PART1 The sound revolution in cinema in interwar era A. Introduction (avantgarde time, the sound revolution, social and economic context B. Literature review C. Methodology D. Filmmakers and script writers: the development of a new art using sound 1. Benjamin Fondane and his connections with Sestov, Victoria Ocampo, writers, , painters, sculptors, politicians, poets) + analyzing in parallel with Fondane, the film theories (including sound) of: 2. Grigori Aleksandrov and Lyubov Orlova 3. Germaine Dulac 4. Charlie Chaplin 5. Alfred Hitchcock 6. Hans Otto Löwenstein 7. Carmine Gallone 8. Heinosuke Gosho 9. Benjamin Fondane and Mario Peixto (similarities: They were both poets Fondane as well as Peixto wrote the cinepoems), writers, scriptwriters, film directors. Both directed the first film with lots of passion, although their movie was not so well received back to 1930s (Fondane directed ‘Tararira’ in 1936) and both were very well criticized postum as one of the best filmmakers of their era. E. Conclusion PART 2 Avantgarde film theories and the experimental cinematic practices between the war (in the view of Benjamin Fondane) A. Introduction B. Literature review C. Conclusion Benjamin Fondane’s cinematic career (to be included inside the chapters): 1. Cinepoems and Un Chien Andalou of Dali (the film was inspired from cinepoems) 2. The similarities between Fondane and Mario Peixto 3. Fondane and Tararira – the lost film 4. Fondane and Rapt (his implication as a scriptwriter, the fact that his name was mentioned more than Kirsanof’s (the director), Fondane’s view about Rapt (sound, music, theme, actors, miseenscene). 5. Fondane and other films at Paramount Pictures 6. ‘The Discreet Charm of The Bourgeoisie’ – film inspired from Tararira, or an improved version of Tararira (reasons: 1. Bunuel directed the movie in French – why French, and why France when he could use actoes from SUA? 2. Both films are satires of the burgeoise. 3. The film is produced in 1972, long time after Fondane’s death and long after the Jewish persecution, like he waited his career to grow, to get enough experience and direct a mature film in Fondane’s memory). 7. Fondane: the Nostradamus of cinema (he talked about color cinema, 3D cinema, the fact that visuals can be a mediocrity tool, etc.)
