Napoléon au cinéma PDF

Napoléon au cinéma PDF

Napoléon Ier au cinéma concerne les représentations de ce dernier dans des productions cinématographiques depuis les années 1890. Napoléon au cinéma PDF personnage de Napoléon Bonaparte, devenu l’empereur Napoléon Ier, qui règne entre 1804 et 1815 a été interprété par de nombreux acteurs dans des films historiques, de comédies ou d’œuvres uchroniques. Yves Simoneau, diffusée en 2002, avec dans le rôle-titre Christian Clavier.


1914 – Napoleon, the man of destiny, de W. 1937 – L’Espionne de Castille, de Robert Z. Cette section est vide, insuffisamment détaillée ou incomplète. Antoine de Baecque,  Monstre de cinéma , L’Histoire no 401, juillet-août 2014, p. Rechercher les pages comportant ce texte. La dernière modification de cette page a été faite le 14 septembre 2018 à 21:58. French film director and producer, writer and actor.

Initially taking his mother’s name, he was brought up until the age of eight by his maternal grandparents in the coal mining town of Commentry in central France. Although he later fabricated the history of a brilliant school career and middle-class background, Gance left school at the age of 14, and the love of literature and art which sustained him throughout his life was in part the result of self-education. He started working as a clerk in a solicitor’s office, but after a couple of years he turned to acting in the theatre. While in Brussels, Gance wrote his first film scenarios, which he sold to Léonce Perret.

Back in Paris in 1909, he acted in his first film, Perret’s Molière. With the outbreak of World War I, Gance was rejected by the army on medical grounds and in 1915 he started writing and directing for a new film company, Film d’Art. In 1917, Gance was finally drafted into the army, in its Service Cinématographique, an episode which proved futile and short-lived, but it deepened his preoccupation with the impact of the war and the depression which was caused by the deaths of many of his friends. In 1921, Gance visited America to promote J’accuse.

During his five-month stay he met D. Griffith, whom he had long admired. He was also offered a contract with MGM to work in Hollywood, but he turned it down. After a brief change of pace for Au Secours! Max Linder, Gance embarked on his greatest project, a six-part life of Napoléon.

Gance himself played the leading role. Gance continued to be a busy film-maker throughout the 1930s, but he characterised most of the films made during this period as ones that he did « not in order to live, but in order not to die ». In 1932 he tried to demonstrate his credentials as a reliable and efficient director by filming a remake of Mater dolorosa which he completed within 18 days and within budget. After the invasion of France in 1940, Gance filmed a popular melodrama called Vénus aveugle, which he saw as an allegory of the current state of France and a message of hope directed to the ordinary French people in their time of misfortune. After completing one more film, Le Capitaine Fracasse, Gance went to Spain in August 1943, citing growing hostility from the German authorities in France, and he remained there until October 1945. After the war, his difficulties in getting support for his projects increased and he made few films. François Truffaut making the case for Gance as a neglected auteur of genius.

Throughout his life Gance kept returning to Napoléon, often editing his own footage into shorter versions, adding a soundtrack, sometimes filming new material, and as a result the original 1927 film was lost from view for decades. Gance died of tuberculosis in Paris in 1981 at the age of 92. Abel Gance was interred in the Cimetière d’Auteuil in Paris. Gance wanted himself to be seen as « the Victor Hugo of the screen », and many assessments have recognised the ambition, the ingenuity and the sweeping romanticism of his films. One thing that has always been acknowledged is Gance’s innovations in the techniques of the cinema. Another aspect of Gance’s work which has drawn comment from critics is the political stance and implication of his life and films, particularly his identification with strong military leaders.

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