Georges Méliès (1861–1938), a French filmmaker and magician, made a variety of short actuality films between 1896 and 1900. Méliès was established as a magician with his own theater-of-illusions, the Théâtre Robert-Houdin in Paris, when he attended the celebrated first public demonstration of the Lumière Brothers' Kinetoscope in December 1895. Unable to purchase a camera from the Lumières, who insisted that the venture had no future, he bought a film projector and some films from the British film experimenter Robert W. Paul and began projecting them at the Théâtre Robert-Houdin.[1] Meanwhile, Méliès studied the principles on which Paul's projector ran, and in 1896 was able to modify the machine so that it could be used as a makeshift camera.[2] At first, Méliès followed the custom of the time, and the example memorably set by the pioneering Lumières, by producing actuality films—brief "slice of life" incidents made by preparing naturalistic scenes for the camera or by filming events of the day.[3] These "cityscapes, scenic views, and domestic vignettes" closely followed the model already set by the Lumières and their salaried operators, who had already been sent to various points abroad to publicize the Lumière camera and bring home actualities filmed in foreign climes.[4] All told, Méliès filmed 93 films, or 18% of his entire output, outdoors as actuality footage.[5]
However, Méliès was also interested in expanding his line of films to include less common genres. His second film, Conjuring, captured a theatrical magic act on film;[6] his sixth, Watering the Flowers, moved into comedy, remaking the Lumière's influential L'Arroseur Arrosé.[4] Following his discovery of the substitution splice in 1896, Méliès moved further into fiction and trick films, building his own studio on his property in Montreuil, Seine-Saint-Denis[6] to allow for the filming of his theatrically inspired, storytelling-based scènes composées—"artificially arranged scenes."[3] His last nonfiction work was the seventeen-part Paris Exposition, 1900 film series.[7] Because of his move away from actualities into fiction, he is generally regarded as the first person to recognize the potential of narrative film.[8] In an advertisement, Méliès proudly described the difference between his innovative theatrical films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes and create a new genre entirely different from the ordinary cinematographic views of real people and real streets."[9]
Films
editThe following guide to Méliès's actuality films lists the numbers assigned in the catalogues of Méliès's studio, the Star Film Company; the original French and English titles; the presumed filming date; and whether the film survives or is presumed lost. Unless otherwise referenced, this data comes from Jacques Malthête's 2008 filmography of the films of Georges Méliès.[10] Wherever possible, brief summaries of the films are given; unless otherwise cited, these are extrapolated from the available French and English titles.
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| No. | French title | English title | Date | Status | |
|---|---|---|---|---|---|
| 1 | Une partie de cartes | Playing Cards | May 1896[11] | Survives | |
|
Méliès's first film, filmed in his garden in Montreuil, Seine-Saint-Denis. See the main article for more information. | |||||
| 3 | Plus fort que le maître (leçon de bicyclette) | Smarter Than the Teacher (1st bicycle lesson) | 1896 | Lost | |
|
No further information available. | |||||
| 4 | Jardinier brûlant des herbes | Gardener Burning Weeds | 1896 | Lost | |
|
Presumably shows a gardener. | |||||
| 5 | Les Chevaux de bois | A Merry-go-Round | 1896 | Lost | |
|
Presumably shows a merry-go-round. | |||||
| 7 | Les Blanchisseuses | The Washerwomen | 1896 | Lost | |
|
Presumably shows women cleaning clothes. Washerwomen were a popular subject in art.[12] | |||||
| 8 | Arrivée d'un train (gare de Vincennes) | Arrival of a Train at Vincennes Station | 1896 | Lost | |
|
Probably inspired by the Lumière Brothers' film L'Arrivée d'un train en gare de La Ciotat.[4] | |||||
| 10 | Place de l'Opéra (1er aspect) | Place de l'Opéra, 1st view (Paris) | 1896 | Lost | |
| 11 | Place du Théâtre-Français | Place du Théâtre-Français (Paris) | 1896 | Lost | |
|
Presumably shows the Place du Théâtre-Français (present-day Place André-Malraux, home of the Comédie-Française) in Paris. | |||||
| 13 | Couronnement de la rosière | Coronation of a Village Maiden (French customs) | 1896 | Lost | |
|
No further information available. | |||||
| 14 | Bébé et Fillettes | Baby and Young Girls | 1896 | Lost | |
|
Méliès closed his Théâtre Robert-Houdin once a year for summer vacation; in 1896, the closing was from 14 July to 31 July, and the Méliès family took their vacation on the coast of Normandy.[11] This film, one of those made on the Normandy coast, featured Méliès's daughter Georgette.[13] Méliès made at least fifteen other films on the trip: 27, 28, 29, 30, 31, 32, 33, 34, 40, 41, 43, 47, 49, 59, and 63.[14] | |||||
| 16 | Bateaux-Mouches sur la Seine | Steamboats on River Seine | 1896 | Lost | |
|
Filmed in Paris.[15] Presumably shows the River Seine. | |||||
| 17 | Place de l'Opéra (2e aspect) | Place de l'Opéra, 2d view (Paris) | 1896 | Lost | |
| 18 | Boulevard des Italiens | Boulevard des Italiens (Paris) | 1896 | Lost | |
|
Presumably shows the Boulevard des Italiens in Paris. | |||||
| 19 | Un lycée de jeunes filles | Academy for Young Ladies | 1896 | Lost | |
|
Probably filmed in Paris.[15] | |||||
| 20 | Bois de Boulogne (Touring Club) | Bois de Boulogne (Touring Club, Paris) | 1896 | Lost | |
|
Presumably filmed in the Bois de Boulogne. | |||||
| 21 | Bois de Boulogne (Porte de Madrid) | Bois de Boulogne (Porte de Madrid, Paris) | 1896 | Lost | |
|
Presumably filmed in the Bois de Boulogne. | |||||
| 24 | Le Régiment | French Regiment Going to the Parade | 1896 | Lost | |
|
No further information available. | |||||
| 25 | Campement de bohémiens | Gipsies at Home | 1896 | Lost | |
|
No further information available. | |||||
| 27 | Déchargement de bateaux (Le Havre) | Unloading the Boat (Havre) | July 1896[11] | Lost | |
| 28 | Plage de Villers par gros temps | The Beach at Villers in a Gale (France) | July 1896[11] | Lost | |
| 29 | Les Quais à Marseille | The Docks at Marseilles (France) | July 1896[11] | Lost | |
|
Advertised as if filmed in Marseilles, but almost certainly filmed on the coast of Normandy.[11] For more information, see film 14. | |||||
| 30 | Jetée et plage de Trouville (1re partie) | Beach and Pier at Trouville (France) | July 1896[11] | Lost | |
|
Probably inspired by an 1895 Lumière Brothers film featuring a boat in the harbor of La Ciotat.[4] Presumably filmed in Trouville-sur-Mer. For more information, see film 14. | |||||
| 31 | Barque sortant du port de Trouville | Boat Leaving the Harbor of Trouville | July 1896[11] | Lost | |
|
Presumably filmed in Trouville-sur-Mer. For more information, see film 14. | |||||
| 32 | Jetée et plage de Trouville (2e partie) | Beach and Pier at Trouville (2d part) | July 1896[11] | Lost | |
|
Presumably filmed in Trouville-sur-Mer. For more information, see film 14. | |||||
| 33 | Jour de marché à Trouville | Market Day (Trouville) | July 1896[11] | Lost | |
|
Presumably filmed in Trouville-sur-Mer. For more information, see film 14. | |||||
| 34 | Panorama du Havre (pris d'un bateau) | Panorama of Havre Taken From a Boat | July 1896[11] | Lost | |
| 35 | Arrivée d'un train (gare de Joinville) | Arrival of a Train (Joinville Station) | 1896 | Survives | |
|
Survives in flipbook form.[17] Presumably filmed in Joinville-le-Pont. See the main article for more information. | |||||
| 38 | Les Forgerons (vue d'atelier) | Blacksmith in His Workshop | 1896 | Lost | |
|
Probably inspired by a Lumière Brothers film with the same title and subject.[4] No further information available. | |||||
| 40 | Baignade en mer | Sea Bathing | July 1896[11] | Lost | |
|
No further information available. For more information, see film 14. | |||||
| 41 | Enfants jouant sur la plage | Children Playing on the Beach | July 1896[11] | Lost | |
|
No further information available. For more information, see film 14. | |||||
| 43 | Effet de mer sur les rochers | Sea Breaking on the Rocks | July 1896[11] | Lost | |
| 46 | Départ des automobiles | Automobiles Starting on a Race | 1896 | Lost | |
|
No further information available. | |||||
| 47 | Revue navale à Cherbourg | A Naval Review at Cherbourg | July 1896[11] | Lost | |
|
Presumably filmed in Cherbourg. For more information, see film 14.[11] Since a naval review was held in Cherbourg on 5 October 1896 to celebrate the visit of Nicholas II of Russia (see film 48), it is possible the film was made then; however, since Méliès appears to have been making actualities in Paris at that time, and only appears to have possessed one camera, it is more likely that the film dates back to his summer vacation in July.[15] | |||||
| 48 | Cortège du Tzar allant à Versailles | The Czar and His Cortège Going to Versailles | October 1896[15] | Lost | |
|
Nicholas II of Russia and Empress Consort Alexandra Feodorovna visited France from 5 October to 9 October 1896, debarking in Cherbourg and traveling to Paris, where Méliès was making actualities. The two films he made of the visit, 48 and 50, were first shown on 12 October 1896 in the Théâtre Robert-Houdin.[15] This film presumably shows the imperial couple and their retinue on their way to Versailles. | |||||
| 49 | Les Haleurs de bateaux | Towing a Boat on the River | July 1896[11] | Lost | |
| 50 | Cortège du Tzar au Bois de Boulogne | The Czar's Cortège in the Bois de Boulogne | October 1896[15] | Lost | |
|
Presumably shows Nicholas II of Russia and his retinue in the Bois de Boulogne. For more information, see film 48. | |||||
| 51 | Sortie des ateliers Vibert | Closing Hours at Vibert's Perfume Factory (Paris) | 1896 | Lost | |
|
Probably inspired by the 1895 Lumière Brothers film Workers Leaving the Lumière Factory.[4] No further information available. | |||||
| 52 | La Voiture du potier | The Potter's Cart | 1896 | Lost | |
|
Probably filmed in Paris.[15] | |||||
| 54 | Place de la Concorde | Place de la Concorde (Paris) | 1896 | Lost | |
|
Presumably shows the Place de la Concorde. | |||||
| 55 | La Gare Saint-Lazare | St. Lazare Railroad Station (Paris) | 1896 | Lost | |
|
Presumably shows the Gare Saint-Lazare. | |||||
| 56 | Grandes Manœuvres | Manoeuvres of the French Army | 1896 | Lost | |
| 58 | Place de la Bastille | Place de la Bastille (Paris) | 1896 | Lost | |
|
Presumably shows the Place de la Bastille in Paris. | |||||
| 59 | Marée montante sur brise-lames | Tide Rising Over the Breakwater | July 1896[15] | Lost | |
|
No further information available. For more information, see film 14. | |||||
| 60 | Retour au cantonnement | Return to the Barracks | 1896 | Lost | |
|
Part of the military series (see film 56). No further information available. | |||||
| 62 | Réunion d'officiers | French Officers' Meeting | 1896 | Lost | |
|
Part of the military series (see film 56). Presumably shows officers of the French Army. | |||||
| 63 | Tempête sur la jetée du Tréport | The Pier at Tréport During a Storm (France) | July 1896[15] | Lost | |
|
Presumably filmed in Le Tréport. For more information, see film 14. | |||||
| 64 | Le Bivouac | The Bivouac | 1896 | Lost | |
|
Part of the military series (see film 56). Presumably shows the use of a bivouac sack. | |||||
| 65 | Batteuse à vapeur | Threshing-Machine Worked by Power | 1896 | Lost | |
|
Presumably shows one or more steam-powered threshing machines. Also known as Threshing Machines Worked by Power.[20] | |||||
| 66 | Sac au dos! | Sacks Up! | 1896 | Lost | |
|
Part of the military series (see film 56). No further information available. | |||||
| 67 | Libération des territoriaux | Breaking up of the Territorial Army (France) | 1896 | Lost | |
|
Part of the military series (see film 56). Presumably shows members of the French Army. | |||||
| 68 | Départ des officiers | Officers of French Army Leaving Service | 1896 | Lost | |
|
Part of the military series (see film 56). Presumably shows officers of the French Army. | |||||
| 69 | Place Saint-Augustin | Place Saint-Augustin (Paris) | 1896 | Lost | |
|
Presumably shows the Place Saint-Augustin. | |||||
| 83–84 | Le Cortège du Bœuf gras passant place de la Concorde | The Mardi Gras Procession (Paris, 1897) | 2 March 1897[19] | Lost | |
|
Presumably shows the Place de la Concorde in Paris on Mardi Gras. | |||||
| 85 | Cortège du Bœuf gras, boulevard des Italiens | The Mardi Gras Procession (Paris, 1898) [sic] | 2 March 1897[19] | Lost | |
|
Presumably shows the Boulevard des Italiens in Paris on Mardi Gras. Note that the English-language catalogue entry for the film erroneously dated it to the following year, 1898. | |||||
| 86 | Une cour de ferme | A Farm Yard | 1897 | Lost | |
|
Presumably shows a farmyard. | |||||
| 87 | Les Apprentis militaires | Military Apprentices | 1897 | Lost | |
|
No further information available. | |||||
| 91 | Défilé des pompiers | Firemen on Parade | 1897 | Lost | |
|
Presumably shows members of a fire department. | |||||
| 92 | Danseuses au Jardin de Paris | Dancing Girls (Jardin de Paris) | 1897 | Lost | |
|
No further information available. | |||||
| 97–98 | Cortège de la Mi-Carême | Mid-Lent Procession in Paris | 25 March 1897[19] | Lost | |
|
Filmed in Paris on Laetare Sunday (in French, Mi-Carême).[19] | |||||
| 99 | Bataille de confettis | Battle With Confetti | 25 March 1897[19] | Lost | |
|
Filmed in Paris on Laetare Sunday (in French, Mi-Carême).[19] | |||||
| 115 | Tourneur en poterie | A Potterymaker | 1897 | Lost | |
|
Presumably shows an artisan using a potter's wheel. | |||||
| 136 | Match de boxe (professeurs de l'École de Joinville) | Boxing Match | 1897 | Lost | |
|
Presumably filmed at the military school in Joinville-le-Pont. | |||||
| 139 | Carrefour de l'Opéra | Place de l'Opéra, 3d view (Paris) | 1897–1898 | Lost | |
|
Claimed to be the first film to use time-lapse photography.[21] Presumably shows the Place de l'Opéra in Paris. See also films 10 and 17. | |||||
| 148 | Assaut d'escrime (École de Joinville) | Fencing at the Joinville School | 1898 | Lost | |
|
Presumably filmed at the military school in Joinville-le-Pont. | |||||
| 151 | Panorama pris d'un train en marche (ponts et tunnels) | Panorama from Top of Moving Train | 1898 | Survives | |
|
Filmed on a train on the Chemin de fer de Petite Ceinture, passing the station Bel-Air-Ceinture.[16] Also known as Panorama from Top of a Moving Train.[22][23] | |||||
| 157 | Montagnes russes nautiques | Shooting the Chutes | 1898 | Lost | |
|
Presumably shows a roller coaster (in French, montagnes russes). | |||||
| 173–174 | Funérailles de Félix Faure (1—char; 2—les troupes) | Funeral of Felix Faure | 23 February 1899[24] | Lost | |
|
Filmed in Paris.[24] Presumably shows the hearse and attending troops at the funeral of Félix Faure, President of France. | |||||
| 193 | Combat de coqs | A Lively Cock-Fight (US), A Lively Cock Fight (UK) | 1899 | Lost | |
|
Presumably shows a cockfight. | |||||
| 201 | Panorama du port de Saint-Hélier (île de Jersey) | Bird's-Eye View of St. Helier (Jersey) | 1899[24] | Lost | |
|
In 1899 the Méliès family again took their summer vacation on the coast of Normandy. During the trip Méliès filmed three actualities (201, 202, and 203), as well as footage of the open sea, which he used in special effects in his fiction films Neptune and Amphitrite and Christ Walking on the Water the same year.[24] This film presumably shows the port of Saint Helier. | |||||
| 202 | Entrée du paquebot Victoria dans le port de Jersey | Steamer Entering the Harbor of Jersey | 1899[24] | Lost | |
| 203 | Débarquement des voyageurs, port de Granville | Passengers Landing at Harbor of Granville | 1899 | Lost | |
|
Presumably filmed in Granville, Manche. For more information, see film 201. | |||||
| 232–233 | Panorama de la Seine | Panorama of River Seine | 1899 | Lost | |
|
Two short actualities filmed on the Seine, showing construction of buildings for the 1900 Exposition Universelle in Paris.[25] See Paris Exposition, 1900 (film series): Related films for more information. | |||||
| 245–261 | Vues spéciales de l'Exposition de 1900 | Paris Exhibition, 1900 | 1900 | Unknown | |
|
A series of seventeen actualities, serving as a documentary record of the 1900 Exposition Universelle in Paris.[26] See the main article for more information. | |||||
Notes
editReferences
edit- ^ Frazer 1979, pp. 33–35
- ^ Malthête & Mannoni 2008, pp. 301–302
- ^ a b Ezra 2000, p. 13
- ^ a b c d e f Rosen 1987, p. 749
- ^ Ezra 2000, p. 62
- ^ a b Rosen 1987, p. 750
- ^ Malthête, Jacques (2002), "Les Vues spéciales de l'Exposition de 1900, tournées par Georges Méliès", 1895: Revue de l'Association française de recherche sur l'histoire du cinéma, 36, retrieved 24 January 2014
- ^ Cook, David A. (1981), A History of Narrative Film, New York: W. W. Norton & Company, p. 13, ISBN 0393013707
- ^ Kovács, Katherine Singer (Autumn 1976), "Georges Méliès and the Féerie", Cinema Journal, 16 (1): 1–13, doi:10.2307/1225446, JSTOR 1225446
- ^ Malthête & Mannoni 2008, pp. 334–356
- ^ a b c d e f g h i j k l m n o p q r Malthête & Mannoni 2008, p. 23
- ^ Malcolmson, Patricia (1986). English laundresses : a social history, 1850-1930. Urbana: University of Illinois Press. p. 6. ISBN 0-252-01293-3. OCLC 12808522.
- ^ Malthête, Jacques (2013), Gaines, Jane; Vatsal, Radha; Dall'Asta, Monica (eds.), "Georgette Méliès", Women Film Pioneers Project, Center for Digital Research and Scholarship, Columbia University Libraries, retrieved 26 December 2016
- ^ Malthête & Mannoni 2008, pp. 23–24
- ^ a b c d e f g h i Malthête & Mannoni 2008, p. 24
- ^ a b Essai 1981, p. 58.
- ^ Hutchinson, Pamela (22 October 2020), "What the flip! The chance discovery that's uncovered treasures of the very earliest cinema", The Guardian
- ^ Frazer 1979, p. 242
- ^ a b c d e f g Malthête & Mannoni 2008, p. 25
- ^ Frazer 1979, p. 243
- ^ Dewdney, Christopher (2008), Soul of the World: Unlocking the Secrets of Time, Toronto: HarperCollins, p. 70, ISBN 9781554680023, retrieved 27 March 2014
- ^ Méliès, Georges (2008), Georges Méliès: First Wizard of Cinema (DVD; short film collection), Los Angeles: Flicker Alley, ISBN 978-1893967359
- ^ Frazer 1979, p. 245
- ^ a b c d e Malthête & Mannoni 2008, p. 26
- ^ Malthête & Mannoni 2008, p. 27
- ^ Frazer 1979, p. 81
Citations
edit- Ezra, Elizabeth (2000), Georges Méliès, Manchester: Manchester University Press, ISBN 0719053951
- Essai de reconstitution du catalogue français de la Star-Film; suivi d'une analyse catalographique des films de Georges Méliès recensés en France, Bois d'Arcy: Service des archives du film du Centre national de la cinématographie, 1981, ISBN 2903053073, OCLC 10506429
- Frazer, John (1979), Artificially Arranged Scenes: The Films of Georges Méliès, Boston: G. K. Hall & Co., ISBN 0816183686
- Malthête, Jacques; Mannoni, Laurent (2008), L'oeuvre de Georges Méliès, Paris: Éditions de La Martinière, ISBN 9782732437323
- Rosen, Miriam (1987), "Méliès, Georges", in Wakeman, John (ed.), World Film Directors: Volume I, 1890–1945, New York: The H. W. Wilson Company, pp. 747–765, ISBN 0824207572