TABLE OF CONTENTS

CHAPTER 3/PART 2  THE PIONEER FILMMAKERS

THE CONJURER: GEORGES MÉLIÈS

Figure 3.14: Le Décapité récalcitrant at the Théâtre Robert-Houdin

“The Creator of the Cinematic Spectacle”

The “Substitution Trick”

Figure 3.15: Stop-Action History

Substitution versus Stop-Motion

Figure 3.16: Disappearing Act

Intimations of Instability

A Fractured Fairy Tale: L’Éclipse du soleil en pleine lune

Figure 3.17: The Astronomer as Voyeur

“The Film of Poetic Freedom”

The Magician as Fathead: L’Homme à la tête de caoutchouc

Figure 3.18: The Overinflated Ego

The Magician and the Imp of the Perverse

Figure 3.19: Diminishing the Devil

The Strain of Repressed Thoughts: L’Alchemiste Parafaragamus

Figure 3.20: Dreaming Up the Devil

The Féerie: Devilment and Reversed Symbols

Faust in the “Domain of the Marvelous”

Figure 3.21: “Mephisto Méliès”

Le Voyage dans l’Enfer: Les 400 Farces du diable

Figure 3.22: The Devil’s Spite

Prince Charming’s Marvelous Adventure: Le Palais des 1001 nuits

Figure 3.23: Prince Charming’s Magical Mystery Tour

“The Scenario Has No More Than a Secondary Importance”

Figure 3.24: Méliès’ Studio at Montreuil

The Mad Scientist as Genial Crank

Figure 3.25: Screening Out the Ugly

“The Ludicrous Expedition”: Le Voyage dans la lune

Figure 3.26: The Epic Moon Shot
Figure 3.27: The Libidinal Booster Shot

“A Theater of Illusions Rather Than a Theater of Illusionism”

The “Substitution Splice” versus the “Classical Continuity System”

Continuity of Framing

Figure 3.28: How to Make an Expanding Head
Figure 3.29: Penetrating a Stable Universe

Reading 3.1: Jump Cut: “The Repressed Thought Returns at the Very Moment of Its Repression”

Figure R3.1: “I’m an Innocent Little Girl”
Figure R3.2: A Portrait of the Devil as a Young Woman
Figure R3.3: Visions of a Troubled Mind

Reading 3.2: In Theory: Faust and Freud at the Crossroads of Frustration

Figure R3.4: The Bedevilment of the Real
Figure R3.5: Subconscious Conjuring
Figure R3.6: The Astronomer Takes a Bath

Reading 3.3: Jump Cut: From Black Sacks to Greenscreening

Figure R3.7: Méliès’ Black-Matte Technique
Figure R3.8: Clothes Make the Man
Figure R3.9: The Optical Printer
Figure R3.10: Classical Bluescreening
Figure R3.11: Optical Rotoscoping
Figure R3.12: Digital Rotoscoping

Reading 3.4: In Theory: Is Le Voyage dans la lune “Science Fiction”? Or, Vehicles for Fugitive Enterprises

Figure R3.13: Ludicrous Expeditions
Figure R3.14: A Voyage to Utopia
Figure R3.15: A Trip beneath the Sea
Figure R3.16: The High-Tech Illusion

Reading 3.5: In Theory: Proto-Films and “The Most Elementary Dichotomy of Film Aesthetics”; Or, What Is Intrinsically Cinematic?

Figure R3.17: Kracauer’s Train of Thought
Figure R3.18: Homage to the Pioneers of Movement
Figure R3.19: “Hidden Meanings in People and Things”

Reading 3.6: Jump Cut: “Méliès Invented Everything, Basically”

Figure R3.20: Georges Méliès in the Gare Montparnasse
Figure R3.21: The World as Cinematic Image
Figure R3.22: 3D Beam-Splitter Rig
Figure R3.23: Hugo’s Dream
Figure R3.24: Reconstructing the Gare Montparnasse
Figure R3.25: “The Dream House of the Collective”
Figure R3.26: Perspectives on Connection
Figure R3.27: The Rube Becomes Embroiled in the Diegesis
Figure R3.28: Re-creating the Magic of Montreuil

Biographical Sketch 3.1: Georges Méliès

Figure B3.1: The Risqué Méliès
Figure B3.2: The Newsworthy Méliès
Figure B3.3: The Extraordinary Adventures of Gaston Méliès
Figure B3.4: The Cost of Thinking Big
Figure B3.5: Georges Méliès Sells Toys in the Gare Montparnasse
Figure B3.6: The Creator of Cinematic Spectacle
Figure B3.7: Forty Years Earlier, at the Théâtre Robert-Houdin

GLOSSARY

REFERENCES

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