important director in the post-World War I revival of the French cinema who is best known for extravagant historical spectacles.

Working in the cinema from 1909, Gance first gained recognition with his films Mater dolorosa (1917; “Sorrowful Mother,” remade in 1932) and La Dixième Symphonie (1918; “Tenth Symphony”). Influenced by the epic style of the pioneer American director D.W. Griffith, he earned a reputation for grand-scale dramas such as J'accuse! (1918; “I Accuse!”, remade in 1937), a 14-reel antiwar statement, and La Roue (1922; “The Wheel”), a film about railway workers and the mechanization of modern life that was consciously composed to a definite rhythmic pattern.

Napoléon vu par Abel Gance (1927; “Napoleon as Seen by Abel Gance,” reedited and revised in 1934, 1971, and 1979), his best-known film, was a monumental four-year undertaking in which he used experimental techniques such as superimposition, hand-coloured film, and rapid cutting to emphasize cinematic movement; it included sweeping battle sequences filmed with three separate cameras. When the film appeared in theatres, three projectors showed separate views of certain vital scenes on three connecting screens. This Polyvision technique was a precursor of Cinerama, the wide-screen process using synchronized projectors, popularized during the 1950s. Gance also pioneered in the use of stereophonic sound. Another of his ambitious films was Un Grand Amour de Beethoven (1936; The Life and Loves of Beethoven). His later films, mainly period adventures, included La Tour de Nesle (1954; “The Tower of Nesle”), Austerlitz (1960; The Battle of Austerlitz), and Cyrano et d'Artagnan (1963).