Give Voice To Your Heart Tiffany

THAIS Phoebus (1916), Anton Giulio Bragaglia

One of the anniversaries marked in the timeline of 1909 posted here on the first day of the year referred to the birth this year futurism. Specifically, on February 22, 1909 the poet Filippo Tommaso Marinetti announced in the pages of Le Figaro its Futurism Manifesto du . It rejects the tradition and the past and celebrates everything that has to do with the progress of this and especially the future, as the speed, violence and the worship of machines and industrialization. Had influence on literature, music, visual arts and film. In the latter art was not so important as to the titles that were part of the futurist movement completely (some in Italy and Russia) which had the vision (especially his exaltation of modernity and the pace of the cities, as in the film by Vertov and Ruttman). Arnaldo Ginna and Bruno Corra started around 1911 the first experiments in futuristic movies with what they called "chromatic music." In 1916, the film presents Ginna futuristic Vita, which was accompanied by a cinematic manifesto of futurism , published on 11 September of that year, in the rejection of melodrama, arguing for the mixture of forms of expression and experimental use of film.

precisely in a book highly recommended for this use, history of experimental film (1971), of Jean Mitry, I had the chance to know of the existence of evidence of Anton Giulio Bragaglia called Thais, "based" on the novel by Anatole France, in the chapter "Futurism, Expressionism and Cinema", which not puts futuristic side, but closer to cubism and abstraction, mainly in the final hand decorated by the artist Enrico Prampolini. Bragaglia (1889-1960) was essentially a man of theater, art, incorporating elements of film. His ties to Futurism was more in his photographic work, which was called Fotodinamismo , in which the protagonist was the movement itself (as in the portrait than did G. Bragaglia Bonaventura around 1912, attached to this paragraph). Thais offers some traces of this deformation photography, especially in the scene depicting a small party, with the camera focusing and defocusing of the characters.

Prampolini (1894-1956), meanwhile, was a painter and decorator who, despite their allegiance to the futurist movement in 1912, was more related to cubism and constructivism. He is responsible for the start of the film, where the aristocrat who calls presented to the public Thais, smoking and playful attitude in front of a door with geometric motifs. For this door was probably the model of Ishtar, where the original novel by Anatole France is set. It is also true of some elements of the set as curtains or clothing (especially socks Thais). But especially his work focuses on the end, with the delirium and death of Thais, surrounded and eventually taken over by a stage of concentric geometric figures increasingly oppressive.

is the finishing touch, and best remembered, a title whose central and least commented works like the spoof divas. So here it Thaïs Galitzky a character as affected by emotions as interpreted by the Lyda Borelli, for example, first frivolous tone, playing with the feelings of the procession of suitors (or puppets) who followed him (including his cousin Oscar and the Count of San Remo), and then tragic tone, after being aware of the tragic impact of his game, both in the count as another woman, Blanca. The procession of suitors all with bowler hat and walking one after another in a line or scene in which they keep to Thais, are examples of the relationship is to be drawn here between parody and melodrama of some leading divas of the absurd much before it had a weight as a term of art.

Thais is a marginal title in the Italian cinema in terms of their impact, yet need to understand that not everything was going in one direction in this film, who, like most commercial film of that era was a new medium for people of theater, avant-garde cinema was a new vehicle for artists, photographers and poets for their expressive and ideological concerns. The latter, incidentally, in the case of Italian Futurism, eventually linking up with fascism. Speed \u200b\u200bthings and the future ...

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HAPPY 1909! Special

As we did last year, welcome the new year with a review of what will be the occasion of the centenary this year in the field of cinematography. Among others, 1909 was the year of the debut of actress Mary Pickford (in the top frame, hugging two girls in The Lonely Villa, Griffith) and Francesca Bertini and actors Ivan Mosjoukine and Roscoe "Fatty" Arbuckle, the implementation of some major titles Griffith, a boost for cinema as the Portuguese or some Latin American, or the year that was imposed Edison perforated celluloid. Consider the review of that year, which also includes links to look through the network, mainly on YouTube, some of the titles mentioned.

1909 is an important year in the U.S. industry. An International Conference requires the drilling of Edison as a standard for the format of the movies. In Edison, the same year, they capture the writer Mark Twain images for the cinema. Also for this company, James Stuart Blackton co-directed with Charles Kent The Life of Moses, performed a version of The dream of a summer night and animation techniques applied to Princess Nicotine (pictured). Another famous animator, cartoonist Winsor McCay presented in a session, filmed and projected by the Edison a few years later, his Gertie the Dinosaur, skillfully combining real images with cartoons. That same year, Porter left the Edison and attempts a solo venture, which will be released in 1911, Rex Films.

Beyond Edison, Biograph is imposed, since then known as Biograph Company. It starts out Griffith, following its debut last year, with titles like The Lonely Villa , A Corner in Wheat (in pictured), Those Awful Hats or A Drunkard's Reformation, an example of educational films. Also at the Biograph appear then people like Lionel Barrymore, the future director William Beaudine or Billy Bitzer, who developed the technique of the backlight. In the acting field, 1909 also represents the debut of actress Mary Pickford and its archetype of childlike woman, who will succeed until 1929, and also of Roscoe (Fatty) Arbuckle, who made his debut in Mack Sennett's Keystone comedies.

By then, Stroheim emigrated from Austria to the United States, while another Viennese, Fritz Lang, very young, are discovering the film.

In France, Méliès presents Locataire Le Diabolique , while consolidating its stage Chomón French Voyage dans la lune . Max Linder plays love surprises . The most interesting in France, however, are the work of Emile Cohl, with titles such as Le ratelier or animation silhouettes féeriques Les lunettes. For the Gaumont, Louis Feuillade presents fanciful films like Le printemps , a few years before boarding their "pieces of life" in the series La vie est telle qu'elle , 1911, and his famous serial, from 1913.

In Italy in the year of the appearance of the Futurist manifesto, which will later some fruit film, there are some milestones, such as conducting Nerone, by Luigi Maggi, Enrico Guazzoni hiring for Cinemas , or the debut of Francesca Bertini and Giuseppe De Liguoro, among others.

In Russia, Aleksandr Khanzhonkov producer (pictured) tries to compete with French productions, inspired them with historical and literary issues, but national. For him work from that year the directors Vassili Goncharov (with Mazepa) or Petr Tchardynine (with A Russian wedding XVI century). It will also give the opportunity to debut that year to actor Ivan Mosjoukine, which will have a major career both in Russia and France. Also that year is the debut of Yakov Protazanov with Bachisarai The source . One of the most persecuted by Russian filmmakers in those years is the writer Leo Tolstoy, as a national symbol, to whom you want to image and engage in projects which, posthumously (1910), is scored by advertising the task direction. One of the few films that manages to capture the writer in his last moments belong to that year.

In Denmark the Nordisk and especially Viggo Larssen continue their success, while the chance you want the international figure in the future Danish film, Carl Theodor Dreyer, briefly appears in a documentary film of 1909 , covering as a young journalist with the arrival of a personality.

In the UK, approving the Cinematograph Act, which became law the following year, which attempted to regulate the projection of national films in theaters and curb growing influx them foreign films, especially Italian and Danish. British productions that year, without a doubt the most curious is The Airship Destroyer (pictured), also known as Battle in the Clouds, an early science fiction film that imagines what it would be a air war, a few years before it is put into practice in the Great War.

In Spain, Fructuós Gelabert, Ricardo Baños Alberto Marro or Narciso whose wheels some interesting titles, but perhaps the film of the year is the document that rolls over Serra Gaspar Tragic Week, Movie known, among other titles, Barcelona events or The Tragic Week in Barcelona .

In Portugal, Joao Correia Freire Film Portugalia founded in 1909 and that same year deals with the national production of the first fictional film, I Crimes Diogo Alves, Joao Tavares finally led in 1911.

In Latin America, some Italian filmmakers trigger national cinema from Argentina, Brazil and Bolivia.