Pasteur (CM) ; les Vendanges (CM, 1922) ; l'Auberge rouge (1923) ; Cœur fidèle (id.) ; la Montagne infidèle (CM, id.) ; la Belle Nivernaise (1924) ; le Lion des Mogols (1925) ; l'Affiche (id.) ; le Double Amour (id.) ; les Aventures de Robert Macaire (id.) ; Mauprat (1926) ; Six et demi onze (1927) ; la Glace à trois faces (id.) ; la Chute de la maison Usher (1928) ; Finis Terrae, Sa tête (CM, 1929) ; le Pas de la mule (CM, 1930) ; Mor Vran (CM, 1931) ; l'Or des mers (1933) ; l'Homme à l'Hispano (id.) ; la Châtelaine du Liban (1934) ; Chanson d'Armor (CM, id.) ; Cœur de gueux (1936) ; la Bretagne (CM, id.) ; Vive la vie (CM, 1937) ; la Femme du bout du monde (1938) ; les Bâtisseurs (CM, id.) ; le Tempestaire (CM, 1947) ; les Feux de la mer (CM, 1948).
EPSTEIN (Julius J.)
scénariste et producteur américain (New York, N. Y., 1909 - Los Angeles, Ca., 2000).
Cet homme de radio est devenu, avec son frère et collaborateur Phillip G., une des « bases » scénaristiques de la Warner Bros. Il incarne un professionnalisme solide. Ses scénarios sont toujours solidement charpentés et justement dialogués. C'est peut-être sans surprises, mais en ce cas le métier compense aisément l'invention. Il fut associé à des phénomènes aussi divers que Kay Francis (Sur le velours, F. Borzage, 1935 ; Confession, J. May, 1937), les sœurs Lane (Rêves de jeunesse, 1938 ; Filles courageuses, 1939 ; tous deux de Michael Curtiz), Humphrey Bogart (Casablanca, Curtiz, 1943), Bette Davis (Femme aimée est toujours jolie, V. Sherman, 1944) ou James Cagney (The Strawberry Blonde, R. Walsh, 1941 ; la Parade de la gloire, Curtiz, 1942), toujours avec un égal succès. Il a également produit, après une absence de vingt ans, Peter et Tillie (M. Ritt, 1972), qui bénéficie de son écriture acide et sèche.
EPSTEIN (Marie-Antonine)
scénariste et cinéaste française (Varsovie 1899 - Paris 1995).
Son nom est tout d'abord associé à celui de Jean Epstein, son frère, auprès de qui elle est assistante-réalisatrice (l'Affiche, 1924), mais aussi scénariste ou co-scénariste : Cœur fidèle (1923), le Double amour (1925) et Six et demi, onze (1927). Elle collabore ensuite avec Jean Benoît-Levy de 1928 à 1939, comme assistante, scénariste, coscénariste et coréalisatrice : Il était une fois trois amis, film d'éducation sanitaire (1928), Peau de pêche (1928), un film longtemps méconnu au ton relativement moderne, Maternité (1929), la Maternelle (1933), Hélène (1936), la Mort du cygne (1937) sur une chorégraphie de Serge Lifar. En 1953, elle devient une des collaboratrices d'Henri Langlois à la Cinémathèque française.
ÉQUALISEUR (d'après l'anglais equalisor).
Franglais pour égaliseur.
ÉQUATEUR.
Les premières projections publiques connues ont lieu à Guayaquil en 1901. Dès 1906, on projette à Quito La procesíon del corpus en Guayaquil, un documentaire. El tesoro de Atahualpa (Augusto San Miguel, 1924) est considéré comme le premier film de fiction. Une activité cinématographique encore balbutiante s'écroule lors de l'avènement du sonore. Le premier film parlant (Se conocieron en Guayaquil, de Francisco Villar) n'est tourné qu'en 1950, sans connaître de suite appréciable. Le changement de climat favorisé par le « boom » pétrolier, la création d'un département de cinéma à l'Université centrale, à Quito, le surgissement de groupes et de cinéastes plus ou moins militants et l'organisation d'un concours à la télévision (1977) stimulent une petite production de courts métrages qui s'écartent de la simple exploitation du folklore, au profit du constat social : Hieleros del Chimborazo (Gustavo Guayasamin, 1980) est remarqué dans certains festivals. C'est en Équateur que le réalisateur bolivien Sanjinés, exilé, filme ¡ Fuera de aquí ! (1977). L'Argentin Jorge Preloŕan y filme également Mi tía Nora (1983). Le documentaire favorise l'expression de Mónica Vázquez (Madre Tierra, 1983 ; Tiempo de mujeres, 1987). Camilo Luzuriaga arrive à mettre en scène les longs métrages de fiction La tigra (1990) et Entre Marx y una mujer desnuda (1996, d'après Jorge Enrique Adoum), tandis que Sebastián Cordero obtient un large succès avec Ratas, ratones, rateros (1999).
ÉQUILIBRE.
Film équilibré pour une température de couleur donnée, film en couleurs dont les sensibilités respectives des diverses couches sensibles sont conçues en vue d'une restitution correcte des couleurs lorsque la scène est éclairée par une lumière de cette température de couleur. ( TEMPÉRATURE DE COULEUR, FILTRES.)
ÉQUIPE.
Seconde équipe, équipe de tournage légère, chargée de filmer les plans qui ne nécessitent pas la présence du réalisateur et de l'équipe complète. ( GÉNÉRIQUE.)
ERDŐSS (Pál)
cinéaste hongrois (Budapest, 1947).
Il travaille avec Ferenc Kardos, Lívia Gyarmathy, Istvàn Dárday et Laszlo Vitéry puis à la Télévision avant d'aborder dans le cadre du Studio Béla Balázs le documentaire avec ’ Quelque chose de différent ’(Valami màs). Il tourne une trentaine de courts métrages avant de réaliser son premier long métrage de fiction la Princesse (Adj király katonát !, 1982) qui remporte la Caméra d'or au Festival de Cannes. Traités comme des reportages, avec une caméra très mobile et une approche sociologique des personnages concernés, les films suivants d'Erdöss : ‘ Compte à rebours ’ (Visszaszámlálás, 1985), Tolérance (Gondviselés, 1986), les Araignées (Pókok, 1989), le Prix de la survie (A túlélés ára, 1990), Histoire photosensible (Fényérzékeny történet, 1993), Ligne de sang (Vérvonal, id.), Die Drei aus der Haferstrasse, 1994), Aperçue pour la dernière fois avec une jupe bleue (Gyilkos kedv, 1996) confirment l'originalité de la démarche du cinéaste.
ERICE (Víctor)
cinéaste espagnol (Carranza, Biscaye, 1940).
Il fut longtemps l'auteur d'un seul long métrage, l'Esprit de la ruche (El espíritu de la colmena, 1972), une des belles réussites du cinéma espagnol. Erice y aborde avec pudeur et sensibilité le mystère et l'imaginaire qui hantent une enfant, interprétée par la petite Ana Torrent. Film d'atmosphère, inquiétant et suggestif sans alibis psychologiques, c'est une œuvre maîtrisée, dont l'originalité dépasse le seul cadre hispanique. C'est une fois tous les dix ans seulement qu'Erice consent à lâcher prise, à passer un compromis avec son producteur (Querejeta, dans les deux premiers cas), à céder un petit peu par rapport à un perfectionnisme absolu. Le Sud (El Sur, 1982) revient encore sur les rapports d'une fille avec un père mystérieux, si ce n'est absent, et sur l'âge des souvenirs. Il utilise aussi le film dans le film en guise de révélateur, mais avec pour référence mythique une Andalousie, doucement ensoleillée, qui contraste avec l'ascétique Castille de l'Esprit de la ruche et avec le nord de l'Espagne, familier à Erice, et dans lequel il situe son nouveau film. Il s'agit d'un coup de maître dont l'éclairage justement reste en mémoire jusqu'à le Songe de la lumière (El sol del membrillo, 1992), documentaire sur le peintre Antonio López devenu réflexion sur la création et la mort. Rarement le cinéma espagnol est aussi universel, aussi bouleversant, qu'avec les films de Víctor Erice. Solitaire en marge des modes et des tendances, Erice ne semble guidé que par un modèle intérieur.
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