TABLE OF CONTENTS

CHAPTER 6/PART 3  INDUSTRIALIZATION OF THE CINEMA IN FRANCE

PATHÉ CAPITALIZES ON GENERIC DIVERSITY

Figure 6.22: The Multireel Spectacle
Figure 6.23: A Spectacle of Labor Unrest

A Variety of Generic Attractions

Melodramas

Comedies and Féeries

Figure 6.24: The Recycled Spectacle
Figure 6.25: The Fabulous Spectacle

Trick Films

Figure 6.26: A Spectacle of Role Reversal

Storytelling and Attraction in the “Course Comique”: La Course des sergents de ville

Figure 6.27: The Spectacle of Authority Run Amok

The Man Who Supervised the Movies: The Cinema of Ferdinand Zecca

Figure 6.28: Family Values in Five Tableaux

Aiming for Empathy in the Trick Film: Histoire d’un crime

Figure 6.29: Staging a Multilevel Melodrama
Figure 6.30: The Scenic Disaster Film
Figure 6.31: The Timeless Gag
Figure 6.32: The Metaphorical Spectacle
Figure 6.33: A Fondness for Fantasy

Giving Narrative Meaning to Spectacle: La Révolution en Russe

Figure 6.34: Point of View in the Political Spectacle

A Psychology of the Fantastic: La Rêve à la lune

Figure 6.35: A Spectacle of Mental Disturbance

“Something New Every Week”

Figure 6.36: “One Novelty for Each Day of the Week”

Biographical Sketch 6.1: Ferdinand Zecca

Figure B6.1: Dignitaries of French Culture
Figure B6.2: Zecca the Actor
Figure B6.3: The Director of “Dramatic and Realist Scenes”
Figure B6.4: A Walk on the Wet Side
Figure B6.5: Escapist Entertainment
Figure B6.6: Zecca at Gaumont?

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