer or a zany, fun-loving one? The few times the program does provide personal glimpses it gets timid. After hearing Guy and Weber portrayed as strong, accomplished women, we are told that they both basically fell apart when their husbands left them; the incongruity is left unexplored.
In short, the program commits what is surely a cardinal sin in Ms. Streisand's book: it puts the four women on pedestals. They don't have any flaws; no one is that wonderful.
REEL MODELS
The First Women of Film
AMC, tonight at 8
Barbra Streisand and Cis Corman, executive producers; directed and produced by Susan and Christopher Koch. For American Movie Classics: Marc Juris and Jessica Falcon, executive producers.
Reel Models - First Women of Film," which received a 2000 Emmy and the Gracie Allen Award from American Women in Radio and Television.
Barbra Streisand hosts and executive produces a brand-new TV documentary special called Reel Models: The First Women of Film, which premiered on American Movie Classics (AMC) on Tuesday, May 30, 2000 (8:00-9:00 p.m.). Co-executive produced with Cis Corman and directed by Emmy Award winners Susan and Christopher Koch (City of Hope), the program profiles the cinema's earliest female pioneers - Oscar-winning directors Dorothy Arzner (in whose name Women In Film presented Streisand with a special award in 1992), Lois Weber (actually the very first woman to direct, produce, write, and act in a theatrical feature back in the early silent era), and Alice Guy (a French film pioneer who invented the director's job), and screenwriter Frances Marion (a two-time Oscar winner who penned Garbo's first spoken words). Academy Award-winning actresses Shirley MacLaine, Susan Sarandon, and Hillary Swank, and Minnie Driver provide on-screen narration for each of the documentary's four segments. Barbra handles the opening and closing segments. AMC repeats the program on June 25 at 2:00 p.m.
AMC aired the documentary to introduce and inaugurate a 10-hour film series dedicated to women pioneer filmmakers. Titles include The Sewer (1911), Algie the Miner (1912), The Hypocrites (1912), Polyanna (1920), and three others. Reel Models repeated on May 31 at 2:00 a.m. In conjunction with the documentary, AMC presented film festivals in L.A. on May 15 and in New York on May 22 that showcased films made by Arzner, Guy, Marion, and Weber.
Alice Guy was one of the world's first film makers. She was a pioneer of the story film. She also helped to define the role of the director, and to become an early studio head. The fascinating documentary, First Women of Film (2000), looks at her work and that of Lois Weber.
1 commentaire
|
votre commentaire
Phonoscénes d'Alice GuyNationality: French. Born: Born in Saint-Mandé, 1 July 1873. Also known as Alice Guy-Blaché and Alice Blaché. Education: Convent du Sacré-Coeur, Viry, France 1879–85; religious school at Ferney, and brief term in Paris; studied stenography. Family: Married Herbert Blaché-Bolton, 1907 (divorced 1922), two children. Career: Secretary Gaumont, 1895; directed first film, La Fée aux choux, 1896 director of Gaumont film production, 1897–1907; using Gaumont "chronophone," made first sound films, 1900; moved to United States with husband, who was to supervise Gaumont subsidiary Solax, 1907; ceased independent production, lectured on filmmaking at Columbia University, 1917; assistant director to husband, 1919–20; returned to France, 1922; moved to United States, 1964. Awards: Legion of Honor, 1955. Died: In Mahwah, New Jersey, 24 March 1968.
La Fée aux choux (The Cabbage Fairy)
Le Pêcheur dans le torrent; Leçon de danse; Baignade dans le torrent; Une nuit agitée; Coucher d'Yvette; Danse fleur de lotus; Ballet Libella; Le Planton du colonel; Idylle; L'Aveugle
L'Arroseur arrosé; Au réfectoire; En classe; Les Cambrioleurs; Le Cocher de fiacre endormi; Idylleinterrompue; Chez le magnétiseur; Les Farces de Jocko; Scène d'escamotage; Déménagement à la cloche de bois; Je vous y prrrends!
Leçons de boxe; La Vie du Christ (11 tableaux)
Le Tondeur de chiens; Le Déjeuner des enfants; Au cabaret; La Mauvaise Soupe; Un Lunch; Erreur judiciaire; L'Aveugle; La Bonne Absinthe; Danse serpentine par Mme Bob Walter; Mésaventure d'un charbonnier; Monnaie de lapin; Les Dangers de l'acoolisme; Le Tonnelier; Transformations; Le Chiffonier; Retour des champs; Chez le Maréchal-Ferrant; Marché à la volaille; Courte échelle; L'Angélus; Bataille d'oreillers; Bataille de boules de neige; Le marchand de coco
Avenue de l'Opéra; La petite magicienne; Leçon de danse; Chez le photographe; Sidney's Joujoux series (nine titles); Dans les coulisses; Au Bal de Flore series (three titles); Ballet Japonais series (three titles); Danse serpentine; Danse du pas des foulards par des almées; Danse de l'ivresse; Coucher d'une Parisienne; Les Fredaines de Pierrette series (four titles); Vénus et Adonis series (five titles); La Tarantelle; Danse des Saisons series (four titles); La Source; Danse du papillon; La Concierge; Danses series (three titles); Chirurgie fin de siècle; Une Rage de dents; Saut humidifié de M. Plick
La Danse du ventre; Lavatory moderne; Lecture quotidienne
(Gaumont "Phonoscènes", i.e. films with synchronized sound recorded on a wax cylinder): Carmen (twelve scenes); Mireille (five scenes); Les Dragons de Villars (nine scenes); Mignon (seven scenes); FaustPolin series (thirteen titles); Mayol series (thirteen titles); Dranem series of comic songs (twelve titles); Series recorded in Spain (eleven titles); La Prière by Gounod (twenty-two scenes);
Folies Masquées series (three titles); Frivolité; Les Vagues; Danse basque; Hussards et grisettes; Charmant FrouFrou; Tel est pris qui croyait prendre
La fiole enchantée; L'Equilibriste; En faction; La Première Gamelle; La Dent récalcitrante; Le Marchand de ballons; Les Chiens savants; Miss Lina Esbrard Danseuse Cosmopolite et Serpentine series (four titles); Les Clowns; Sage-femme de première classe; Quadrille réaliste; Une Scène en cabinet particulier vue à travers le trou de la serrure; Farces de cuisinière; Danse mauresque; Le Lion savant; Le Pommier; La Cour des miracles; La Gavotte; Trompé mais content; Fruits de saison; Pour secourer la salade
Potage indigeste; Illusioniste renversant; Le Fiancé ensorcelé; Les Apaches pas veinards; Les Aventures d'un voyageur trop pressé; Ne bougeons plus; Comment monsieur prend son bain; La Main du professeur Hamilton ou Le Roi des dollars; Service précipité, La Poule fantaisiste; Modelage express; Faust et Méphistophélès; Lutteurs américains; La Valise enchantée; Compagnons de voyage encombrants; Cake-Walk de la pendule; Répétition dans un cirque; Jocko musicien; Les Braconniers; La Liqueur du couvent; Le Voleur sacrilège; Enlèvement en automobile et mariage précipite
Secours aux naufragés; La Mouche; La Chasse au cambrioleur; Nos Bon Etudiants; Les Surprises del'affichage; Comme on fait son lit on se couche; Le Pompon malencontreux 1; Comment on disperse les foules; Les Enfants du miracle; Pierrot assassin; Les Deux Rivaux
L'Assassinat du Courrier de Lyon; Vieilles Estampes series (four titles); Mauvais coeur puni; Magie noire; Rafle de chiens; Cambrioleur et agent; Scènes Directoire series (three titles); Duel tragique; L'Attaque d'un diligence; Culture intensive ou Le Vieux Mari; Cible humaine; Transformations; Le Jour du terme; Robert Macaire et Bertrand; Electrocutée; La Rêve du chasseur; Le Monolutteur; Les Petits Coupeurs de bois vert; Clown en sac; Triste Fin d'un vieux savant; Le Testament de Pierrot; Les Secrets de la prestidigitation dévoilés; La Faim . . . L' occasion . . . L'herbe tendre; Militaire et nourrice; La Première Cigarette; Départ pour les vacances; Tentative d'assassinat en chemin de fer; Paris la nuit ou Exploits d' apaches àMontamartre; Concours de bébés; Erreur de poivrot; Volée par les bohémiens (Rapt d' enfant par les romanichels); Les Bienfaits du cinématographe; P tissier et ramoneur; Gage d'amour; L'Assassinat de la rue du Temple (Le Crime de la rue du Temple); Le Réveil du jardinier; Les Cambrioleurs de Paris
Réhabilitation; Douaniers et contrebandiers (La Guérité); Le Bébé embarrassant; Comment on dort á Paris!; Le Lorgnon accusateur; La Charité du prestidigitateur; Une Noce au lac Saint-Fargeau; Le Képi; Le Pantalon coupé; Le Plateau; Roméo pris au piége; Chien jouant á la balle; La Fantassin Guignard; La Statue; Villa dévalisée; Mort de Robert Macaire et Bertrand; Le Pavé; Les Maçons; La Esmeralda; Peintre et ivrogne; On est poivrot, mais on a du cœur; Au Poulailler!
La Fée au printemps; La Vie du marin; La Chaussette; La Messe de minuit; Pauvre pompier; Le Régiment moderne; Les Druides; Voyage en Espagne series (fifteen titles); La Vie de Christ (25 tableaux); Conscience de prêtre; L'Honneur du Corse; J'ai un hanneton dans mon pantalon; Le Fils du garde-chasse; Course de taureaux à Nîmes; La Pègre de Paris; Lèvres closes (Sealed Lips); La Crinoline; La Voiture cellulaire; La Marâtre; Le Matelas alcoolique; A la recherche d'un appartement
La vérité sur l'homme-singe (Ballet de Singe); Déménagement à la cloche de bois; Les Gendarmes; Sur la barricade (L'enfant de la barricade)
A Child's Sacrifice (The Doll)
Rose of the Circus; Across the Mexican Line; Eclipse; A Daughter of the Navajos; The Silent Signal; The Girl and the Bronco Buster; The Mascot of Troop "C"; An Enlisted Man's Honor; The Stampede; The Hold-Up; The Altered Message; His Sister's Sweetheart; His Better Self; A Revolutionary Romance; The Violin Maker of Nuremberg
Mignon or The Child of Fate; A Terrible Lesson; His Lordship's White Feather; Falling Leaves; The Sewer; In the Year 2000; A Terrible Night; Mickey's Pal; Fra Diavolo; Hotel Honeymoon; The Equine Spy; Two Little Rangers; The Bloodstain; At the Phone; Flesh and Blood; The Paralytic; The Face at the Window
The Beasts of the Jungle; Dick Whittington and His Cat; Kelly from the Emerald Isle; The Pit and the Pendulum; Western Love; Rogues of Paris; Blood and Water; Ben Bolt; The Shadows of the Moulin Rouge; The Eyes that Could Not Close; The Star of India; The Fortune Hunters
Beneath the Czar; The Monster and the Girl; The Million Dollar Robbery; The Prisoner of the Harem; The Dream Woman; Hook and Hand; The Woman of Mystery; The Yellow Traffic; The Lure; Michael Strogoff; or The Courier to the Czar; The Tigress; The Cricket on the Hearth
The Heart of a Painted Woman; Greater Love Hath No Man; The Vampire; My Madonna; Barbara Frietchie (co-d)
What Will People Say?; The Girl with the Green Eyes; The Ocean Waif; House of Cards;
The Empress; The Adventurer; A Man and the Woman; When You and I Were Young; Behind the Mask
The Great Adventure
Tarnished Reputation
The Divorcee (asst d); The Brat (asst d)
Stronger than Death (asst d)
Autobiographie d'une pionnière du cinéma 1873–1968, Paris, 1976; published as The Memoirs of Alice Guy-Blaché, edited by Anthony Slide, Metuchen, New Jersey, 1986.
"Woman's Place in Photoplay Production," in The Moving Picture World (New York), 11 July 1914.
Letter in Films in Review (New York), May 1964.
"La Naissance du cinéma," in Image et Son (Paris), April 1974.
"Tournez, mesdames . . . ," in Ecran (Paris), August/September 1974.
Slide, Anthony, Early Women Directors, New York, 1977.
Elsaesser, Thomas, and Adam Barker, editors, Early Cinema: Space-Frame-Narrative, London, 1990.
Bachy, Victor, Alice Guy-Blaché, 1873–1968: La première femme cinéaste du monde, Perpignan, France, 1993.
Levine, H.Z., "Madame Alice Guy Blaché," in Photoplay (New York), March 1912.
Ford, Charles, Alice Guy "The First Female Producer," in Films in Review (New York), March 1964.
Smith, F.L., "Alice Guy-Blaché," in Films in Review (New York), April 1964.
Lasassin, Francis, "Out of Oblivion: Alice Guy-Blaché," in Sight and Sound (London), Summer 1971.
Mitry, Jean, "A propos d'Alice Guy," in Ecran (Paris), July 1976.
Deslandes, J., "Sur Alice Guy: polémique," in Ecran (Paris), September 1976.
Peary, Gerald, Alice Guy "Czarina of the Silent Screen," in Velvet Light Trap (Madison, Wisconsin), Winter 1977.
Dixon, W.W., "Alice Guy: Forgotten Pioneer of the Narrative Cinema," in New Orleans Review, vol. 19, no. 3–4, 1992.
* * *
Alice Guy was the first person, or among the first, to make a fictional film. The story-film was quite possibly "invented" by her in 1896 when she made La Fée aux choux (The Cabbage Fairy). Certain historians claim that films of Louis Lumière and Georges Méliès preceded Guy's first film. The question remains debatable; Guy claimed precedence, devoting much effort in her lifetime to correcting recorded errors attributing her films to her male colleagues, and trying to secure her earned niche in film history. There is no debate regarding Guy's position as the world's first woman filmmaker.
Between 1896 and 1901 Guy made films averaging just seventy-five feet in length; from 1902 to 1907 she made numerous films of all types and lengths using acrobats, clowns, and opera singers as well as large casts in ambitious productions based on fairy and folk tales, Biblical themes, paintings, and myths. The "tricks" she used—running film in reverse and the use of double exposure—were learned through trial-and-error. In this period she also produced "talking pictures," in which Gaumont's Chronophone synchronized a projector with sound recorded on a wax cylinder.
One of these sound films, Mireille, was made by Guy in 1906. Herbert Blaché-Bolton joined the film crew of MireilleA Child's Sacrifice (in 1910), which centers on a girl's attempts to earn money for her family. In her Hotel Honeymoon of 1912, the moon comes alive to smile at human lovers, while in The Violin Maker of Nuremberg, two apprentices contend for the affections of their instructor's daughter. to learn directing. Alice Guy and Herbert were married in early 1907. The couple moved to the United States, where they eventually set up a studio in Flushing, New York. The Blachés then established the Solax Company, with a Manhattan office. In its four years of existence, Solax released 325 films, including westerns, military movies, thrillers, and historical romances. Mme. Blaché's first picture in the United States was
The Blachés built their own studio at Fort Lee, New Jersey, a facility with a daily printing capacity of 16,000 feet of positive film. For its inauguration in February 1912, Mme. Blaché presented an evening of Solax films at Weber's Theatre on Broadway. In that year she filmed two movies based on operas: Fra Diavolo and Mignon, each of which were three-reelers that included orchestral accompaniment. Her boldest enterprises were films using animals and autos.
Cataclysmic changes in the film industry finally forced the Blachés out of business. They rented, and later sold, their studio, then directed films for others. In 1922 the Blachés divorced. Herbert directed films until 1930, but Alice could not find film work and never made another film. She returned to France, but without prints of her films she had no evidence of her accomplishments. She could not find work in the French film industry either. She returned to the United States in 1927 to search the Library of Congress and other film depositories for her films, but her efforts in vain: only a half-dozen of her one-reelers survive. In 1953 she returned to Paris, where, at age seventy-eight, she was honored as the first woman filmmaker in the world. Her films, characterized by innovation and novelty, explored all genres and successfully appealed to both French and American audiences. Today she is finally being recognized as a unique pioneer of the film industry.
—Louise Heck-Rabi
PROGRAMME CINEMATEQUE PARIS Alice Guy
L'Utilité du rayon X
Réal. Alice Guy
(France/1898/Teinté/ muet/53'')
Prod. : Gaumont
A l'octroi, une dame se présente : son embonpoint paraît suspect. Les douaniers la soumettent aux rayons X...Une brève comédie sexy, typique des possibilités offertes par la naissance du cinématographe.
Danse du papillon
Réal. Alice Guy
(France/1897/Coul./0'41)
Prod. : Gaumont
Danse genre Loie Fuller. De grands papillons sont peints sur la robe de la danseuse
Chirurgie fin de siècle
Réal. : Alice Guy
(France/1900/NB/2'04")
Prod. : Gaumont
Dans une salle d'hôpital, un malade soumis à l'action du chloroforme,est livré au chirurgien qui lui enlève un bras et une jambe, et laisse aux internes les soins du pansement. Ceux-ci s'avisent de chercher dans une tourie renfermant les bras et les jambes de quoi remplacer les membres enlevés par le chirurgien...
Les Chiens savants
de Alice Guy
France/1902/3'/35mm
Sous la direction et le charme de Miss Dundee, des chiens de toutes tailles et de toutes races interprètent un mimodrame. Autres numéros : un chien artiste-peintre et un autre acrobate.
3 commentaires
secretaria a la companyia de fabricació d'apareills fotografics francesa Gaumont ,va suggerir al seu cap, justament l'any seguent que els germans Lumiére fessin public elseu cinematograf,de provar a rodar una pel-licula sobre una idea propria.Aquesta fou "La fé aux choux" (1896), l'exit de la qual fue que,des d'aquell moment, la companyia passes a ser també productora encarrregada de rodar tots elsseus films de ficcio 3 commentaires
Suivre le flux RSS des articles de cette rubrique Suivre le flux RSS des commentaires de cette rubrique
Créer mon blog