Abstract
The article presents four documentary sources in order to elucidate the impact of Cubism and its interpretation in French narrative avant-garde cinema between 1918 and 1923: ‘Cinema and Cubism’, by Louis Delluc; ‘Cubism and Cinema’, by Louis Vauxcelles; ‘Cubist Films’, by Yvan Goll; and ‘Cubism in Cinema’, by Robert Mallet-Stevens. Although filmmaking took certain influences from Cubism after it had been absorbed by other aesthetic movements (Art déco, Purism), the role played by film criticism and theory in the definition of Cubism applied to the cinema is decisive, given that the filmmakers of the French school developed a whole theoretical corpus through which they defended the entry of this new medium into the world of art.
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