By Jean Sémolué
Une présentation du parcours accompli par R. Bresson, d'Affaires publiques, courtroom métrage de 1934, à L'Argent. Au fil de l'analyse, J. Sémolué se donne deux objectifs : établir un touch précis avec les movies en mettant au jour les particularités de chacun d'eux et cerner l. a. spécificité d'une aventure créatrice.
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Extra info for Bresson ou L'acte pur des métamorphoses
61 Shumiatsky and the cinema administration were now increasingly under attack and thus had to develop their own strategy to defend their autonomy and power. This involved a substantial effort to prove to Stalin and the Party leadership that he was not only a loyal, committed communist, but also a careful protector of all things Bolshevik in the domain of cinema. From this point on, Shumiatsky got embroiled in a conflict with Kerzhentsev as both men tried to prove that they were the genuine defenders of Bolshevism and that the film industry could only serve its required political function under either of these individuals’ control.
The mass spectator would also be attracted by a broader range of genres including drama, comedy, fairy tales and the biographical film, as well as new themes, ranging from socialist construction in the town and the countryside to defence. Only this type of cinema could effectively convey the communist message to the broader audience. A Soviet Hollywood? Part of his inspiration for developing such a cinema undoubtedly came from the USA. After returning from his three-month trip to America, Shumiatsky and the other members of his delegation wanted to apply some of the best aspects of American film production to the studios of the USSR.
As the USSR was fairly new to these areas of production, demand for its raw film stock and equipment was almost non-existent in the West. 41 By far the most profitable area of export for the Soviet film industry were the films themselves. In the mid-to-late 1920s, Soviet films achieved both critical and financial success in countries such as Germany and the USA. 42 Moreover, by 1933 the close relationship with Germany was ended by the rise of the Nazi regime. Despite this setback, the USSR began to develop a more professional approach to film export with the establishment in 1930 of a specialised department called Intorgkino, which became Soiuzintorgkino in 1933.
Bresson ou L'acte pur des métamorphoses by Jean Sémolué