The Seashell and the Clergyman (1928)
Fantasy, Drama . 00 h 41 m
Overview
Fantasy, Drama . 00 h 41 m
3/5(1)
Overview
Obsessed with a general's wife, a clergyman has strange visions of death and lust, struggling against his own eroticism.
Release Date
09 February 1928
Languages
No Language,
Produced By
Délia Film,
Directed by : Germaine Dulac
Available on:
Release Date
09 February 1928
Languages
No Language,
Produced By
Délia Film,
Directed by : Germaine Dulac
Available on:
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Available on: Not Streaming yet!
Summary
"The Seashell and the Clergyman - " is french Language Movie.
"The Seashell and the Clergyman" was released on 09 February 1928 .
The movie was directed by Germaine Dulac
It has cast of: Alex Allin as Le clergyman, Genica Athanasiou as La femme du général, Lucien Bataille as Le général in lead roles.
Series Cast
It Crew included: Germaine Dulac as Director(Directing), Antonin Artaud as Writer(Writing), Germaine Dulac as Producer(Production), Paul Guichard as Director of Photography(Camera), Paul Parguel as Director of Photography(Camera), Germaine Dulac as Writer(Writing), in lead roles.
Series Crew
Snap Shot
Status:
ReleasedReleased on:
09 February 1928
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![Dulac’s three 1929 “abstract” films, Disque 957, Αrabesques, and Themes and Variations, were the results of a long period of reflection by the filmmaker, who sought to create a “pure” or “integral” cinema that would capture the essence of the new medium and owe nothing to the other arts. Each of these three studies was designed to be played silent. The first one, Disque 957, is conceived of as a “visual impression […] in listening to Frédéric Chopin’s Preludes n. 5 and 6”. Its title and its opening shot of lightplay on a spinning record not only announce the film’s dominant cyclical motif, but also evoke one of the filmmaker’s major sources of inspiration in Loie Fuller’s serpentine dances. —Avant-Garde Film Festival](https://searchott.com/images/w300/1MzFR35Ap7Kv4G9qfOLP6fMnkUY.jpg "Dulac’s three 1929 “abstract” films, Disque 957, Αrabesques, and Themes and Variations, were the results of a long period of reflection by the filmmaker, who sought to create a “pure” or “integral” cinema that would capture the essence of the new medium and owe nothing to the other arts. Each of these three studies was designed to be played silent. The first one, Disque 957, is conceived of as a “visual impression […] in listening to Frédéric Chopin’s Preludes n. 5 and 6”. Its title and its opening shot of lightplay on a spinning record not only announce the film’s dominant cyclical motif, but also evoke one of the filmmaker’s major sources of inspiration in Loie Fuller’s serpentine dances. —Avant-Garde Film Festival")
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