Créations ciné-lyriques de l’entre-deux-guerres
During the inter-war period, Parisian audiences were able to discover shows that combined cinema and opera. In 1921, the Gaumont-Palace inaugurated a type of production resorting to both forms with Les Valses de l’Amour et de la Mort by Jean Nouguès, but the Paris Opera did so too, with its use of m...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | fra |
| Published: |
Pléiade (EA 7338)
2024-07-01
|
| Series: | Itinéraires |
| Subjects: | |
| Online Access: | https://journals.openedition.org/itineraires/15092 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | During the inter-war period, Parisian audiences were able to discover shows that combined cinema and opera. In 1921, the Gaumont-Palace inaugurated a type of production resorting to both forms with Les Valses de l’Amour et de la Mort by Jean Nouguès, but the Paris Opera did so too, with its use of magic lanterns at the end of the 19th century. After collaborating with filmmaker Germaine Dulac in 1927, projection set design was used there in the 1930s under the impetus of its director Jacques Rouché and artist Ernest Klausz. Cinema appears to be one of the most effective ways of modernizing sets, both to reinforce the illusion of realism and to explore an avant-garde aesthetic. But this hybridization is never quite the same from one work to the next, especially as cinema can also be considered as an industry, a projection technique or a place for a new collective experience. Beyond artistic and aesthetic issues, there are also economic and social ones, aimed in particular at overcoming the opposition between scholarly and popular culture. |
|---|---|
| ISSN: | 2427-920X |