Adonis A. Kyrou  

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'''Adonis Kyrou''' ([[Athens]], [[October 18]], [[1923]] - [[Paris]] [[November 4]], [[1985]]) was a French film critic and filmmaker born in Greece. He is the author of ''[[L'age d'or de la carte postale]]'' (1966), ''[[Amour|Amour - érotisme & cinéma]]'' (1957) and ''[[Le Surréalisme au cinéma]]'' (1952|1963), the last two published by [[Eric Losfeld]]. '''Adonis Kyrou''' ([[Athens]], [[October 18]], [[1923]] - [[Paris]] [[November 4]], [[1985]]) was a French film critic and filmmaker born in Greece. He is the author of ''[[L'age d'or de la carte postale]]'' (1966), ''[[Amour|Amour - érotisme & cinéma]]'' (1957) and ''[[Le Surréalisme au cinéma]]'' (1952|1963), the last two published by [[Eric Losfeld]].
-He along with [[Robert Benayoun]] was a regular contributor to French film journals ''[[L'Âge du cinéma]]'' and ''[[Positif]]''. In both 1954 and 1955, he contributed a [[Adonis Kyrou 10 best films|10 best films]] list to [[Cahiers du cinéma]], a magazine he did not appreciate very much because of its [[serious]]ness and he is one of the early theorists of [[Oneiric (film theory)|oneiric film theory]].+He along with [[Robert Benayoun]] was a regular contributor to French film journals ''[[L'Âge du cinéma]]'' and ''[[Positif]]''. In both 1954 and 1955, he contributed a [[Adonis Kyrou's 10 best films|10 best films]] list to [[Cahiers du cinéma]], a magazine he did not appreciate very much because of its [[serious]]ness and he is one of the early theorists of [[Oneiric (film theory)|oneiric film theory]].
He has two sons, [[Ariel Kyrou]] and [[Axel Kyrou]]. He has two sons, [[Ariel Kyrou]] and [[Axel Kyrou]].

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Adonis Kyrou (Athens, October 18, 1923 - Paris November 4, 1985) was a French film critic and filmmaker born in Greece. He is the author of L'age d'or de la carte postale (1966), Amour - érotisme & cinéma (1957) and Le Surréalisme au cinéma (1952|1963), the last two published by Eric Losfeld. He along with Robert Benayoun was a regular contributor to French film journals L'Âge du cinéma and Positif. In both 1954 and 1955, he contributed a 10 best films list to Cahiers du cinéma, a magazine he did not appreciate very much because of its seriousness and he is one of the early theorists of oneiric film theory.

He has two sons, Ariel Kyrou and Axel Kyrou.

Ado Kyrou was to the French what Raymond Durgnat was to the British and Parker Tyler was to the Americans.

Contents

The marvelous is popular

The marvelous is popular is one of the most often quoted excerpts of Le Surréalisme au cinéma.

"J'abhorre les aristocrates et les aristocraties (de classe ou de n'importe quoi). Qu'ils gardens leurs Bressons et leurs Cocteaux. Le merveilleux cinématographique, le merveilleux moderne est populaire et les meilleurs exemples de films exaltants sont, depuis Méliès et Fantômas, les films des salles de quartiers populaires, les films qui, paraît-il, n'ont pas leur place dans l'histoire du cinéma. --page 100, 2005 edition.


"They can keep their Bressons and their Cocteaus. The cinematic, modern marvelous is popular, and the best and most exciting films are, beginning with Méliès and Fantômas, the films shown in local fleapits, films which seem to have no place in the history of cinema." --Kyrou, Ado. “The Marvelous is Popular.”

This quote was published first in Paul Hammond's The Shadow and its Shadow anthology and later by Joan Hawkins in Cutting Edge.

Learn to see `bad' films

"Je vous en conjure, apprenez a voir les `mauvais' films, ils sont parfois sublimes"
"I beg you, learn to see `bad' films; they are sometimes sublime"). --Ado Kyrou, Le Surréalisme au cinéma

Bibliography

Filmography

External links


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