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Speranţa Milancovici, Benjamin Fundoianu /Benjamin Fondane şi lumea filmului

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Magazine: 9 / 2011
Date: 2011
Speranţa Sofia MILANCOVICI
Universitatea de Vest „Vasile Goldiş“ Arad, Facultatea de Ştiinţe Umaniste, Politice şi Administrative “Vasile Goldis” Western University of Arad, Faculty of Humanities, Political and Adminsitrative Sciencies
m_speranta@yahoo.com

Abstract

Benjamin Fundoianu / Benjamin Fondane and the world of cinema

Since he was young, Benjamin Fundoianu / Benjamin Fondane was interested in the aspects related to the theatre’s world. In Romania, he succeeded to create the theatre “Insula”, but the activity of this troupe of actors didn’t last long, because of the material difficulties and also because of the anti-Semitism flourishing in that period.

In France, Fondane continues this project and he writes some cine-poems, in 1928. Those texts describe the cruelty of the reality, offering a way out of that world: the liberation of the terror of the logic and of the common syntax.

In 1930, Fondane starts his collaboration with the well known Paramount studios. Disillusioned with language, he writes about the silent movie. In 1933, Dimitri Kirsanoff  prepares for the filming of Rapt, with a screenplay by Fondane.

In Argentina, together with the Aguilar brothers, (Paco, Pepe, Ezequiel and Elisa) and with the producer Miguel Machinandiarena, Fondane produces the movie Tatarira, a musical with comical accents and Dadaist style, lost and unfound.

We also emphasise the importance of his critical texts about the problems concerning the theatre and the dramaturgy in the larger meaning of the word. He also was preoccupied by the theoretical and the practical aspects of both silent and synchronised recorded sound movies.

Keywords: contemporary literature, B. Fondane, dramaturgy, pure theatre, silent / sound recorded movies

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Note bibliografice

  1. Benjamin Fundoianu, Activitatea „Insulei”, [în] Saşa Pană, Antologia literaturii române de avangardă, [Bucureşti], Editura pentru Literatură, 1969, p. 549-550
  2. apud Olivier Salazar-Ferrer, Benjamin Fondane, Paris, Editura Oxus, 2004, p. 55
  3. Alain Virmaux, Note subsidiaire sur le dénoument de “Rapt”: le précédent de Stroheim, „Cahiers Benjamin Fondane”, no. 4/2000-2001, Jerusalem, p. 80
  4. Olivier Salazar-Ferrer, Benjamin Fondane, Paris, Editura Oxus, 2004, p.58

5.Ibidem, p.135

  1. „Cahiers Benjamin Fondane”, no. 5/2001-2002, Jerusalem, p. 104
  2. Raul Manrupe y Maria Alejandra Portela, Un Diccionaro de Films argentinos, ed. Corregidor, Buenos Aires, 1995, apud Monique Jutrin, Tararira: une mise au point, „Cahiers Benjamin Fondane”, no. 5/2001-2002, Jerusalem, p. 105
  3. Olivier Salazar-Ferrer, op. cit., p. 138

Bibliografie

  • B. Fondane, Ecrits pour le cinéma: le muet et le parlant, textes réunis et présentés par Michel Carassou, Olivier Salazar-Ferrer et Ramona Fotiade, Lagrasse, Verdier Poche, 2007.
  • „Cahiers Benjamin Fondane”, no. 4/2000-2001, Jerusalem.
  • „Cahiers Benjamin Fondane”, no. 5/2001-2002, Jerusalem.
  • Calimani, Riccardo, Destins et aventures de l’intellectuel juif en France, 1650-1945, Toulouse, Editions Privat, 2002.
  • Grigorescu, Dan, Dicţionarul avangardelor, Bucureşti, Editura Enciclopedică, 2003.
  • Manrupe, Raul, Maria Alejandra Portela, Un Diccionaro de Films argentinos, ed. Corregidor, Buenos Aires, 1995.
  • Pană, Saşa, Antologia literaturii române de avangardă, [Bucureşti], Editura pentru Literatură, 1969.
  • Salazar – Ferrer, Olivier, Benjamin Fondane, Paris, Editura Oxus, 2004.
  • Răileanu, Petre, Michel Carassou, Fundoianu /Fondane et l’avant-garde, Fondation Culturelle Roumaine, Editions Paris – Méditerranée, 1999.