By Jean Sémolué
Une présentation du parcours accompli par R. Bresson, d'Affaires publiques, court docket métrage de 1934, à L'Argent. Au fil de l'analyse, J. Sémolué se donne deux objectifs : établir un touch précis avec les motion pictures en mettant au jour les particularités de chacun d'eux et cerner los angeles spécificité d'une aventure créatrice.
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Additional resources for Bresson ou L'acte pur des métamorphoses
The Unknown is lured from its lair and destroyed. But for how long? X the Unknown commenced filming in January 1956, with the exiled Joseph Losey set to direct (under the pseudonym of Joseph Walton). But warning voices threatened. It was quickly made plain to Hammer that any film which involved someone on the HUAC “blacklist” would have the rug pulled out from under it in terms of its potential distribution in the United States. Losey obligingly contracted pneumonia, and within the week, he had been unceremoniously replaced by hard-nosed Ealing producer-director Leslie Norman.
By The Men of Sherwood Forest, Michael opted for the lighthearted escapism of Dick Turpin: Highwayman, but Tony Hinds chose to try out the format on a thriller subject—A Man on the Beach. A surplus of film stock allowed the eight announced shorts to be expanded to ten, and a quick trip to Denmark produced Copenhagen, as well as providing some location footage (and the backdrop) for The Right Person. In the uncertain climate, even the success of The Quatermass Xperiment would not be enough to convince James Carreras to put all Hammer’s eggs into one basket, and this scattergun approach was to remain the order of the day until something much more tangible than Les Bowie’s glass-painted spaceship appeared on the horizon.
1 As Hammer waited for a sign, Michael Carreras was able to indulge his passion for big bands and big stages by filming Cyril Stapleton and the Show Band, the first of six musical shorts in Scope, at the Horticultural Halls in Victoria (the remainder were filmed at Elstree). But color and Scope were also to be used for a pair of shorts of a less frivolous nature, as both of Hammer’s house producers were forced to mark time. Following the pattern set —James Carreras on The Curse of Frankenstein Hammer’s Christmas 1954 communiqué to the trades had promised a total of seven color features and eight CinemaScope shorts, but the hard-times year of 1955 saw the company produce not much more than the latter, on a borrowed lens, while the industry in general waited for the coup de grâce that many felt certain would inevitably be delivered by the September 22 inauguration of commercial television.