By Rémi Fournier Lanzoni (auth.)
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Extra resources for French Comedy on Screen: A Cinematic History
For Pagnol and most comedy ﬁlmmakers of the 1930s the question of ﬁlmed theater never interfered with their work; for them comedies based on theatrical adaptations were to interpret the written word of the play through the cinematic devices that were at their disposal and were not to become a parallel form of stage theater. II. From Military Vaudeville to Comique Troupier Since the ﬁrst hours of the cinématographe, governments have always considered cinema as an art whose potential for communication was a signiﬁcant weapon to transmit consequential ideas.
Consequently, under the leadership of various governments (Alexandre Millerand and Gaston Doumergue), cinematic censorship began to focus particularly on the newsreels of the postwar era. The newly created board for ﬁlm control, independent from the authority of Georges Clemenceau’s government, established by a decree on February 18, 1918, was composed of 16 representatives from the profession and 16 civil servants. It became all the more important to the ﬁlm industry that its verdict was linked with the issue of visas.
14 It was only after a long prologue that anything resembling a story started to take shape. Even then, Guitry lingered over the details of the protagonist’s childhood, while the plot developed. Seeing it now, years after the French New Wave, contemporary spectatorship is more familiar with such methods, but in 1936 this style must have seemed very different indeed. In fact, Guitry’s elliptical camera work and staccato editing were a strong inﬂuence on the New Wave, as was his playful sense of homage to other ﬁlms.
French Comedy on Screen: A Cinematic History by Rémi Fournier Lanzoni (auth.)