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Abel Gance and the end of silent cin...

Cuff, Paul.

Abel Gance and the end of silent cinemasounding out Utopia /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Abel Gance and the end of silent cinemaby Paul Cuff.
Reminder of title:	sounding out Utopia /
Author:	Cuff, Paul.
Published:	Cham :Springer International Publishing :2016.
Description:	xxxii, 241 p. :ill., digital ;24 cm.
Contained By:	Springer eBooks
Subject:	Apocalyptic films.
Online resource:	http://dx.doi.org/10.1007/978-3-319-38818-2
ISBN:	9783319388182$q(electronic bk.)

Abel Gance and the end of silent cinemasounding out Utopia /
Cuff, Paul.

Abel Gance and the end of silent cinemasounding out Utopia /[electronic resource] :by Paul Cuff. - Cham :Springer International Publishing :2016. - xxxii, 241 p. :ill., digital ;24 cm.

Preface: The sublime and the ridiculous -- Part I: Overcoming the past -- Introduction -- 1. In the shadow of war -- 2. Towards utopia -- 3. Prophets of the future -- 4. Cinema and the life of space -- Summary: Part I -- Part II: Impossible dreams -- Introduction -- 5. Artistic integrity and industrial change -- 6. A history of incompletion -- Summary: Part II -- Part III: The marvels of ruins -- Introduction -- 7. Passion and performance -- 8. Fighting to be heard -- 9. The world on fire -- Summary: Part III -- Conclusion: "Why have I been only what I am?".

This book explores the creation and destruction of Abel Gance's most ambitious film project, and seeks to explain why his meteoric career was so nearly extinguished at the end of silent cinema. By 1929, Gance was France's most famous director. Acclaimed for his technical innovation and visual imagination, he was also admonished for the excessive length and expense of his productions. Gance's first sound film, La Fin du Monde (1930), was a critical and financial disaster so great that it nearly destroyed his career. But what went wrong? Gance claimed it was commercial sabotage whilst critics blamed the director's inexperience with new technology. Neither excuse is satisfactory. Based on extensive archival research, this book re-investigates the cultural background and aesthetic consequences of Gance's transition from silent filmmaking to sound cinema. La Fin du Monde is revealed to be only one element of an extraordinary cultural project to transform cinema into a universal religion and propagate its power through the League of Nations. From unfinished films to unrealized social revolutions, the reader is given a fascinating tour of Gance's lost cinematic utopia.

ISBN: 9783319388182$q(electronic bk.)

Standard No.: 10.1007/978-3-319-38818-2doiSubjects--Personal Names:

763134
Gance, Abel
--Criticism and interpretation.Subjects--Uniform Titles:

Fin du Monde (Motion picture : 1931)
Subjects--Topical Terms:

763135
Apocalyptic films.

LC Class. No.: PN1997.F56 / C84 2016

Dewey Class. No.: 791.4372

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520 $a This book explores the creation and destruction of Abel Gance's most ambitious film project, and seeks to explain why his meteoric career was so nearly extinguished at the end of silent cinema. By 1929, Gance was France's most famous director. Acclaimed for his technical innovation and visual imagination, he was also admonished for the excessive length and expense of his productions. Gance's first sound film, La Fin du Monde (1930), was a critical and financial disaster so great that it nearly destroyed his career. But what went wrong? Gance claimed it was commercial sabotage whilst critics blamed the director's inexperience with new technology. Neither excuse is satisfactory. Based on extensive archival research, this book re-investigates the cultural background and aesthetic consequences of Gance's transition from silent filmmaking to sound cinema. La Fin du Monde is revealed to be only one element of an extraordinary cultural project to transform cinema into a universal religion and propagate its power through the League of Nations. From unfinished films to unrealized social revolutions, the reader is given a fascinating tour of Gance's lost cinematic utopia.
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