Laberdesque (2 results)
Pyrénées N° 208 spécial ".Et les montagnardes sont là !" , octobre décembre 2001 : Hélène Saule-Sorbé, figure de proue du renouveau pyrénéiste / Les Cabellud et les Sayo à Vénasque / L'église de Sainte Engrace / Leni Riefensthal, vivre cent ans cinq vies
Lanne / Marsan / Berger-Verdenal / de Puyjalun / d'Espouy / Laberdesque / Loyer / Rizzo / Brierre / Saint-Lèbe / Cabidoche / Ribas / Labrère / Laborde-Balen
Language: French
Published by Imprimerie Marrimpouey Jeune, Pau, 2001
- Softcover
- Periodical
Seller: Pare Yannick, Floirac, FrancePare Yannick
Contact seller5-star sellerCondition: Used - Near fine
US$ 11.78
US$ 60.06 shippingShips from France to U.S.A.Quantity: 1 available
Broché. Condition: Bon. Imp. Marrimpouey Jeune. 2001, 127 pages. Volume broché. Format : 15,5 x 23. BE intérieur. BE extérieur.
More imagesL'Age d'Or (Small archive of five original French pamphlets, flyers and broadsides for 1931-1932 screenings of the 1930 film)
Luis Buñuel (director, screenwriter); Salvador Dalí (screenwriter); Marquis de Sade (novel); Gaston Modot, Lya Lys, Caridad de Laberdesque, Max Ernst (starring)
Published by N.p., N.p., 1932
- Manuscript
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.Royal Books, Inc., ABAA
Contact seller5-star sellerA small archive of five vintage French pamphlets, flyers and broadsides announcing 1931 and 1932 screenings of the banned 1930 surrealist film. All items are housed loose in a custom bound volume, with a "L'Affaire de L'Age d'Or" label on the spine, with each item laid in on separate leaves overlaid with heavy protective tissue,… housed in a custom slipcase. Rare. The archive includes: "L'Affaire de 'L'Age d'Or'" bi-fold pamphlet, printed on rectos and versos, with a satin-finish photo illustrated insert, also printed on the recto and verso, published by Nancy Cunard on the occasion of her January, 1931 private screening of the film in London. The bi-fold includes the essay "Exposé des Faits" ("Statement of Facts"), describing the film's initial riotous reception, "Extraits du Programme" ("Excerpts from the Program"), a "Questionnaire" regarding political and legal actions taken in response to the film, and an extensive "Extraits de la Presse" ("Excerpts from the Press"), followed the names of signatories Maxime Alexandre, Aragon, André Breton, René Char, René Crevel, Salvador Dali, Paul Eluard, Georges Malkine, Benjamin Péret, Man Ray, Georges Sadoul, Yves Tanguy, André Thirion, Tristan Tzara, Pierre Unik, and Albert Valentin. Two satin-finish variants of a flyer, printed on rectos only, for a screening of the film on April 27, 1932 by Les Spectateurs de l'Avant-Garde, at La Bellevilloise, a workers' cooperative theatre, with each flyer featuring a different image from the film. A second screening was later added on April 30, not noted on the flyers. The screenings were decidedly low-key private events, with Buñuel insisting "No protests." French director Jean Vigo was reportedly among the participants of the screenings. And two items relating to a screening presented by Le Club de L'Ecran at Cine-Casino in Belgium on May 10, 1932: A 4 x 5.5 inch announcement for the screening, printed on the recto only, noting the film as being presented by P.G. van Hecke (Paul-Gustave Van Hecke), followed by seating and ticket prices, purchase locations, and Club de L'Ecran membership prices. A large newsprint broadside, printed on the recto and the verso, for Le Club de L'Ecran, announcing the May 10th screening, with articles on the recto regarding the film club's activities and an excerpt from the Surrealist manifesto published upon the film's premiere, with the verso dedicated entirely to numerous texts and articles on "L'Age d'Or," featuring two images from the film and a portrait of Buñuel. A key and archetypal work of Surrealist cinema alongside "Un Chien Andalou" (1929), also written by Buñuel and Dali and directed by Buñuel, featuring a series of absurdist vignettes scathingly and sardonically rebuking the sexual hypocrisy of bourgeois society, the Catholic Church, and 20th century European society in general. The violence the uproar "L'Age d'Or" created remains as shocking as the film itself: days into the first screenings at Studio 28, on December 3, 1930, the theatre was stormed by fascist youths, enraged at the film's perceived anti-patriotic and anti-Christian message. Demonstrators threw ink at the screen, shouted anti-Semitic death threats, smashed the theatre windows, and completely destroyed an exhibition of surrealist books and art in the foyer. In response, the Board of Censors re-reviewed the film, and on December 10, the film was banned from further public showings in France. The film's producers subsequently withdrew "L'Age d'or" from commercial distribution and public exhibition for more than 40 years (although three years later, in 1933, the film was privately exhibited at the Museum of Modern Art in New York). "L'Affaire de 'L'Age d'Or':" Bi-fold, 7.5 x 10.5 inches. About Near Fine, with a Very Good plus 7.5 x 10 inch insert, with both items previously folded horizontally. Two Les Spectateurs, April 27 Flyers: 8.25 x 10.5 inches. One Near Fine. One Very Good plus, with light creasing, faint toning, and a .25 inch closed tear to the top edge. Le Club de L'Ecran Announcement: 4 x 5.5 inches. Near Fine. Le Club de L'Ecran Broadside: 14.25 x 21.75 inches, folded, as issued. About Near Fine, with an additional lightly toned horizontal fold. Housed in a 9.25 x 12 inch custom bound Near Fine volume, with a 9.5 x 12.25 inch Near Fine slipcase. BFI. Rosenbaum 1000. Vogel, Film as a Subversive Art.
