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  1. Jun 16, 2024 · Alexandre Astruc, a french film critic, wrote and published a manifesto in 1948 called "The Birth of a New Avant-Garde: The Camera-Stylo". The translation of that is: "The Birth of a New idea: the Camera Pen".

  2. Jun 21, 2024 · She went on to star in Romeo and Juliet variation The Lovers of Verona (André Cayatte, 1949) opposite Serge Reggiani, and with Gérard Philippe in Jacques Becker’s Montparnasse 19 (1958) as Modigliani’s partner Jeanne Hébuterne. The 50s also brought work for Alexandre Astruc, Georges Franju and Duvivier.

  3. Jun 19, 2024 · Once called “the greatest poet the screen has ever known” by French film theorist and director Alexandre Astruc, German director F.W. Murnau did more than any of his contemporaries to liberate the cinema from theatrical and literary conventions, achieving a seamless narrative fluency by freeing the camera to discover varied perspectives in ...

  4. Jun 18, 2024 · While Aimée pretty much just has a leading lady role, she is rather likable in it. Afterwards it was back to France for The Crimson Curtain (1952) directed by Alexandre Astruc and opposite Jean-Claude Pascal for a leading man. The movie is either classified as a longer short or a shorter feature film as it tells the tale of a Napoleonic ...

  5. Jun 18, 2024 · Her credits include Ronald Neame’s Golden Salamander, Alexandre Astruc’s drama Bad Liaisons, and the Émile Zola adaptation Pot-Bouille — but it was her 1960 role in Federico Fellini’s La Dolce...

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  6. Jun 23, 2024 · El 30 de marzo de 1948, Alexandre Astruc —caro amigo del gran Boris Vian, que se hacía notar en los cenáculos existencialistas de Saint-Germain-des-Prés y el resto del Barrio Latino— publicaba en el número 144 de la revista L’Écran Français —próxima al Partido Comunista Francés— un artículo que habría de hacer historia ...

  7. Jun 29, 2024 · According to French filmmaker and theorist Alexandre Astruc, a filmmaker-author uses a camera as a: writer uses a pen. The French critics' writing in the early issues of Cahiers du cinéma praised those European and American directors who: