227:, he created a poetic portrait of the working-class district of Paris using visual devices such as superimpositions, recurring images, dissolves, and unexpected juxtapositions, while the melodramatic narrative, about two sisters orphaned after the murder of their parents, was sketched elliptically and with uncertain chronology. Another of Kirsanoff's concerns in this (and his previous film) was to eliminate the use of intertitles from the narrative, obliging the spectator to engage with it wholly in visual terms. Despite its modest length,
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250:. The finished film received very limited distribution however, and although it went on to gather admiration from film historians, it could not compete in a market increasingly dominated by large American companies. It was the last feature film which Kirsanoff had the freedom to work as he wanted.
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During the period 1921-1929 (the last years of silent cinema) Kirsanoff completed five fiction films (three features and two short or medium-length), all of them featuring the actress Nadia
Sibirskaïa. By his own admission, he knew little of film technique when he began, and he had no contact with
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in 1919, Kirsanoff left Tartu and made his way to Paris, where he had arrived by 1921, and at some stage he adopted the name of
Dimitri Kirsanoff instead of Markus Kaplan. He pursued his musical interests, studying the cello and playing in an orchestra accompanying silent films.
177:. Many of the facts about his early life have been difficult to verify, and different sources have lent support to alternative accounts. It seems that his parents were Lithuanian Jews who had come to Tartu in 1870. After the murder of his father by
757:(Archives en ligne de la Ville de Paris, état-civil du 15e arrondissement, registre des mariages de 1939). Retrieved 14 July 2022. The couple's marriage was registered under the names Marc David Kaplan and Berthe Noëlla Bessette.
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For the remainder of his career
Kirsanoff's work alternated between miscellaneous commercial features and documentaries, with occasional short films of a more personal character which were financed by his own company (such as
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Kirsanoff's approach to film-making was preoccupied most of all by the image - how it is composed and how it relates to other images, and not just for its capacity to illustrate a story. In
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production company. He worked independently and with limited technical resources, sometimes producing visual effects of dissolves and montage sequences in the camera.
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by
Charles Ferdinand Ramuz, and produced in Switzerland. Use of dialogue is kept to a minimum, but greater prominence is taken on by the musical score, written by
147:, Маркус Давид Зусманович Каплан; 6 March 1899 – 11 February 1957) was a Russian-French early film-maker working in France, sometimes considered part of the
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In 1939 (having separated from Nadia
Sibirskaïa) Kirsanoff married Berthe Noëlla Bessette, a film editor, who then became known as Monique Kirsanoff.
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As his interest in cinema grew, he met an aspiring young actress called
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movement in film. He is known for some poetic silent films which he made independently, especially the medium-length
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the French avant-garde or with other
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became
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Kirsanoff died suddenly from a heart attack in Paris on 11 February 1957, at the age of 57.
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Kirsanoff was born Markus David
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723:. Princeton, NJ: Princeton University Press, 1995. p. 42.
693:, no. 15, 1957, pp. 3-5. Retrieved 13 July 2022.
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In
Memoriam Of Dimitri Kirsanov, A Neglected Master
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567:Dictionnaire du cinéma français
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912:(1956)
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