The Ciné Goes to Town: French Cinema, 1896-1914

封面
University of California Press, 1994 - 568 頁
Richard Abel's magisterial new book radically rewrites the history of French cinema between 1896 and 1914, particularly during the years when Pathe-Freres, the first major corporation in the new industry, led the world in film production and distribution. Based on extensive investigation of rare films and documents preserved in archives throughout the world, and drawing on recent social and cultural histories on turn-of-the-century France and the United States, his book provides new insights into the earliest history of the cinema. Examining the output of filmmakers such as Lumiere and Melies and of the production companies Gaumont, Film d'art, and Eclair, The Cine Goes to Town combines industrial history with formal and stylistic analysis of the period's canonical films, as well as many lesser-known works worthy of rediscovery. Abel tells how early French film entertainment changed from a cinema of attractions to the narrative format that Hollywood would so successfully exploit. He describes the popular genres of the era - comic chases, trick films and feeries, historical and biblical stories, family melodramas and grand guignol tales, crime and detective films - and shows how most of these genres shifted from short subjects to feature-length films. Cinema venues evolved along with the films as live music, color effects, and other new exhibiting techniques and practices drew larger and larger audiences. Abel explores the ways these early films mapped significant differences in French social life, helping to produce thoroughly bourgeois, turn-of-the-century citizens for Third Republic France. From questions surrounding the representation of the body and sexual difference topresentations of social class, his book breaks new ground as a comprehensive social history of early French film. The Cine Goes to Town restores early French cinema to the center of film history (even in the United States) and recovers its unique contribution to the development of the mass culture industry. As the one-hundredth anniversary of cinema approaches, this compelling demonstration of film's role in the formation of social and national identity will attract a wide audience of film scholars, social and cultural historians, and film enthusiasts.
 

內容

The French Cinema Industry 18961914
9
Bazar de la Charité
18
Cinématographe Pathé program 1905
26
GaumontPalace renovated 1911
32
OmniaPathé exterior remodeled
56
The Cinema of Attractions 18961904
59
Rêve de Noël 1900 production photo
68
The Transition to a Narrative Cinema 19041907
103
Les Débuts de Max Linder au cinématographe
245
Cléopatre 1910 Stacia Napierkowska
259
La Mort du Duc dEnghien 1909 Georges
269
The Rise of the Feature Film 19111914
298
Léontine Massart
337
Detectives Versus Criminals
354
Le Pickpocket mystifié
355
Navarre
380

81
172
The PreFeature SingleReel Story Film 19071911
181
A Narrow Escape 1908
194
Grétillat
200
Rembrandt de la rue Lepic 1911 production
224
Tout est bien qui finit bien 1910
239
The Comic Series in Full Swing
388
179
404
Afterword
429
Notes
463
Bibliography
537
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關於作者 (1994)

Richard Abel is National Endowment for the Humanities Professor of English at Drake University. His books include French Cinema: The First Wave, 1915-1929 (1984), winner of the Theatre Library Association Award, and French Film Theory and Criticism: A History/Anthology, 1907-1939 (1988), winner of the Jay Leyda Prize in Cinema Studies.

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