Keywords
movie theaters
facades
interior architecture
eclecticism
architectural models
How to Cite
Abstract
This article examines, through the study of the Parisian case, the idea according to which the exoticism would have marked an important phase of the cinema architecture during the interwar period. The aim is to highlight the reasons and the scope of this trend by analyzing the history of the architects and sponsors of the cinema and its architecture in the context of international exchanges. The paper concludes with the issue of the reception and the destiny of these examples of exoticism. The methodology consists of crossing our doctoral research with existing work on exoticism and orientalism in Western art. This synthesis has shown that the use of exotic motifs in Parisian cinemas is relatively early, but this decorative mode remains marginal compared to the Art Deco trend. However, although all their first owners have failed, the uniqueness of these cinemas has guaranteed their survival and preservation as an architectural and cinematographic heritage.
Abadie, S. (2012). Une histoire architecturale de cinémas, genèse et métamorphoses de l’architecture cinématographique à Paris (1907-1939). Thèse de doctorat, Strasbourg: Université de Strasbourg.
Delaire, E. (1907/2004). Architectes élèves de l’école des Beaux arts, 1793-1907. Villiers-sur-Marne: Phénix Éditions.
Epron, J.-P. (éd.). (1992). Architecture une antho¬logie, tome 2, les architectes et le projet. Liège: Pierre Mardaga.
Epron, J.-P. (1997). Comprendre l’éclectisme. Paris: Norma.
Goissaud, A. (1933). Le Rex, Cinéma-Théâtre à Paris. La Construction moderne, 48(16), 238-247.
Hall, B. M. (1961/1988). The best remaining seats : the golden age of the movie palace. New- York: Da Capo Press.
Heathcote, E. (2001). Cinema Builders. Londres: Wiley-Academy.
Humbert, J.-M. & Pumain, Ph. (éd.). (2013). Le Louxor, palais du cinéma. Bruxelles: Archives d’architecture moderne.
Humbert, J.-M. (2010). Le palais de l’Égypte à l’Exposition universelle de 1900. In H. Mor¬lier, (éd.), L’architecte Marcel Dourgnon et l’Égypte. Paris : INHA . Récupéré de http:// inha.revues.org/7008
Humbert, J.-M, Pantazzi, M. & Ziegler, Ch. (1994). Égyptomanie, l’Égypte dans l’art occidental (1730-1930). Paris/Ottawa: Réunion des musées nationaux/Musée des beaux-arts du Canada.
Kinsilla, E. B. (1917). Modern Theatre Construc¬tion. New-York: The Moving Picture Wolrd.
Klein, R. (1994). La côte d’Opale des années trente, Le Touquet Paris-Plage. Paris: Norma.
Lacloche, F. (1981). Architectures de cinémas. Paris: Moniteur.
Meusy, J.-J. (2002). Paris-Palaces ou le temps des cinémas (1894-1918). Paris: CNRS.
Minnaert, J.-B. (2002). Henri Sauvage ou l’exercice du renouvellement. Paris: Norma.
Oulebsir, N. & Volait, M. (éd.). (2009). L’orientalisme architectural, entre images et savoirs. Paris : CNRS/Picard.
Peltre, Ch. (2004/2010). Orientalisme. Paris: Terrail.
Russell, F. (éd.). (1982). L’architecture de l’Art nouveau, traduit de l’anglais par Florence Sébastiani. Paris: Berger-Levrault.
Samoyault-Verlet, C. (2016). Dufrêne Maurice - (1876-1955). In Encyclopædia Universalis. Récupéré de http://www.universalis.fr/ encyclopedie/maurice-dufrene/
Vago, P. (1933). Les grands cinémas parisiens. Architecture d’aujourd’hui, 4(7), 31.
Valentine, M. (1994). The show starts on the side walk: an architectural history of the movie theatre, starring S. Charles Lee. New Haven/ London: Yale University Press.
Vergnes, E. (1925). Cinémas, vues extérieures et intérieures, détails, plans. Paris: Ch. Massin.
Apuntes is registered under a Creative Commons Attribution 4.0 International Public License. Thus, this work may be reproduced, distributed, and publicly shared in digital format, as long as the names of the authors and Pontificia Universidad Javeriana are acknowledged. Others are allowed to quote, adapt, transform, auto-archive, republish, and create based on this material, for any purpose (even commercial ones), provided the authorship is duly acknowledged, a link to the original work is provided, and it is specified if changes have been made. Pontificia Universidad Javeriana does not hold the rights of published works and the authors are solely responsible for the contents of their works; they keep the moral, intellectual, privacy, and publicity rights.
Approving the intervention of the work (review, copy-editing, translation, layout) and the following outreach, are granted through an use license and not through an assignment of rights. This means the journal and Pontificia Universidad Javeriana cannot be held responsible for any ethical malpractice by the authors. As a consequence of the protection granted by the use license, the journal is not required to publish recantations or modify information already published, unless the errata stems from the editorial management process. Publishing contents in this journal does not generate royalties for contributors.