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Henri Langlois (13 November 1914 – 13 January 1977) was a French film archivist and cinephile. A pioneer of film preservation, Langlois was an influential figure in the history of cinema. His film screenings in Paris in the 1950s are often credited with providing the ideas that led to the development of the auteur theory.〔(【引用サイトリンク】title=Henri Langlois: Phantom of the Cinematheque )〕〔(Truffaut’s manifesto : La Politique des Auteurs ) at Indian Auteur〕 Langlois was co-founder of the Cinémathèque Française with Georges Franju and Jean Mitry and also co-founder of the International Federation of Film Archives (FIAF) in 1938. Through close collaboration with the Cinémathèque's longtime Chief Archivist, Lotte Eisner, he worked to preserve films and film history in the post-war era. An eccentric who was often at the center of controversy for his methods, he also served as a key influence on the generation of young cinephiles and critics who would become the French New Wave. In 1974, Langlois received an honorary Academy Award for "his devotion to the art of film, his massive contributions in preserving its past and his unswerving faith in its future".〔(IMDB: Henri Langlois - Awards )〕 ==Career at the Cinémathèque Française== In 1936 Henri Langlois, Georges Franju and Jean Mitry founded the ''Cinémathèque Française'' in Paris, their film theater and museum.〔("La Cinémathèque Française" ), France Magazine: 〕 It grew from ten films in 1936 to more than 60,000 films by the early 1970s. More than an archivist, Langlois saved many films which were at risk of vanishing. Besides films, Langlois also helped to preserve other items related to cinema such as cameras, projection machines, costumes, and vintage theater programmes. He eventually collected so many items that he donated them in 1972 to the Musée du Cinéma in the Palais de Chaillot, where they covered a two-mile span of film artifacts and memorabilia. The collection was relocated due to damage from a fire in 1997. During the Second World War, Langlois and his colleagues helped to save many films that were at risk of being destroyed due to the Nazi occupation of France. Langlois strongly influenced the French New Wave directors François Truffaut, Jean-Luc Godard,〔 Jacques Rivette, Claude Chabrol and Alain Resnais among others, and the generation of filmmakers that followed. Some of these filmmakers were called ''les enfants de la cinémathèque'' ("children of the cinémathèque"), as they could often be found in the front row of packed screenings. Langlois' romantic attitude to film was in contrast to the scientific approach utilised by Ernest Lindgren at Britain's National Film Archive.〔Roger Smither "Henri Langlois and Nitrate, Before and After 1959" in Smither (ed) ''This Film is Dangerous: A Celebration of Nitrate Film'', Brussels: FIAF, 2002, p.247-55〕 Langlois' methods were unconventional. He was accused of having no rational approach to record keeping. The Cinémathèque lost a portion of its collection to a nitrate fire on 10 July 1959. Sources are in conflict as to the cause and the extent of the loss.〔 In September 1959, a rift developed between the Fédération Internationale des Archives du Film (FIAF) and the Cinémathèque. Langlois had been involved in the founding of FIAF. The dispute between the two bodies was resolved only some years after Langlois had died.〔Smither ''This Film is Dangerous'', p.251〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Henri Langlois」の詳細全文を読む スポンサード リンク
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