ABSTRACT
La Roue (1923) was an inspirational fi lm when it was released, and today it is still regarded as a masterpiece of cinematic authorship. It was admired by avant-garde fi lmmakers and other artists. The artist Fernand Léger, for instance, who designed the poster for La Roue, described it as elevating “the art of fi lm to the plane of the plastic arts”, and Jean Cocteau supposedly talked in admiration of “the cinema before and after La Roue, [ . . . ] as there is painting before and after Picasso.”1 Because today La Roue is presented in a feature form, it is often not realized that La Roue was once released serially in four parts.2
