Georges Sadoul

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Sadoul, Georges


Born Feb. 4, 1904, in Nancy; died Oct. 13, 1967, in Paris. French motion-picture theoretician and critic. A Communist.

Sadoul took part in the Resistance Movement and collaborated on the underground newspaper Les Lettres françaises, for which he continued to work after World War II. His writings also appeared in L’Humanité and elsewhere. Sadoul was a professor at the Institute of Higher Cinematic Studies and the Institute of Filmology. He held the title of doctor of the Institute of Art History of the Academy of Sciences of the USSR, having defended his dissertation there in 1956.

Sadoul was the author of studies on the history of the cinema, including A General History of the Cinema (Russian translation, vols. 1–3, 6, 1958–63) and A History of the Art of Cinema (Russian translation, 1957).


Georges Méliès. Paris, 1961.
Louis Lumière. Paris, 1964.
Dictionnaire des films. Paris, 1965.
Dictionnaire des cinéastes. Paris, 1965.
Zhizn’ Charli, 2nd ed. Moscow, 1965. (Translated from French.)
References in periodicals archive ?
El propio Georges Sadoul estuvo entre los protagonistas; sin embargo, treinta y cinco anos despues declaro que la protesta se dirigia realmente a Antonin Artaud, que habia sido expulsado del grupo por Andre Breton, y no contra la propia Germaine Dulac o la obra como tal, hasta el punto de afirmar que merecia ser reconocida entre las obras clasicas del cine surrealista [1].
La segunda parte del capitulo entra con las "miradas panoramicas, descalificaciones sumarias" que ha recibido nuestro cine colombiano desde la perspectiva historica, con la clasica obra de Georges Sadoul y las reflexiones de Carlos Alvarez en la Historia del cine mundial, desde los origenes hasta nuestros dias--1960-, tema que desmenuza Zuluaga para explicar el canon que se instaura en este momento desde las peliculas que se analizan y se exponen en la practica discursiva que llevan a la invectiva contra ciertas obras que apropiaron otros generos filmicos venidos de la tradicion norteamericana, lo que en conclusion para el autor, significo una prolongada continuacion en la escritura de la historiografia del cine colombiano (p.
En agosto de 1946, Louis Lumiere, ya deteriorado de su salud, concedio una entrevista para television al historiador de cine frances Georges Sadoul, donde cuenta que su hermano Auguste (Besancon, 1862-Lyon, 1954) y el patentaban todo a nombre de los dos:
In November of that same year, France's inveterate Marxist critic, Georges Sadoul, intervened in pages of Cinema Nuovo itself to express his personal opinion on Fellini.
Lebesque, Morvan, Pierre Marcabru, Jacques Rivette, Eric Rohmer and Georges Sadoul. "Debat." Cahiers du Cinema 126 (December 1961), pp.
She makes clear that she is not writing a history of French sf, she does wish to broaden and even overturn some of the commonplaces established in the 1960s by pioneer scholars Pierre Jacques Versins, Jacques Van Herp, and Georges Sadoul which consistently adopt 1928, a date linked to Hugo Gernsback, as the beginning of sf history even in France (this, in spite, of course, of Jules Verne's status as a founding father).
Much as Nazi officials understood the importance of controlling the French film industry within weeks of their arrival in Paris in June 1940, Aubervilliers is a key reference for what Georges Sadoul called "the battle for French film" immediately following the 1944-45 Liberation.
Diamond skillfully highlights the destiny of thousands against the individual experience, drawing upon the diaries of Simone de Beauvoir, Raymond Dorgeles, Georges Sadoul, and others whose narratives are known for judicious reportage.
I also exclude the numerous histories of world cinema by Georges Sadoul, Jean Mitry, Jerzy Toeplitz, Ulrich Gregor, and Enno Patalas, as well as the new editions by Geoffrey Nowell-Smith and Gian Piero Brunetta.
Georges Sadoul explica-nos na sua abordagem do periodo neo-realista italiano da decada de 50, de forma sucinta mas clara, que <<La dolce vita, dont le succes fut prodigieux, montra le 'beau monde' entrai ne dans une danse macabre toujours recommencee, dominee par le sens de l'angoisse contemporaine>> (6).
Sce Georges Sadoul, Le cinema francais (1895-1962) (Paris: Flainmarion.
As individuals, depending on their age they were mobilized either in front-line units (Armand Petitjean, Patrice de La Tour du Pin, Louis Aragon, Paul Nizan, Jean Malaquais, Georges Sadoul), or they were called up for other military duties at various distances from the front line (Marcel Arland, Raymond Queneau, Georges Friedmann, Francis Ponge, and Jean-Paul Sartre).(21) This helped to determine how they reacted to the war and how they responded to it.