Critic and French film historian born in Nancy in 1904 and died in Paris in October 1967.
It was without doubt the most important historian of world of postwar cinema, without which - as happened in other countries with their peers - the historiography of the film not had have evolved on the roads that have taken her young researchers.
Lived intensely creative avant-gardes, it joined surrealism perspective Marxist which will significantly influence in his literary work. In these years was one of the signers of the manifesto surrealist Hands of Love (1927) which contains the life of dog text signs with Louis Aragon, André Breton and Marcel Duhamel, among others. Three years later he/she signs also other surrealist manifesto a propósito de La Edad de Oro, together with Aragon, Breton, Salvador Dalí and others.
He began to put the foundations of a history of the cinema from control, as comprehensive as possible - data, texts, interviews, reflections, etc.-documentation which brought along a lengthy study and in his professional travels to the most important files, cinematheques and film festivals. However, he/she had to live a time full of difficulties, in which the precariousness of resources, lack of accurate catalogues and problems for the viewing of many films were the dominant trend.
Despite all these shortcomings, he/she managed to develop a reference work that, undoubtedly, was a starting point for later historiography. Improved in all respects, his particular vision of cinema - a pattern in all the historians of his generation - forced to deepen in all areas, circumstances that led to the emergence of the new currents of study since the end of the 1970s.
He was one of the organizers - since the Association French's criticism of cinema--parallel section "The critic's week" at the international Cannes Film Festival of 1961.
His numerous books include the general history of the cinema, in several volumes, he/she left unfinished.
BibliographyApproach to the work written by Georges Sadoul:
Generate Histoire du Cinéma, I: Les pionniers du Cinéma (Paris; Denoël, 1947). Generate Histoire du Cinéma, II: Les pionniers du Cinéma, 1897-1908 (Paris, Denoël, 1948). Generate Histoire du Cinéma, III: Le Cinéma devient art (l'avant-guerre), 1909-1920 (Paris; Denoël, 1951). Histoire generate du Cinéma, VI: Le Cinéma devient art (la première guerremondiale), 1909-1920 (Paris; Denoël, 1952). Histoire du Cinéma mondial. Des origins à us jours (Paris; Flammarion, 1949).[Spanish Edition: history of world cinema.] From the origins to the present day. Mexico; 21st century, 1972; 1976]. Vie de Charlot. Paris; Éditeurs Français Réunis, 1952 [Spanish Edition; Life deChaplin. Mexico; Spanish culture Fund, 1956]. Le Cinéma Français (1890-1962) (Paris; Flammarion, 1962). Louis Lumière (Paris; Seghers, 1964). Dictionnaire des films (Paris; Seuil. 1965). the Battleship Potemkin (Mexico; It was 1965). Dictionnaire des cinéastes (Paris; Seuil, 1968). [Spanish Edition: Diccionariodel film.] Filmmakers. [Madrid: Ediciones Istmo, 1977]. Georges Méliès (Paris; Seghers, 1970). The cinema of Dziga Vertov (Mexico; It was 1971). Generate Histoire du Cinéma (Paris; Denoël, 1973-75. 6 vols.). The wonders of cinema (Mexico; Fondo de Cultura Económica, 1965; 1974). Chroniques du Cinéma Français. Écrits/1 (Paris; Union Générale d' Éditions, 1979).