Système universitaire de documentation
The système universitaire de documentation or SUDOC is a system used by the libraries of French universities and higher education establishments to identify and manage the documents in their possession. The catalog, which contains more than 10 million references, allows students and researcher to search for bibliographical and location information in over 3,400 documentation centers, it is maintained by the Bibliographic Agency for Higher Education. Official website
Napoléon Bonaparte was a French statesman and military leader who rose to prominence during the French Revolution and led several successful campaigns during the French Revolutionary Wars. He was Emperor of the French as Napoleon I from 1804 until 1814 and again in 1815 during the Hundred Days. Napoleon dominated European and global affairs for more than a decade while leading France against a series of coalitions in the Napoleonic Wars, he won most of these wars and the vast majority of his battles, building a large empire that ruled over much of continental Europe before its final collapse in 1815. He is considered one of the greatest commanders in history, his wars and campaigns are studied at military schools worldwide. Napoleon's political and cultural legacy has endured as one of the most celebrated and controversial leaders in human history, he was born in Corsica to a modest family of Italian origin from minor nobility. He was serving as an artillery officer in the French army when the French Revolution erupted in 1789.
He rose through the ranks of the military, seizing the new opportunities presented by the Revolution and becoming a general at age 24. The French Directory gave him command of the Army of Italy after he suppressed a revolt against the government from royalist insurgents. At age 26, he began his first military campaign against the Austrians and the Italian monarchs aligned with the Habsburgs—winning every battle, conquering the Italian Peninsula in a year while establishing "sister republics" with local support, becoming a war hero in France. In 1798, he led a military expedition to Egypt, he became First Consul of the Republic. Napoleon's ambition and public approval inspired him to go further, he became the first Emperor of the French in 1804. Intractable differences with the British meant that the French were facing a Third Coalition by 1805. Napoleon shattered this coalition with decisive victories in the Ulm Campaign and a historic triumph over the Russian Empire and Austrian Empire at the Battle of Austerlitz which led to the dissolution of the Holy Roman Empire.
In 1806, the Fourth Coalition took up arms against him because Prussia became worried about growing French influence on the continent. Napoleon defeated Prussia at the battles of Jena and Auerstedt marched his Grande Armée deep into Eastern Europe and annihilated the Russians in June 1807 at the Battle of Friedland. France forced the defeated nations of the Fourth Coalition to sign the Treaties of Tilsit in July 1807, bringing an uneasy peace to the continent. Tilsit signified the high-water mark of the French Empire. In 1809, the Austrians and the British challenged the French again during the War of the Fifth Coalition, but Napoleon solidified his grip over Europe after triumphing at the Battle of Wagram in July. Napoleon invaded the Iberian Peninsula, hoping to extend the Continental System and choke off British trade with the European mainland, declared his brother Joseph Bonaparte the King of Spain in 1808; the Spanish and the Portuguese revolted with British support. The Peninsular War lasted six years, featured extensive guerrilla warfare, ended in victory for the Allies against Napoleon.
The Continental System caused recurring diplomatic conflicts between France and its client states Russia. The Russians were unwilling to bear the economic consequences of reduced trade and violated the Continental System, enticing Napoleon into another war; the French launched a major invasion of Russia in the summer of 1812. The campaign did not yield the decisive victory Napoleon wanted, it resulted in the collapse of the Grande Armée and inspired a renewed push against Napoleon by his enemies. In 1813, Prussia and Austria joined Russian forces in the War of the Sixth Coalition against France. A lengthy military campaign culminated in a large Allied army defeating Napoleon at the Battle of Leipzig in October 1813, but his tactical victory at the minor Battle of Hanau allowed retreat onto French soil; the Allies invaded France and captured Paris in the spring of 1814, forcing Napoleon to abdicate in April. He was exiled to the island of Elba off the coast of Tuscany, the Bourbon dynasty was restored to power.
Napoleon took control of France once again. The Allies responded by forming a Seventh Coalition which defeated him at the Battle of Waterloo in June; the British exiled him to the remote island of Saint Helena in the South Atlantic, where he died six years at the age of 51. Napoleon's influence on the modern world brought liberal reforms to the numerous territories that he conquered and controlled, such as the Low Countries and large parts of modern Italy and Germany, he implemented fundamental liberal policies throughout Western Europe. His Napoleonic Code has influenced the legal systems of more than 70 nations around the world. British historian Andrew Roberts states: "The ideas that underpin our modern world—meritocracy, equality before the law, property rights, religious toleration, modern secular education, sound finances, so on—were championed, consolidated and geographically extended by Napoleon. To them he added a rational and efficient local administration, an end to rural banditry, the encouragement of science and the arts, the abolition of feudalism and the greatest codification of laws since the fall of the Roman Empire".
The ancestors of Napoleon descended from minor Italian nobility of Tuscan origin who had come to Corsica fr
A novelist is an author or writer of novels, though novelists write in other genres of both fiction and non-fiction. Some novelists are professional novelists, thus make a living writing novels and other fiction, while others aspire to support themselves in this way or write as an avocation. Most novelists struggle to get their debut novel published, but once published they continue to be published, although few become literary celebrities, thus gaining prestige or a considerable income from their work. Novelists come from a variety of backgrounds and social classes, this shapes the content of their works. Public reception of a novelist's work, the literary criticism commenting on it, the novelists' incorporation of their own experiences into works and characters can lead to the author's personal life and identity being associated with a novel's fictional content. For this reason, the environment within which a novelist works and the reception of their novels by both the public and publishers can be influenced by their demographics or identity.
Some novelists have creative identities derived from their focus on different genres of fiction, such as crime, romance or historical novels. While many novelists compose fiction to satisfy personal desires and commentators ascribe a particular social responsibility or role to novel writers. Many authors use such moral imperatives to justify different approaches to novel writing, including activism or different approaches to representing reality "truthfully". Novelist is a term derivative from the term "novel" describing the "writer of novels"; the Oxford English Dictionary recognizes other definitions of novelist, first appearing in the 16th and 17th centuries to refer to either "An innovator. However, the OED attributes the primary contemporary meaning of "a writer of novels" as first appearing in the 1633 book "East-India Colation" by C. Farewell citing the passage "It beeing a pleasant observation to note the order of their Coaches and Carriages.. As if it had bin the spoyles of a Tryumph leading Captive, or a preparation to some sad Execution" According to the Google Ngrams, the term novelist first appears in the Google Books database in 1521.
The difference between professional and amateur novelists is the author's ability to publish. Many people take up novel writing as a hobby, but the difficulties of completing large scale fictional works of quality prevent the completion of novels. Once authors have completed a novel, they will try to get it published; the publishing industry requires novels to have accessible profitable markets, thus many novelists will self-publish to circumvent the editorial control of publishers. Self-publishing has long been an option for writers, with vanity presses printing bound books for a fee paid by the writer. In these settings, unlike the more traditional publishing industry, activities reserved for a publishing house, like the distribution and promotion of the book, become the author's responsibility; the rise of the Internet and electronic books has made self publishing far less expensive and a realistic way for authors to realize income. Novelists apply a number of different methods to writing their novels, relying on a variety of approaches to inspire creativity.
Some communities encourage amateurs to practice writing novels to develop these unique practices, that vary from author to author. For example, the internet-based group, National Novel Writing Month, encourages people to write 50,000-word novels in the month of November, to give novelists practice completing such works. In the 2010 event, over 200,000 people took part – writing a total of over 2.8 billion words. Novelists don't publish their first novels until in life. However, many novelists begin writing at a young age. For example, Iain Banks began writing at eleven, at sixteen completed his first novel, "The Hungarian Lift-Jet", about international arms dealers, "in pencil in a larger-than-foolscap log book". However, he was thirty before he published his first novel, the controversial The Wasp Factory in 1984; the success of this novel enabled Banks to become a full-time novelist. An important writers' juvenilia if not published, is prized by scholars because it provides insight into an author's biography and approach to writing.
Novelists publish as early as their teens. For example, Patrick O'Brian published his first novel, Caesar: The Life Story of a Panda-Leopard, at the age of 15, which brought him considerable critical attention. Barbara Newhall Follett's The House Without Windows, was accepted and published in 1927 when she was 13 by the Knopf publishing house and earned critical acclaim from the New York Times, the Saturday Review, H. L. Mencken; these works will achieve popular success as well. For example, though Christopher Paolini's Eragon, was not a great critical success, but its popularity among readers placed it on the New York Times Children's Books Best Seller list for 121 weeks. First-time novelists of any age find themselves unable to get works published, because of a number of reasons reflecting the inexperience of the author and the economic realities of publishers. Authors mus
A silent film is a film with no synchronized recorded sound. In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines; the idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or in large cities, a small orchestra—would play music to accompany the films. Pianists and organists would play either from improvisation; the term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, the industry had moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue and sound effects.
Most early motion pictures are considered lost because the nitrate film used in that era was unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video, it has been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data. The earliest precursors to film began with image projection through the use of a device known as the magic lantern, which utilized a glass lens, a shutter, a persistent light source to project images from glass slides onto a wall; these slides were hand-painted, after the advent of photography in the 19th century, still photographs were sometimes used. Thus the invention of a practical photography apparatus preceded cinema by only fifty years; the next significant step toward the invention of cinema was the development of an understanding of image movement. Simulations of movement date as far back as to 1828—only four years after Paul Roget discovered the phenomenon he called "Persistence of Vision."
Roget showed that when a series of still images is shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement. This is an optical illusion, since the image is not moving; this experience was further demonstrated through Roget's introduction of the thaumatrope, a device that spun at a high speed a disk with an image on its surface. The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, means of projecting the developed images on a screen." The first projected proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop; the oldest surviving film was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, titled Roundhay Garden Scene.
The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, his Kinetoscope, a device for viewing those images, allowed for the creation and exhibition of short films. Edison made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production. Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. In France, for example and Louis Lumière created the Cinématographe, which proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor, projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people, their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture. The invention of celluloid film, strong and flexible facilitated the making of motion pictures.
This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph; the art of motion pictures grew into full maturity in the "silent era". The height of the silent era was a fruitful period, full of artistic innovation; the film movements of Classical Hollywood as well as French Impressionism, German Expressionism, Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era; the silent era was a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s; some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors and production staff adapted to the new "talkies" around the late 1930s.
Epic films are a style of filmmaking with large scale, sweeping scope, spectacle. The usage of the term has shifted over time, sometimes designating a film genre and at other times synonymous with big-budget filmmaking. Like epics in the classical literary sense it is focused on a heroic character. An epic's ambitious nature helps to set it apart from other types of film such as the period piece or adventure film. Epic historical films would take a historical or a mythical event and add an extravagant setting and lavish costumes, accompanied by an expansive musical score with an ensemble cast, which would make them among the most expensive of films to produce; the most common subjects of epic films are royalty, important figures from various periods in world history. The term "epic" came from the poetic genre exemplified by such works as the Iliad, Epic of Gilgamesh, or the Odyssey. In classical literature, epics are considered works focused on deeds or journeys of heroes upon which the fate of a large number of people depend.
Films described as "epic" take a historical character, or a mythic heroic figure. Common subjects of epics are royalty, great military leaders, or leading personalities from various periods in world history. However, there are some films described as "epic" solely on the basis of their enormous scope and the sweeping panorama of their settings such as How the West Was Won or East of Eden that do not have the typical substance of classical epics but are directed in an epic style; when described as "epic" because of content, an epic movie is set during a time of war or other societal crisis, while covering a longer span of time sometimes throughout entire generations coming and passing away, in terms of both the events depicted and the running time of the film. Such films have a historical setting, although fantasy or science fiction settings have become common in recent decades; the central conflict of the film is seen as having far-reaching effects changing the course of history. The main characters' actions are central to the resolution of the societal conflict.
In its classification of films by genre, the American Film Institute limits the genre to historical films such as Ben-Hur. However, film scholars such as Constantine Santas are willing to extend the label to science-fiction films such as 2001: A Space Odyssey and Star Wars. Lynn Ramey suggests that "Surely one of the hardest film genres to define is that of the "epic" film, encompassing such examples as Ben-Hur, Gone with the Wind....and more 300 and the Star Wars films...none of these comes from literary epics per se, there is little that links them with one another. Among those who espouse film genre studies, epic is one of the most despised and ignored genres" Finally, although the American Movie Channel formally defines epic films as historical films, they nonetheless state the epic film may be combined with the genre of science-fiction and cite Star Wars as an example. Stylistically, films classed as epic employ spectacular settings and specially designed costumes accompanied by a sweeping musical score, an ensemble cast of bankable stars.
Epics are among the most expensive of films to produce. They use on-location filming, authentic period costumes, action scenes on a massive scale. Biographical films may be less lavish versions of this genre. Many writers may refer to any film, "long" as an epic, making the definition epic a matter of dispute, raise questions as to whether it is a "genre" at all; as Roger Ebert put it, in his "Great Movies" article on Lawrence of Arabia: The word epic in recent years has become synonymous with big budget B picture. What you realize watching Lawrence of Arabia is that the word epic refers not to the cost or the elaborate production, but to the size of the ideas and vision. Werner Herzog's Aguirre: The Wrath of God didn't cost as much as the catering in Pearl Harbor, but it is an epic, Pearl Harbor is not; the comedy film Monty Python and the Holy Grail had the joking tagline "Makes Ben-Hur look like an epic." The epic is among the oldest of film genres, with one early notable example being Giovanni Pastrone's Cabiria, a three-hour silent film, about the Punic Wars, that laid the groundwork for the subsequent silent epics of D. W. Griffith.
The genre reached a peak of popularity in the early 1960s, when Hollywood collaborated with foreign film studios to use exotic locations in Spain and elsewhere for the production of epic films such as El Cid or Lawrence of Arabia. This boom period of international co-productions is considered to have ended with Cleopatra, The Fall of the Roman Empire, Doctor Zhivago. Films in this genre continued to appear, with one notable example including War and Peace, released in the former Soviet Union during 1967-1968 and, directed by Sergei Bondarchuk, said to be the most expensive film made. In the 1980s Reds revived the epic genre after getting 12 Academy Award nominations. Epic films continue to be produced, although since the development of CGI they use computer effects instead of an actual cast of thousands. Since the 1950s, such films have been shot with a wide aspect ratio for a more immersive and panoramic theatrical experience. Epic films were recognized in a montage at the 2006 Academy Awards.
The enduring popularity of the epic is accredited to their ability to appeal to a wide audience. Many of the highest-grossing films of all-time have been epics; the 1997 film Titanic, cited as helping to revive the genre, grossed $658 million domestic
An actor is a person who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film and television; the analogous Greek term is ὑποκριτής "one who answers". The actor's interpretation of their role—the art of acting—pertains to the role played, whether based on a real person or fictional character. Interpretation occurs when the actor is "playing themselves", as in some forms of experimental performance art. In ancient Greece and Rome, the medieval world, the time of William Shakespeare, only men could become actors, women's roles were played by men or boys. After the English Restoration of 1660, women began to appear on stage in England. In modern times in pantomime and some operas, women play the roles of boys or young men. After 1660 in England, when women first started to appear on stage, the terms actor or actress were used interchangeably for female performers, but influenced by the French actrice, actress became the used term for women in theater and film.
The etymology is a simple derivation from actor with -ess added. When referring to groups of performers of both sexes, actors is preferred. Actor is used before the full name of a performer as a gender-specific term. Within the profession, the re-adoption of the neutral term dates to the post-war period of the 1950 and'60s, when the contributions of women to cultural life in general were being reviewed; when The Observer and The Guardian published their new joint style guide in 2010, it stated "Use for both male and female actors. The guide's authors stated that "actress comes into the same category as authoress, manageress,'lady doctor','male nurse' and similar obsolete terms that date from a time when professions were the preserve of one sex.". "As Whoopi Goldberg put it in an interview with the paper:'An actress can only play a woman. I'm an actor – I can play anything.'" The UK performers' union Equity has no policy on the use of "actor" or "actress". An Equity spokesperson said that the union does not believe that there is a consensus on the matter and stated that the "...subject divides the profession".
In 2009, the Los Angeles Times stated that "Actress" remains the common term used in major acting awards given to female recipients. With regard to the cinema of the United States, the gender-neutral term "player" was common in film in the silent film era and the early days of the Motion Picture Production Code, but in the 2000s in a film context, it is deemed archaic. However, "player" remains in use in the theatre incorporated into the name of a theatre group or company, such as the American Players, the East West Players, etc. Actors in improvisational theatre may be referred to as "players". In 2015, Forbes reported that "...just 21 of the 100 top-grossing films of 2014 featured a female lead or co-lead, while only 28.1% of characters in 100 top-grossing films were female...". "In the U. S. there is an "industry-wide in salaries of all scales. On average, white women get paid 78 cents to every dollar a white man makes, while Hispanic women earn 56 cents to a white male's dollar, Black women 64 cents and Native American women just 59 cents to that."
Forbes' analysis of US acting salaries in 2013 determined that the "...men on Forbes' list of top-paid actors for that year made 21/2 times as much money as the top-paid actresses. That means that Hollywood's best-compensated actresses made just 40 cents for every dollar that the best-compensated men made." The first recorded case of a performing actor occurred in 534 BC when the Greek performer Thespis stepped onto the stage at the Theatre Dionysus to become the first known person to speak words as a character in a play or story. Prior to Thespis' act, Grecian stories were only expressed in song, in third person narrative. In honor of Thespis, actors are called Thespians; the male actors in the theatre of ancient Greece performed in three types of drama: tragedy and the satyr play. Western theatre developed and expanded under the Romans; the theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, acrobatics, to the staging of situation comedies, to high-style, verbally elaborate tragedies.
As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Byzantine Empire. Records show that mime, scenes or recitations from tragedies and comedies and other entertainments were popular. From the 5th century, Western Europe was plunged into a period of general disorder. Small nomadic bands of actors traveled around Europe throughout the period, performing wherever they could find an audience. Traditionally, actors were not of high status. Early Middle Ages actors were denounced by the Church during the Dark Ages, as they were viewed as dangerous and pagan. In many parts of Europe, traditional beliefs of the region and time period meant actors could not receive a Christian burial. In the Early Middle Ages, churches in Europe began staging dramatized versions of biblical events. By the middle of the 11th century, liturgical drama had spread from Russia to Scandinavia
Abel Gance was a French film director and producer and actor. A pioneer in the theory and practice of montage, he is best known for three major silent films: J'accuse, La Roue, the monumental Napoléon. Born in Paris in 1889, Abel Gance was the illegitimate son of a prosperous doctor, Abel Flamant, a working class mother, Françoise Péréthon. Taking his mother's name, he was brought up until the age of eight by his maternal grandparents in the coal mining town of Commentry in central France, he returned to Paris to rejoin his mother who had by married Adolphe Gance, a chauffeur and mechanic, whose name Abel adopted. Although he fabricated the history of a brilliant school career and middle-class background, Gance left school at the age of 14, the love of literature and art which sustained him throughout his life was in part the result of self-education, he started working as a clerk in a solicitor's office, but after a couple of years he turned to acting in the theatre. When he was 18, he was given a season's contract at the Théâtre Royal du Parc in Brussels, where he developed friendships with the actor Victor Francen and the writer Blaise Cendrars.
While in Brussels, Gance wrote his first film scenarios. Back in Paris in 1909, he acted in Perret's Molière. At that stage he regarded the cinema as "infantile and stupid" and was only drawn into film jobs by his poverty, but he continued to write scenarios, sold them to Gaumont. During this period he was diagnosed with tuberculosis fatal at that time, but after a period of retreat in Vittel he recovered. With some friends he established a production company, Le Film Français, began directing his own films in 1911 with La Digue, a historical film which featured the first screen appearance of Pierre Renoir. Gance tried to maintain a connection with the theatre and he finished writing a monumental tragedy entitled Victoire de Samothrace, in which he hoped that Sarah Bernhardt would star, its five-hour length, Gance's refusal to cut it, proved to be a stumbling block. With the outbreak of World War I, Gance was rejected by the army on medical grounds and in 1915 he started writing and directing for a new film company, Film d'Art.
He soon caused controversy with La Folie du docteur Tube, a comic fantasy in which he and his cameraman Léonce-Henri Burel created some arresting visual effects with distorting mirrors. The producers were refused to show the film. Gance continued working for Film d'Art until 1918, making over a dozen commercially successful films, his experiments included tracking shots, extreme close-ups, low-angle shots, split-screen images. His subjects moved away from simple action films towards psychological melodramas, such as Mater dolorosa starring Emmy Lynn as a neglected wife who has an affair with her husband's brother; the film was a great commercial success, it was followed by La Dixième Symphonie, another marital drama featuring Emmy Lynn. Here Gance's mastery of lighting and editing was accompanied by a range of literary and artistic references which some critics found pretentious and alienating. In 1917, Gance was drafted into the army, in its Service Cinématographique, an episode which proved futile and short-lived, but it deepened his preoccupation with the impact of the war and the depression, caused by the deaths of many of his friends.
When he parted company with Film d'Art over a shortage of funds, Charles Pathé stepped in to underwrite his next film, J'accuse, in which Gance confronted the waste and suffering which the war had brought. He re-enlisted in the Service Cinématographique in order to be able to film some scenes on a real battlefield at the front; the film went on to have international distribution. In 1920, Gance developed his next project, La Roue, while recuperating in Nice from Spanish flu, its progress was affected by the knowledge that his companion Ida Danis was dying of tuberculosis. Gance brought an unprecedented level of energy and imagination to the technical realisation of his story, set firstly against the dark and grimy background of locomotives and railway yards, among the snow-covered landscapes of the Alps, he employed elaborate editing techniques and innovative use of rapid cutting which made the film influential among other contemporary directors. The finished film was in 32 reels and ran for nearly nine hours, but it was subsequently edited down for distribution and it is these shorter versions which have survived.
In 1921, Gance visited America to promote J'accuse. During his five-month stay he met D. W. Griffith, he was offered a contract with MGM to work in Hollywood, but he turned it down. After a brief change of pace for Au Secours!, a comic film with Max Linder, Gance embarked on his greatest project, a six-part life of Napoléon. Only the first part was completed, tracing Bonaparte's early life, through the Revolution, up to the invasion of Italy, but this occupied a vast canvas with meticulously recreated historical scenes and scores of characters; the film was full of experimental techniques, combining rapid cutting, hand-held cameras, superimposition of images, and, in wide-screen sequences, shot using a system he called Polyvision needing triple cameras, achieved a spectacular panoramic effect, including a finale in which the outer two film panels were tinted blue and red, creating a wi