《国际电影影片词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume 1 FILMS（U、V、W、X、Y、Z）.pdf_P16-P20

Ⅴ AMPYR FILMS. 4 EDITIoN "Feuillade, in Anthologie du cinema 2, Paris, 1967 and his comic side-kick against ever more bizarre and audacious exploits perpetrated by a gang of criminals led by the ruthless killer don), Summer 1969 ho was a master of disguise. In contrast to the american serials, Les hampreux, J, ""Louis Feuillade, poete de la realite, in Avanf-Scene vampires had a dark-haired villainess, Irma Vep(an anagram of du Cinema( Paris), I July 1981 vampire") played with great relish by Musidora, in place of the Arnaud, P, ""Les Apparences transitoires, in Cahiers du Cinema innocent blonde heroine. Many of the stories, increasingly impro- (Paris), 18 June 1986 vised on the streets around the studio, give the impression of having Niogret, Hubert, in Positif( Paris), February 1987. been started without any clear idea of how they will end. In addition, Oms, Marcel, ""Entretien avec Jacques Champreux, in Cahiers de la the pressures brought on by the changing cast of players meant that Cinematheque(Perpignan), no. 48, 1987 occasionally emingly indestructible villain had to be Beylie, Claude, Judexet Les Vampires, in Cinema(Paris), no 482, suddenly and inexplicably killed off. November 1991 It is the improvisation and incoherence which give Les vampires Leplongeon, N, "Les Vampres de Louis Feuillade: une strategie de its power. Continually we are confronted with moments of total ooperation spectatorielle, in Iris, no. 17, 1994 ongruity-a huge cannon is wheeled from nowhere, a whole party Mansoz, Mathilde, "La face cachee des vampires, in Cinema of socialites is gassed, an actress killed on stage, and a character is ( Paris), no 547, I February 1995. kidnapped by being lured to the window and lassoed from below. Johnson, William, "A Short Take on Long Films, in Film Comment Unexpected deaths and resurrections, sudden car chases or rooftop (New York), vol 31, no 5, September-October 1995 pursuits, secret panels and spooky catacombs follow in a vivid pattern Thompson, Frank, in Film Comment(New York), vol 34, no. 5, which has clearly been orchestrated by a director who, in continuing September-October 1998. in the traditional style, still organizes his action in depth, with the O'Brien, G, Silent Screams, in New York Review of Books, vol. players facing the audience in theatrical style. It is the anarchistic 45. no 20. 17 December 1998 view of society, the supreme disregard of logic-so appropriate when Callahan, Vicki, ""Detailing the Impossible, in Sight Sound the old social order of Europe was crumbling under the impact of (London), vol. 9, no 4, April 1999 World War I-which led Andre Breton and Louis aragon to see in Les vampires"the reality of this century. Beyond fashion. Beyond taste For French cinema, the years 1915-1922 constituted a period of -Roy Armes renewal. A considerable number of young filmmakers emerged with their first works, and the basis of a highly important avant garde movement was created. But the bulk of commercial production continued in a solid and unadventurous way, as if France were still the VAMPYR. OU L'ETRANGE world's leading film nation. This time of transition is symbolized by AVENTURE DE DAVID GRAY old veteran director and head of production, Louis Feuillade, dressed 1932 beginner, the ex-litterateur Marcel L'Herbier, resplendent in his monocle and white gloves. Within this temporary co-habitation of Director: Carl Theodor Dreyer opposites there was, of course, only one direction in which the cinema was moving. But if the early 1920s are aptly represented by L'Herbier's Production: Carl Th. Dreyer Filmproduktion Paris-Berlin; black and L'homme du large or Able Gance's La roue, Feuillade's Les vampires white. 35mm; running time: originally 83 minutes, currently 70 can stand for much that was the best in french cinema from 1915to1916 minutes, also some copies exist at 65 minutes 1l seconds; length Feuillade had resumed his role as artistic director at Gaumont after 2271 meters originally Released 6 May 1932 in Berlin, also released in French and English versions. Filmed Summer 1930 in Senlis. his release from army service in 1915. In addition to making the Montargis, and surrounding areas obligatory patriotic films and the occasional meditation on the horrors of war, Feuillade plunged his energies into the crime series, echoing Producer: Baron Nicolas de Gunzberg: screenplay:Carl Theodor he success of his own Fantomas and facing up to the new Unite States competition, spear-headed by The Perils of Pauline and The Dreyer in collaboration with Christen Jul, from the novel In a Glass Exploits of Elaine, which was on the brink of dominating the French Darkly by Joseph Sheridan Le Fanu; photography: Rudolph Mate market. The years 1915 to 1920 saw the appearance of five successive and Louis Nee; sound: Dr Hans Bittmann, synchronized by Paul eries, of which the first and greatest was Les vampires, which Falkenberg; art director: Hermann Warm; music: Wolfgang Zeller; appeared at irregular intervals in ten parts, each constituting a sel dialogue director: Paul Falkenberg. contained story, between 13th November 1915 and 30th June 1916 Les vampires is strongly conditioned by the circumstances of its Cast: Julian West, or Baron Nicolas de Gunzburg(David Gray) shooting. Forced to work quickly and without a smoothly operating Henriette Gerard(Marguerite ); Jan Hieronimko(Doctor) studio machine behind him, and confronted with such strong ameri- Maurice Schutz (Lord of the Rena Mandel (His daug s-an competition, Feuillade had no time to polish his scenarios or even Gisele): Sibylle Schmitz(His daughter Leone); Albert Bras(Ser- blish a conventional script. The stories pitted an intrepid reporter vant): N. Babanini(The gird); Jane Mora(The relig 1270

VAMPYR FILMS, 4th EDITION 1270 ‘‘Feuillade,’’ in Anthologie du cinéma 2, Paris, 1967. Roud, Richard, ‘‘Memories of Resnais,’’ in Sight and Sound (London), Summer 1969. Champreux, J., ‘‘Louis Feuillade, poète de la realité,’’ in Avant-Scène du Cinéma (Paris), 1 July 1981. Arnaud, P., ‘‘Les Apparences transitoires,’’ in Cahiers du Cinéma (Paris), 18 June 1986. Niogret, Hubert, in Positif (Paris), February 1987. Oms, Marcel, ‘‘Entretien avec Jacques Champreux,’’ in Cahiers de la Cinémathèque (Perpignan), no. 48, 1987. Beylie, Claude, ‘‘Judex et Les Vampires,’’ in Cinéma (Paris), no. 482, November 1991. Leplongeon, N., ‘‘Les Vampres de Louis Feuillade: une strategie de cooperation spectatorielle,’’ in Iris, no. 17, 1994. Mansoz, Mathilde, ‘‘La face cachée des Vampires,’’ in Cinéma (Paris), no. 547, 1 February 1995. Johnson, William, ‘‘A Short Take on Long Films,’’ in Film Comment (New York), vol. 31, no. 5, September-October 1995. Thompson, Frank, in Film Comment (New York), vol. 34, no. 5, September-October 1998. O’Brien, G., ‘‘Silent Screams,’’ in New York Review of Books, vol. 45, no. 20, 17 December 1998. Callahan, Vicki, ‘‘Detailing the Impossible,’’ in Sight & Sound (London), vol. 9, no. 4, April 1999. *** For French cinema, the years 1915–1922 constituted a period of renewal. A considerable number of young filmmakers emerged with their first works, and the basis of a highly important avant garde movement was created. But the bulk of commercial production continued in a solid and unadventurous way, as if France were still the world’s leading film nation. This time of transition is symbolized by the situation at the Gaumont studios in Paris in 1919, where 46-yearold veteran director and head of production, Louis Feuillade, dressed in his grey ‘‘chemist’s overalls,’’ directed alongside a 29-year-old beginner, the ex-littérateur Marcel L’Herbier, resplendent in his monocle and white gloves. Within this temporary co-habitation of opposites there was, of course, only one direction in which the cinema was moving. But if the early 1920s are aptly represented by L’Herbier’s L’homme du large or Able Gance’s La roue, Feuillade’s Les vampires can stand for much that was the best in French cinema from 1915 to 1916. Feuillade had resumed his role as artistic director at Gaumont after his release from army service in 1915. In addition to making the obligatory patriotic films and the occasional meditation on the horrors of war, Feuillade plunged his energies into the crime series, echoing the success of his own Fantômas and facing up to the new United States competition, spear-headed by The Perils of Pauline and The Exploits of Elaine, which was on the brink of dominating the French market. The years 1915 to 1920 saw the appearance of five successive series, of which the first and greatest was Les vampires, which appeared at irregular intervals in ten parts, each constituting a selfcontained story, between 13th November 1915 and 30th June 1916. Les vampires is strongly conditioned by the circumstances of its shooting. Forced to work quickly and without a smoothly operating studio machine behind him, and confronted with such strong American competition, Feuillade had no time to polish his scenarios or even establish a conventional script. The stories pitted an intrepid reporter and his comic side-kick against ever more bizarre and audacious exploits perpetrated by a gang of criminals led by the ruthless killer who was a master of disguise. In contrast to the American serials, Les vampires had a dark-haired villainess, Irma Vep (an anagram of ‘‘vampire’’) played with great relish by Musidora, in place of the innocent blonde heroine. Many of the stories, increasingly improvised on the streets around the studio, give the impression of having been started without any clear idea of how they will end. In addition, the pressures brought on by the changing cast of players meant that occasionally even the seemingly indestructible villain had to be suddenly and inexplicably killed off. It is the improvisation and incoherence which give Les vampires its power. Continually we are confronted with moments of total incongruity—a huge cannon is wheeled from nowhere, a whole party of socialites is gassed, an actress killed on stage, and a character is kidnapped by being lured to the window and lassoed from below. Unexpected deaths and resurrections, sudden car chases or rooftop pursuits, secret panels and spooky catacombs follow in a vivid pattern which has clearly been orchestrated by a director who, in continuing in the traditional style, still organizes his action in depth, with the players facing the audience in theatrical style. It is the anarchistic view of society, the supreme disregard of logic—so appropriate when the old social order of Europe was crumbling under the impact of World War I—which led André Breton and Louis Aragon to see in Les vampires ‘‘the reality of this century. Beyond fashion. Beyond taste.’’ —Roy Armes VAMPYR, OU L’ETRANGE AVENTURE DE DAVID GRAY France, 1932 Director: Carl Theodor Dreyer Production: Carl Th. Dreyer Filmproduktion Paris-Berlin; black and white, 35mm; running time: originally 83 minutes, currently 70 minutes, also some copies exist at 65 minutes 11 seconds; length: 2271 meters originally. Released 6 May 1932 in Berlin, also released in French and English versions. Filmed Summer 1930 in Senlis, Montargis, and surrounding areas. Producer: Baron Nicolas de Gunzberg; screenplay: Carl Theodor Dreyer in collaboration with Christen Jul, from the novel In a Glass Darkly by Joseph Sheridan Le Fanu; photography: Rudolph Maté and Louis Née; sound: Dr. Hans Bittmann, synchronized by Paul Falkenberg; art director: Hermann Warm; music: Wolfgang Zeller; dialogue director: Paul Falkenberg. Cast: Julian West, or Baron Nicolas de Gunzburg (David Gray); Henriette Gérard (Marguerite Chopin); Jan Hieronimko (Doctor); Maurice Schutz (Lord of the Manor); Rena Mandel (His daughter Gisèle); Sibylle Schmitz (His daughter Léone); Albert Bras (Servant); N. Babanini (The girl); Jane Mora (The religious woman)

Ⅴ AMPYR FILMS. 4 EDITIoN Articles. simplicity. A young man, David, in one nightmarish evening, st bles upon a series of unearthly events. The focus is on a young girl Close-Up(London), no. 1, 1931 whose life is slowly being drained by a vampire, aided by a sinister New York Times, 31 July 1932. village doctor. An early image of a reaper with his scythe, silhouetted, Viazzi, Glauco, in Bianco e Nero(Rome), no 10, 1940 graphically establishes the films preoccupation: death, its illusive- Special Issue of Ecran Francais(Paris), 1 1 November 1947 ness, its mystery, its threat. Another scene encapsulates its theme, the Quarterly of Film, Radio, and Television(Berkeley), winter 1952. idea of innocence in struggle, transformed and transforming back. Harrington, Curtis, ""Ghosties and Ghoulies, in Sight and Sound with the curious sensuality beyond simple lust of the forbidden. n),no.4,1952. Leone, wasting away through the vampire's continued attacks, ob- Everson, William K, in Cinemages(New York), no 4, 1955 serves her sister Gisele. first smiles with real affection. then as the Neergaard, Ebbe, in Cinemages(New York), no 4, 1955 possession begins to take, with the calculated craving for her, another Trolle, Borge, ""The World of Carl Dreyer, "in Sight and Sound victim-to-be. Her face contorts, her lips pull back to reveal sharp (London), Winter 1955-56 teeth-then it passes. She falls back, a pitiable, vulnerable girl, bled Longatti, Alberto, in Bianco e Nero(Rome). no 5, 1958. not only by the monster, but by the impotence of those around her Cutts, John, in Films and Filming(London), no 3, 1960 The scene is pivotal to the languorous rhythm; now the pace Weinberg, Herman and Gretchen, "Vampyr- sharpens. With Davids nightmare(his point of view ), he is enclosed Baron de Gunzburg, 'in Film Culture(New York), no 32, 1964. in a coffin. and we, too, learn the terror of helplessly watching our Kelman, Ken, ""Dreyer, in Film Culture(New York), no 35, 1965 Bond, Kirk, "The World of Carl Dreyer, in Film Quarterly(Berke own imprisonment, the lid screwed on tightly over us, the vampires ley), Fall 1965. face peering in with candlewax dripping on the glass lid, then the Milne, Tom, ""Darkness and Light: Carl Theodor Dreyer, in Sight stake in her heart(which is dismissed in only five brief shots), the climax. All has been and Sound (London). Autumn 1965 Chevallier, Jacques, ge et Son(Paris), no 221, 1968 constructed almost mathematically, yet the result is curiously poetic- Special Issue" of Kosmorama( Copenhagen), June 1968 Dreyers gift. The final retribution-David and Gisele walking to- Dreyer Issue"of Cahiers du Cinema(Paris), December 1968 gether in the sunlight-is kept from cliche with cuts to the doctors Malmkjaar, Poul, in Kosmorama( Copehagen), no 102, 1971 horrific death, being trapped in the flour mill, the gear wheels Dai,Carl Dreyer and the Theme of Choice, "in Sight and Jamming, the gasping, the smothering.(The idea was"borrowed, Sound (London), Summer 1974 incidentally, for the Harrison Ford film Witness, more than 50 years Petric, Vlada, Dreyers Concept of Abstraction, in Sight and later. )All is well, yet the shadowy mist remains. One strength of Vampyr is the unfolding of what Ken Kelman Nash, Mark, Vampyr and the Fantastic, in Screen (London) described in film culte no.3,1976 without adequate reason. The plot provides necessary foundation, Vampyr Issue of Avanl-Scene du Cinema(Paris), May 1979. but the events wrapped around the discovery are as elusive in Prawer, S.S,"Book into Film-Dreyer's Vampyr, in Calig gical application as those events in our own dreams. Dreyer has Children: The Film as Tale of Terror, New York and Ox filmed an essential dream structure. There is a touch of victor Carroll, N, "Notes on Dreyers Vampyr, 'in Persistence of Sjostrom s influence here, a director Dreyer has paid homage to Both (Maspeth, New York), no 8, 1990 the pervading otherworldliness and his use, in his only film, of Thompson, Frank, in American Film, vol 15, no 6, March 1990 superimposition, which creates shadows and presences, is reminis- Arecco,S, "La piega barocca del vampiro, "in Filmcritica(Rome), cent of Sjostrom,s Korkarlen(Phantom Chariot), 1920, a film that May 1993 affected Dreyer profoundly Megahey, L, " The Wonderful Face, in Sight Sound (London) Everything here underlines atmosphere; Vampyr is a calculated, oL. 3, no. 7, July 1993 sensual nightmare. The air is misted greys and whites(black gauze Larsen, Paul, " I Dreyers vav, "in Kosmorama( Copenhagen), vol. over the lens), the gait of the characters is a glide, a floating Night and 41,no.212, Summer1995 day are confused. The dialogue is minimal, voices often muffled, odd Senn, B, The Enigma of Vampyr, in Midnight Marquee(Balti snatches of conversation are barely understandable, at times, disl more), no 49, Summer 1995. cated and difficult to recall-the way it is in dreams. Cries mingled with an animal,s growl, something disembodied calling, or a strain of music Photographer Rudolph Mate's camera has become almost a force on its own, not just a recorder, moving before There is a small handful of films that can only be accepted on their a character. after If a sound is heard off-screen, Dreyer allows own terms, redefining as they do audience, even formalist expecta a moment of suspense before showing its source, so awareness is tion. The boundaries between subjective and objective camera, the seemingly predestined. His famed, delicately honed sensibility and chronological link inherent in editing, such as cross-cutting, assump- his self-critical aesthetic nature paid off in exceptional visual intui- tions made in relation to point of view or even a single shot, the logic tion; each shot has the stamp of unusual deliberation, with long, slow of straight narrative-all are blurred. That a film made in 1932. pans, even simple reaction shots, and tracking shots especially, creates such an approach, maintained with aesthetic disci- There were no specially built sets-the film was shot in a derelict line and without a hint of self-indulgence results in an event. ice-factory, a deserted chateau, and a plasterworks-and, with two Carl Dreyer was master of such works. Vampyr is one of his finest exceptions, no professional actors. The characters are"ordinary examples, owing its unusual structure, in part, to the fact that the film people and could be any of us, which makes the identification with the was the first he produced independently. The plot has the illusion of emotional turmoil that much more effective. The vampire is an 1272

VAMPYR FILMS, 4th EDITION 1272 Articles: Close-Up (London), no. 1, 1931. New York Times, 31 July 1932. Viazzi, Glauco, in Bianco e Nero (Rome), no. 10, 1940. ‘‘Special Issue’’ of Ecran Français (Paris), 11 November 1947. Quarterly of Film, Radio, and Television (Berkeley), Winter 1952. Harrington, Curtis, ‘‘Ghosties and Ghoulies,’’ in Sight and Sound (London), no. 4, 1952. Everson, William K., in Cinemages (New York), no. 4, 1955. Neergaard, Ebbe, in Cinemages (New York), no. 4, 1955. Trolle, Børge, ‘‘The World of Carl Dreyer,’’ in Sight and Sound (London), Winter 1955–56. Longatti, Alberto, in Bianco e Nero (Rome), no. 5, 1958. Cutts, John, in Films and Filming (London), no. 3, 1960. Weinberg, Herman and Gretchen, ‘‘Vampyr—an Interview with Baron de Gunzburg,’’ in Film Culture (New York), no. 32, 1964. Kelman, Ken, ‘‘Dreyer,’’ in Film Culture (New York), no. 35, 1965. Bond, Kirk, ‘‘The World of Carl Dreyer,’’ in Film Quarterly (Berkeley), Fall 1965. Milne, Tom, ‘‘Darkness and Light: Carl Theodor Dreyer,’’ in Sight and Sound (London), Autumn 1965. Chevallier, Jacques, in Image et Son (Paris), no. 221, 1968. ‘‘Special Issue’’ of Kosmorama (Copenhagen), June 1968. ‘‘Dreyer Issue’’ of Cahiers du Cinéma (Paris), December 1968. Malmkjaar, Poul, in Kosmorama (Copehagen), no. 102, 1971. Vaughan, Dai, ‘‘Carl Dreyer and the Theme of Choice,’’ in Sight and Sound (London), Summer 1974. Petric, Vlada, ‘‘Dreyer’s Concept of Abstraction,’’ in Sight and Sound (London), Spring 1975. Nash, Mark, ‘‘Vampyr and the Fantastic,’’ in Screen (London) no. 3, 1976. Vampyr Issue of Avant-Scène du Cinéma (Paris), May 1979. Prawer, S. S., ‘‘Book into Film—Dreyer’s Vampyr,’’ in Caligari’s Children: The Film as Tale of Terror, New York and Oxford, 1980. Carroll, N., ‘‘Notes on Dreyer’s Vampyr,’’ in Persistence of Vision (Maspeth, New York), no. 8, 1990. Thompson, Frank, in American Film, vol. 15, no. 6, March 1990. Arecco, S., ‘‘La piega barocca del vampiro,’’ in Filmcritica (Rome), May 1993. Megahey, L., ‘‘The Wonderful Face,’’ in Sight & Sound (London), vol. 3, no. 7, July 1993. Larsen, Paul, ‘‘I Dreyers væv,’’ in Kosmorama (Copenhagen), vol. 41, no. 212, Summer 1995. Senn, B., ‘‘The Enigma of Vampyr,’’ in Midnight Marquee (Baltimore), no. 49, Summer 1995. *** There is a small handful of films that can only be accepted on their own terms, redefining as they do audience, even formalist expectation. The boundaries between subjective and objective camera, the chronological link inherent in editing, such as cross-cutting, assumptions made in relation to point of view or even a single shot, the logic of straight narrative—all are blurred. That a film made in 1932, especially, creates such an approach, maintained with aesthetic discipline and without a hint of self-indulgence, results in an event. Carl Dreyer was master of such works. Vampyr is one of his finest examples, owing its unusual structure, in part, to the fact that the film was the first he produced independently. The plot has the illusion of simplicity. A young man, David, in one nightmarish evening, stumbles upon a series of unearthly events. The focus is on a young girl whose life is slowly being drained by a vampire, aided by a sinister village doctor. An early image of a reaper with his scythe, silhouetted, graphically establishes the film’s preoccupation: death, its illusiveness, its mystery, its threat. Another scene encapsulates its theme, the idea of innocence in struggle, transformed and transforming back, with the curious sensuality beyond simple lust of the forbidden. Leone, wasting away through the vampire’s continued attacks, observes her sister Gisele, first smiles with real affection, then, as the possession begins to take, with the calculated craving for her, another victim-to-be. Her face contorts, her lips pull back to reveal sharp teeth—then it passes. She falls back, a pitiable, vulnerable girl, bled not only by the monster, but by the impotence of those around her. The scene is pivotal to the languorous rhythm; now the pace sharpens. With David’s nightmare (his point of view), he is enclosed in a coffin, and we, too, learn the terror of helplessly watching our own imprisonment, the lid screwed on tightly over us, the vampire’s face peering in with candlewax dripping on the glass lid, then the stake in her heart (which is dismissed in only five brief shots), the havoc created by her earthly release . . . climax. All has been constructed almost mathematically, yet the result is curiously poetic— Dreyer’s gift. The final retribution—David and Gisele walking together in the sunlight—is kept from cliche with cuts to the doctor’s horrific death, being trapped in the flour mill, the gear wheels jamming, the gasping, the smothering. (The idea was ‘‘borrowed,’’ incidentally, for the Harrison Ford film Witness, more than 50 years later.) All is well, yet the shadowy mist remains. One strength of Vampyr is the unfolding of what Ken Kelman described in Film Culture (Winter 1964) as ‘‘emotional images without adequate reason.’’ The plot provides necessary foundation, but the events wrapped around the discovery are as elusive in logical application as those events in our own dreams. Dreyer has filmed an essential dream structure. There is a touch of Victor Sjöström’s influence here, a director Dreyer has paid homage to. Both the pervading otherworldliness and his use, in his only film, of superimposition, which creates shadows and presences, is reminiscent of Sjöström’s Körkarlen (Phantom Chariot), 1920, a film that affected Dreyer profoundly. Everything here underlines atmosphere; Vampyr is a calculated, sensual nightmare. The air is misted greys and whites (black gauze over the lens), the gait of the characters is a glide, a floating. Night and day are confused. The dialogue is minimal, voices often muffled, odd snatches of conversation are barely understandable, at times, dislocated and difficult to recall—the way it is in dreams. Cries are mingled with an animal’s growl, something disembodied calling, or a strain of music. Photographer Rudolph Mate’s camera has become almost a force on its own, not just a recorder, moving before a character, after a noise. If a sound is heard off-screen, Dreyer allows a moment of suspense before showing its source, so awareness is seemingly predestined. His famed, delicately honed sensibility and his self-critical aesthetic nature paid off in exceptional visual intuition; each shot has the stamp of unusual deliberation, with long, slow pans, even simple reaction shots, and tracking shots. There were no specially built sets—the film was shot in a derelict ice-factory, a deserted chateau, and a plasterworks—and, with two exceptions, no professional actors. The characters are ‘‘ordinary’’ people and could be any of us, which makes the identification with the emotional turmoil that much more effective. The vampire is an