Alberto Cavalcanti Only The Hours

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Rien Que les Heures - Film (Movie) Plot and Review ...

    http://www.filmreference.com/Films-Ra-Ro/Rien-Que-les-Heures.html
    (Only the Hours) France, 1926 Director: Alberto Cavalcanti Production: Néofilm (Paris); black and white, 35mm, silent; running time: 45 minutes. Released 1926. Filmed in Paris.

Rien Que les Heures | Encyclopedia.com

    https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/rien-que-les-heures
    (Only the Hours) France, 1926. Director: Alberto Cavalcanti. Production: Néofilm (Paris); black and white, 35mm, silent; running time: 45 minutes. Released 1926. Filmed in Paris. Photography: Jimmy Rogers; editor: Alberto Cavalcanti; art director: M. Mirovitch. Publications Books: Klaue, Wolfgang, and others, Cavalcanti, Berlin, 1962.

Alberto Cavalcanti - Director - Films as Director:, Other ...

    http://www.filmreference.com/Directors-Bu-Co/Cavalcanti-Alberto.html
    Rien que les heures ( Only the Hours ) (+ pr, sc, ed) 1927 Yvette (+ sc, ed); ... Casandey, R., "Alberto Cavalcanti," in Plateau (Brussels), vol. 10, no. 2, 1989. * * * Alberto Cavalcanti was multi-national to a remarkable extent. Brazilian by birth, he worked in French commercial and avant-garde cinema of the 1920s, in British documentaries of ...

Rien que les heures - Wikipedia

    https://en.wikipedia.org/wiki/Rien_que_les_heures
    Running time. 45 min. Country. France. Languages. Silent film. French intertitles. Rien que les heures (English: Nothing But Time or Nothing But the Hours) is a 1926 experimental silent film by Brazilian director Alberto Cavalcanti showing the life of Paris through one day in 45 minutes.

Documentary-Making Methodology: Step-by-step …

    https://pdfs.semanticscholar.org/ac39/232489464a6a2eb35952445ea32569a0fba1.pdf
    theme of Alberto Cavalcanti’s Rien que les heures (‘Only the hours’, 1926), which focused on “cosmo - politan Paris, often contrasting rich and poor”, as well as Ruttmann’s Berlin: Symphony of a City (1927), that refuses to “humanize the city” and “asks the spectator to view the film abstractly and

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