Abstracts
Abstract
Discussing Nino Oxilia’s film Satanic Rhapsody (Rapsodia Satanica, 1915) starring Lyda Borelli, the author examines the influence of Bergsonism on the perception of cinema right before and during World War I. In particular, she points out the intersection between the film and, among other references, the tradition of the early Italian diva film, the plastic dynamism of Futurist painter Umberto Boccioni, the dance/performance art of Loïe Fuller, and the emerging figure of the New Woman.
Résumé
Analysant Rapsodie satanique (Rapsodia Satanica, 1915), film de Nino Oxilia donnant la vedette à Lyda Borelli, l’auteure du présent article met en lumière l’effet du bergsonisme sur la perception qu’on avait du cinéma juste avant et pendant la Première Guerre mondiale. Parmi les nombreuses sources d’inspiration d’Oxilia, elle souligne plus particulièrement l’influence de la tradition des films de divas du cinéma italien naissant, du dynamisme plastique du peintre futuriste Umberto Boccioni, des chorégraphies et performances de Loïe Fuller, ainsi que celle de la figure émergeante de la Femme Nouvelle.
Appendices
Bibliographical references
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