Fantastic Voyages of the Cinematic Imagination: Georges by Matthew Solomon

By Matthew Solomon

An authoritative and accomplished consultant to cinema's first actual blockbuster.

From the again Cover:

"Best relocating photographs I ever saw." hence did one Vaudeville theater supervisor describe Georges Méliès's a visit to the Moon [Le Voyage dans l. a. lune], after it was once screened for enthusiastic audiences in October 1902. Cinema's first real blockbuster, a visit to the Moon nonetheless conjures up such superlatives and is still generally considered on DVD, on the web, and in numerous movie classes. In significant Voyages of the Cinematic mind's eye, major movie students learn Méliès's landmark movie intimately, demonstrating its many an important connections to literature, pop culture, and visible tradition of the time, in addition to its lengthy "afterlife" in additional contemporary motion pictures, tv, and song movies. jointly, those essays clarify that Méliès used to be not just a huge filmmaker but additionally a key determine within the emergence of recent spectacle and the start of the trendy cinematic mind's eye, and via bringing interdisciplinary methodologies of early cinema reviews to undergo on a visit to the Moon, the members additionally open up a lot better questions about aesthetics, media, and modernity. In his creation, Matthew Solomon strains the convoluted provenance of the film's a number of types and its key position within the historiography of cinema, and an appendix encompasses a necessary file of primary-source records that contextualize the film's construction, in addition to translations of 2 significant articles written by way of George Méliès himself.

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By Matthew Solomon

An authoritative and accomplished consultant to cinema's first actual blockbuster.

From the again Cover:

"Best relocating photographs I ever saw." hence did one Vaudeville theater supervisor describe Georges Méliès's a visit to the Moon [Le Voyage dans l. a. lune], after it was once screened for enthusiastic audiences in October 1902. Cinema's first real blockbuster, a visit to the Moon nonetheless conjures up such superlatives and is still generally considered on DVD, on the web, and in numerous movie classes. In significant Voyages of the Cinematic mind's eye, major movie students learn Méliès's landmark movie intimately, demonstrating its many an important connections to literature, pop culture, and visible tradition of the time, in addition to its lengthy "afterlife" in additional contemporary motion pictures, tv, and song movies. jointly, those essays clarify that Méliès used to be not just a huge filmmaker but additionally a key determine within the emergence of recent spectacle and the start of the trendy cinematic mind's eye, and via bringing interdisciplinary methodologies of early cinema reviews to undergo on a visit to the Moon, the members additionally open up a lot better questions about aesthetics, media, and modernity. In his creation, Matthew Solomon strains the convoluted provenance of the film's a number of types and its key position within the historiography of cinema, and an appendix encompasses a necessary file of primary-source records that contextualize the film's construction, in addition to translations of 2 significant articles written by way of George Méliès himself.

Show description

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Extra resources for Fantastic Voyages of the Cinematic Imagination: Georges Melies's Trip to the Moon (Suny Series, Horizons of Cinema)

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10, 1939, reproduced in The Merritt Crawford Papers, ed. : University Publications of America, 1986), microfilm, reels 3, 4. See also Charles Musser, Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company (Berkeley: University of California Press, 1991), 209. 4. : University Publications of America, 1985), 11. 5. Percy Williams, “The Orpheum, Week commencing October 27, 1902,” unpublished Managers’ Report Books, vol. 0, p. 33, Keith/Albee Collection, University of Iowa, Iowa City.

On colored prints of A Trip to the Moon, see also Jacques Malthête, “Les Bandes cinématographiques en couleurs artificielles, un exemple: Les films de Georges Méliès coloriés à la main,” 1895, no. 2 (1987): 7, n. 16; Jacques B. Brunius, “Passé, present, futur du cinéma en couleurs,” pt. 1, Cinéma-tographe, no. 1 (March 1937): 14. 52. Thomas Elsaesser, unpublished conference paper, cited in Richard Abel, The Ciné Goes to Town: French Cinema, 1896–1914, rev. ed. (Berkeley: University of California Press, 1998), 61.

References courtesy of Louis Pelletier. 10. Herbert Birett, Das Filmangebot in Deutschland, 1895–1911 (Munich, Germany: Filmbuchverlag Winterberg, 1991), 541. 11. Mauro Conciatori, “ ‘Le fantasie luminose’ di Georges Méliès nei cinematografi italiani,” in “ ‘Verso il centenario’: Méliès,” ed. Riccardo Redi (Rome: Di Giacomo, 1987), 52; Aldo Bernardini, Gli ambulanti: Cinema italiano delle origine (Gemona, Italy: Cineteca del Friuli, 2001), 92. 12. Jean-Jacques Meusy, Paris-Palaces, ou les temps des cinémas (1894–1918), rev.

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