SURREALISM IN THE SERVICE OF THE FANTASTIC

Jean Rollin, a ‘Parallel’ Director in Libertarian French Cinema

Fiction & Literature, Horror, Science Fiction & Fantasy, Fantasy
Cover of the book SURREALISM IN THE SERVICE OF THE FANTASTIC by Isabelle Marinone, ChristieBooks
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Author: Isabelle Marinone ISBN: 1230000631921
Publisher: ChristieBooks Publication: August 26, 2015
Imprint: ChristieBooks Language: English
Author: Isabelle Marinone
ISBN: 1230000631921
Publisher: ChristieBooks
Publication: August 26, 2015
Imprint: ChristieBooks
Language: English

What dyed-in-the-wool cinephiles have always stupidly misinterpreted as amateurism, nonchalance or ineptitude on Rollin’s part (his disregard for linearity and logic, the influence of theatricality and pataphysics on his thoughts about directing, his well-meaning curiosity for erotic deviancy, his passion for the melodramatic) comes fully into its own as an aesthetic and, may we say, ideological option […] We are transported simultaneously into a Clovis Trouille painting or a Gaston Leroux novel, into a Max Ernst collage and a Grand Guignol play, into the gaudy cover of some old Fantômas and an episode from a silent serial, into The Castle of Otranto and the cavern of The Phantom in Bengal. Swimming against the tide of pyrotechnics in movies that confuse car chases and action, conventions and daring innovations, and digital trickery and mise en scène, Jean Rollin steers us back towards cinema. Genuine cinema, the sort that can make us shudder and cry, the sort that can leave us walking on air.

Jean-Pierre Bouyxou, “La Fiancée de Dracula”, foreword to Pascal Françaix’s Jean Rollin, cinéaste écrivain (Paris: Éditions Films ABC, 2002)

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What dyed-in-the-wool cinephiles have always stupidly misinterpreted as amateurism, nonchalance or ineptitude on Rollin’s part (his disregard for linearity and logic, the influence of theatricality and pataphysics on his thoughts about directing, his well-meaning curiosity for erotic deviancy, his passion for the melodramatic) comes fully into its own as an aesthetic and, may we say, ideological option […] We are transported simultaneously into a Clovis Trouille painting or a Gaston Leroux novel, into a Max Ernst collage and a Grand Guignol play, into the gaudy cover of some old Fantômas and an episode from a silent serial, into The Castle of Otranto and the cavern of The Phantom in Bengal. Swimming against the tide of pyrotechnics in movies that confuse car chases and action, conventions and daring innovations, and digital trickery and mise en scène, Jean Rollin steers us back towards cinema. Genuine cinema, the sort that can make us shudder and cry, the sort that can leave us walking on air.

Jean-Pierre Bouyxou, “La Fiancée de Dracula”, foreword to Pascal Françaix’s Jean Rollin, cinéaste écrivain (Paris: Éditions Films ABC, 2002)

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