Writer, Educated at the Ecole Centrale, an engineer of the Arts and Manufactures, then a supplier of white armies during the Russian Civil War (1918-1921), Valentin Mandelstamm is also an author of poems and adventure novels. After the First World War , he shared his life between France and the United States . Interested in cinema, he is sent to Hollywood Studios in Los Angeles as a representative of the French Embassy and the Ministry of Education and Fine Arts. From 1927 to 1932, he was in charge of a mission in Hollywood on behalf of the French Embassy, then represented by Paul Claudel , and supervised the "productions with French atmosphere" Made in Hollywood. He works to erase the "anti-French" aspects of some American productions and is entrusted with the mission of finding interpreters to play the roles of French. He also writes numerous reports for the Embassy in Washington on the evolution of the American film industry: The advent of talking and synchronized films (1928), Study on the Talking Film and its Relation to American Cinema ( 1928), Report on the Talking Film (1930), State of World Cinema (1932). His role in Hollywood is ambiguous, sometimes simple observer, sometimes emissary of the Embassy of France and the Ministry of Education and Fine Arts, sometimes appointed by American companies (including Metro-Goldwyn-Mayer ) to to prevent any diplomatic conflict and to fight in France against the setting up of the quota in the field of cinema.
Writer, Educated at the Ecole Centrale, an engineer of the Arts and Manufactures, then a supplier of white armies during the Russian Civil War (1918-1921), Valentin Mandelstamm is also an author of poems and adventure novels. After the First World War , he shared his life between France and the United States . Interested in cinema, he is sent to Hollywood Studios in Los Angeles as a representative of the French Embassy and the Ministry of Education and Fine Arts. From 1927 to 1932, he was in charge of a mission in Hollywood on behalf of the French Embassy, then represented by Paul Claudel , and supervised the "productions with French atmosphere" Made in Hollywood. He works to erase the "anti-French" aspects of some American productions and is entrusted with the mission of finding interpreters to play the roles of French. He also writes numerous reports for the Embassy in Washington on the evolution of the American film industry: The advent of talking and synchronized films (1928), Study on the Talking Film and its Relation to American Cinema ( 1928), Report on the Talking Film (1930), State of World Cinema (1932). His role in Hollywood is ambiguous, sometimes simple observer, sometimes emissary of the Embassy of France and the Ministry of Education and Fine Arts, sometimes appointed by American companies (including Metro-Goldwyn-Mayer ) to to prevent any diplomatic conflict and to fight in France against the setting up of the quota in the field of cinema.
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