Preface, xiii
Acknowledgments, xxiii
Georges Méliès, “Cinematographic Views” (1907), 35
Rémy de Gourmont, “Epilogues: Cinematograph” (1907), 47
Adolphe Brisson, “Theater Column: L’Assassinat du Duc de Guise” (1908), 50
Jules Romains, “The Crowd at the Cinematograph” (1911), 53
[Louis Feuillade], ‘‘Scènes de la vie telle qu’elle est” (1911), 54
Victorin Jasset, “An Essay on Mise-en-scène in Cinematography” (1911), 55
Ricciotto Canudo, “The Birth of a Sixth Art” (1911), 58
Abel Gance, “A Sixth Art” (1912), 66
Yhcam, “Cinematography” (1912), 67
Louis Haugmard, “The ‘Aesthetic’ of the Cinematograph” (1913), 77
René Doumic, “Drama Review: The Cinema Age” (1913), 86
Maurice Raynal, “Cinema Column: Fantômas” (1914), 89
Leopold Survage, “Colored Rhythm” (1914), 90
Selected Texts 125
Jacques de Baroncelli, “Pantomime, Music, Cinema” (1915), 125
Colette, “Cinema: The Cheat” (1917), 128
Paul Souday, “On the Cinema” (1916), 129
Emile Vuillermoz, “Before the Screen” (1916), 131
Emile Vuillermoz, “Before the Screen: Les Frères corses” (1917), 132
Colette, “Film Criticism: Mater Dolorosa” (1917), 136
Louis Delluc, “Beauty in the Cinema” (1917), 137
Louis Delluc, “Antoine at Work” (1917), 140
Philippe Soupault, “Note 1 on the Cinema” (1918), 142
Louis Delluc, “Notes to Myself: La Dixième Symphonie” (1918), 143
Marcel L’Herbier, “Hermes and Silence” (1918), 147
Emile Vuillermoz, “Before the Screen: Hermes and Silence” (1918), 155
Louis Delluc, “The Crowd” (1918), 159
Louis Aragon, “On Decor” (1918), 165
Emile Vuillermoz, “Before the Screen: La Dixième Symphonie” (1918), 168
Louis Delluc, “Cinema: The Cold Deck” (1919), 171
Jean Cocteau, “Carte Blanche” (1919), 172
Marcel Gromaire, “A Painter’s Ideas about the Cinema” (1919), 174
Blaise Cendrars, “The Modern: A New Art, the Cinema” (1919), 182
Henri Diamant-Berger, “The Scenario” (1919), 183
Henri Diamant-Berger, “The Decoupage” (1919), 183
Louis Delluc, “Cinema: The Outlaw and His Wife” (1919), 188
André Antoine, “A Proposal on the Cinema” (1919), 189
Cinégraphie and the Search for Specificity 193
Selected Texts 224
Louis Feuillade, “Introduction,” Barrabas [1920] and Les Deux Gamines [1921], 224
Emile Vuillermoz, “Before the Screen: Aesthetic” (1920), 223
Louis Delluc, “Cadence” (1920), 228
Léon Moussinac, “Cinema: Broken Blossoms” (1921), 229
Jean Epstein, “Magnification” (1921), 235
Jean Epstein, “The Senses 1 (b)” (1921), 241
Lionel Landry, “El Dorado” (1921), 246
Léon Moussinac, “Cinema: Fièvre, L’Atlantide, El Dorado” (1921), 249
Louis Delluc, “From Orestes to Rio Jim” (1921), 233
Elie Faure, “The Art of Cineplastics” (1922), 238
Lionel Landry, “Caligarism or the Theater’s Revenge” (1922), 268
Blaise Cendrars, “On The Cabinet of Doctor Caligari” (1922), 271
Fernand Léger, “La Roue: Its Plastic Quality” (1922), 271
Emile Vuillermoz, “La Roue” (1923), 274
René Clair, “La Roue” (1923), 279
Léon Moussinac, “On Cinegraphic Rhythm” (1923), 280
Robert Desnos, “Dream and Cinema” (1923), 283
Louis Delluc, “Prologue” (1923), 283
Ricciotto Canudo, “Reflections on the Seventh Art” [1923], 291
René Clair, “Coeur fidèle” (1924), 303
Germaine Dulac, “The Expressive Techniques of the Cinema” (1924), 305
Jean Epstein, “On Certain Characteristics of Photogénie” (1924), 314
Selected Texts 349
Jean Epstein, “For a New Avant-Garde” (1925), 349
Jean Goudal, “Surrealism and Cinema” (1925), 333
Paul Ramain, “The Influence of Dream on the Cinema” (1925), 362
Jacques Feyder, “Visual Transpositions” (1925), 364
René Clair, “Rhythm” (1925), 368
René Clair, “Pure Cinema and Commercial Cinema” (1925), 370
Henri Chomette, “Second Stage” (1925), 371
Fernand Léger, “Painting and Cinema” (1925), 372
Henri Fescourt and Jean-Louis Bouquet, Idea and Screen: Opinions on the Cinema, vol. 1 (1925), 373
Henri Fescourt and Jean-Louis Bouquet, Idea and Screen: Opinions on the Cinema, vol. 3 (1926), 384
Pierre Porte, “Pure Cinema” (1926), 383
Germaine Dulac, “Aesthetics, Obstacles, Integral Cinégraphie” (1926), 389
Robert Desnos, ‘Fantômas, Les Vampires, Les Mystères de New York” (1927), 398
Abel Gance, “My Napoleon” (1927), 400
Emile Vuillermoz,”Napoléon” (1927), 401
Emile Vuillermoz, “Abel Gance and Napoléon” (1927), 403
Jean Prévost, “The Cinema: Metropolis” (1927), 408
Antonin Artaud, “Cinema and Reality” (1927), 410
Jean Epstein, “Art of Incidence” (1927), 412
Léon Moussinac, “Cinema: Social Expression” (1927), 414
Léon Moussinac, “Eisenstein” (1928), 417
Léon Moussinac, “The Question of the ‘Avant-Garde’ Film” (1928), 420
Jean Epstein, “Fragments of Sky” (1928), 421
Jean Epstein, “Approaches to Truth” (1928), 422
Léon Moussinac, “Technique and the Future” (1929), 423
Robert Desnos, “Avant-Garde Cinema” (1929), 429
Robert Aron, “Films of Revolt” (1929), 432
Index, 437