Adonis A. Kyrou
From The Art and Popular Culture Encyclopedia
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| + | "They can keep their [[Robert Bresson|Bresson]]s and their [[Jean Cocteau|Cocteaus]]. The cinematic, modern [[marvelous]] is popular, and the best and most exciting films are, beginning with [[Georges Méliès|Méliès]] and [[Fantômas]], the films shown in [[Grindhouse|local fleapits]], films which seem to have no place in the [[History of film|history of cinema]]." --''[[Le Surréalisme au cinéma]]'' (1953) by [[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''' (Greek: Άδωνις Α. Κύρου; 18 October 1923, Athens – 4 November 1985, Paris) was a [[French film critic]] and filmmaker born in [[Greece]]. He is the author of ''[[Amour - érotisme & cinéma|Amour - érotisme & cinéma]]'' (1957) and ''[[Le Surréalisme au cinéma]]'' (1952|1963) and ''[[L'age d'or de la carte postale]]'' (1966). 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. He is one of the early theorists of [[Surrealism and film|surrealism in film]] and [[Oneiric (film theory)|oneiric film]]. |
| - | 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 like very much because of its seriousness 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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| == The marvelous is popular == | == The marvelous is popular == | ||
| - | ''The [[marvelous]] is popular'' is one of the most often quoted excerpts of ''[[Le Surréalisme au cinéma]]''. | + | ''The [[marvelous]] is popular'' is one of the most often quoted excerpts of the book ''[[Le Surréalisme au cinéma]]''. |
| : "J'abhorre les aristocrates et les aristocraties (de classe ou de n'importe quoi). Qu'ils gardens leurs [[Robert Bresson|Bresson]]s et leurs [[Jean Cocteau|Cocteau]]x. Le [[marvelous|merveilleux]] cinématographique, le merveilleux moderne est [[populaire]] et les meilleurs exemples de films exaltants sont, depuis [[Georges Méliès|Méliès]] et [[Fantômas]], [[Grindhouse|les films des salles de quartiers populaires]], les films qui, paraît-il, n'ont pas leur place dans [[history of film|l'histoire du cinéma]]. --page 100, 2005 edition. | : "J'abhorre les aristocrates et les aristocraties (de classe ou de n'importe quoi). Qu'ils gardens leurs [[Robert Bresson|Bresson]]s et leurs [[Jean Cocteau|Cocteau]]x. Le [[marvelous|merveilleux]] cinématographique, le merveilleux moderne est [[populaire]] et les meilleurs exemples de films exaltants sont, depuis [[Georges Méliès|Méliès]] et [[Fantômas]], [[Grindhouse|les films des salles de quartiers populaires]], les films qui, paraît-il, n'ont pas leur place dans [[history of film|l'histoire du cinéma]]. --page 100, 2005 edition. | ||
| + | English translation: | ||
| :"They can keep their [[Robert Bresson|Bresson]]s and their [[Jean Cocteau|Cocteaus]]. The cinematic, modern [[marvelous]] is popular, and the best and most exciting films are, beginning with [[Georges Méliès|Méliès]] and [[Fantômas]], the films shown in [[Grindhouse|local fleapits]], films which seem to have no place in the [[history of cinema]]." --Kyrou, Ado. “The Marvelous is Popular.” | :"They can keep their [[Robert Bresson|Bresson]]s and their [[Jean Cocteau|Cocteaus]]. The cinematic, modern [[marvelous]] is popular, and the best and most exciting films are, beginning with [[Georges Méliès|Méliès]] and [[Fantômas]], the films shown in [[Grindhouse|local fleapits]], films which seem to have no place in the [[history of cinema]]." --Kyrou, Ado. “The Marvelous is Popular.” | ||
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| :"Je vous en conjure, apprenez a voir les `mauvais' films, ils sont parfois sublimes" | :"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 | + | :"I beg you, learn to see [[bad films|'bad' films]]; they are sometimes sublime"). --Ado Kyrou, ''[[Le Surréalisme au cinéma]]'' |
| ==Bibliography== | ==Bibliography== | ||
| *''[[Le Surréalisme au cinéma]]'' (1952|1963) | *''[[Le Surréalisme au cinéma]]'' (1952|1963) | ||
| - | *''[[Amour|Amour - érotisme & cinéma]]'' (1957) | + | *''[[Amour - érotisme & cinéma]]'' (1957) |
| *''[[L'age d'or de la carte postale]]'' (1966) | *''[[L'age d'or de la carte postale]]'' (1966) | ||
| ==Filmography== | ==Filmography== | ||
| - | *[[1957]] : ''[[La déroute]]'', short film | + | *[[1957]] : ''[[La déroute]]'', short subject |
| - | *[[1958]] : ''[[Le Palais idéal]]'', short film on the Palais idéal by [[Ferdinand Cheval]] | + | *[[1958]] : ''[[Le Palais idéal]]'', short subject on the Palais idéal by [[Ferdinand Cheval]] |
| - | *[[1959]] : ''[[Le Havre(film,1959)|Le Havre]]'', court métrage | + | *[[1959]] : ''[[Le Havre (film)|Le Havre]]'', short subject |
| - | *[[1960]] : ''[[La Chevelure]]'', short film | + | *[[1960]] : ''[[La Chevelure]]'', short subject |
| - | *[[1962]] : ''[[Combat de coqs(film,1962)|Combat de coqs]]'' | + | *[[1962]] : ''[[Combat de coqs]]'' |
| *[[1962]] : ''[[La Paix et la vie]]'' | *[[1962]] : ''[[La Paix et la vie]]'' | ||
| *[[1963]] : ''[[Les Immortelles]]'' | *[[1963]] : ''[[Les Immortelles]]'' | ||
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| *[http://ombresblanches.wordpress.com/2007/07/19/meet-the-kyrous/ Meet the Kyrous by Ombres Blanches] | *[http://ombresblanches.wordpress.com/2007/07/19/meet-the-kyrous/ Meet the Kyrous by Ombres Blanches] | ||
| *[http://jdcopp.blogspot.com/2007/06/ado-kyrou-positif-cahiers-du-cinema-ado.html Positif at Cahiers du Cinema Ado Kyrou 10 best Films 1954-1955] | *[http://jdcopp.blogspot.com/2007/06/ado-kyrou-positif-cahiers-du-cinema-ado.html Positif at Cahiers du Cinema Ado Kyrou 10 best Films 1954-1955] | ||
| + | *http://www.imdb.com/name/nm0477506/ | ||
| {{GFDL}} | {{GFDL}} | ||
Current revision
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"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." --Le Surréalisme au cinéma (1953) by Adonis A. Kyrou |
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Adonis Kyrou (Greek: Άδωνις Α. Κύρου; 18 October 1923, Athens – 4 November 1985, Paris) was a French film critic and filmmaker born in Greece. He is the author of Amour - érotisme & cinéma (1957) and Le Surréalisme au cinéma (1952|1963) and L'age d'or de la carte postale (1966). 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. He is one of the early theorists of surrealism in film and oneiric film.
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 |
[edit]
The marvelous is popular
The marvelous is popular is one of the most often quoted excerpts of the book 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.
English translation:
- "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.
[edit]
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
[edit]
Bibliography
- Le Surréalisme au cinéma (1952|1963)
- Amour - érotisme & cinéma (1957)
- L'age d'or de la carte postale (1966)
[edit]
Filmography
- 1957 : La déroute, short subject
- 1958 : Le Palais idéal, short subject on the Palais idéal by Ferdinand Cheval
- 1959 : Le Havre, short subject
- 1960 : La Chevelure, short subject
- 1962 : Combat de coqs
- 1962 : La Paix et la vie
- 1963 : Les Immortelles
- 1964 : Un honnête homme
- 1965 : Bloko
- 1972 : Le Moine (Engl: The Monk)
[edit]
External links
- Meet the Kyrous by Ombres Blanches
- Positif at Cahiers du Cinema Ado Kyrou 10 best Films 1954-1955
- http://www.imdb.com/name/nm0477506/
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Adonis A. Kyrou" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
