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Abel Gance nel 1924. Abel Gance ( Parigi, 25 ottobre 1889 – Parigi, 10 novembre 1981) è stato un regista, sceneggiatore, attore, montatore e produttore cinematografico francese . I suoi primi modelli furono David Wark Griffith e Thomas H. Ince; riuscì ad oltrepassare i limiti dell' espressionismo cinematografico; venne ...
Abel Gance ( French: [gɑ̃s]; born Abel Eugène Alexandre Péréthon; 25 October 1889 – 10 November 1981) was a French film director, producer, writer and actor. A pioneer in the theory and practice of montage, he is best known for three major silent films: J'accuse (1919), La Roue (1923), and Napoléon (1927).
Biography. Awards. Trivia. IMDbPro. All topics. Abel Gance (1889-1981) Writer. Director. Editor. IMDbPro Starmeter See rank. Born an illegitimate son of a wealthy physician, Abel Flamant, and a working class mother, Francoise Perethon. He was raised by his mother and her boyfriend, who later became her husband, Adolphe Gance.
- January 1, 1
- Paris, France
- January 1, 1
- Paris, France
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29 nov 2023 · Cultura. Film. L'altro Napoleon, un film così grande che influenzò le elezioni. Non si può fare un film normale su Napoleone, sono sempre opere immense, lunghe e titaniche. Nessuna come Napoleon di...
Overview. Born. October 25, 1889 · Paris, France. Died. November 10, 1981 · Paris, France (undisclosed) Mini Bio. Born an illegitimate son of a wealthy physician, Abel Flamant, and a working class mother, Francoise Perethon. He was raised by his mother and her boyfriend, who later became her husband, Adolphe Gance.
- October 25, 1889
- November 10, 1981
13 mag 2024 · November 10, 1981, Paris (aged 92) Notable Works: “Napoléon”. Abel Gance (born October 25, 1889, Paris, France—died November 10, 1981, Paris) was an important director in the post-World War I revival of the French cinema who is best known for extravagant historical spectacles.
22 nov 2023 · Abel Gance’s silent masterpiece Napoleon (1927) exceeds the parameters of virtually every aspect of film culture. In the 1920s, its temporal gigantism horrified producers and its aesthetic invention flustered critics; today, the film’s dimensions pose monumental challenges for restoration and exhibition – let alone evaluation.
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