Encyclopedia of Early Cinema(Part C) .pdf
《Encyclopedia of Early Cinema(Part C) .pdf》由会员分享,可在线阅读,更多相关《Encyclopedia of Early Cinema(Part C) .pdf(105页珍藏版)》请在三一文库上搜索。
1、 C Cabanne, W.Christy b. 1888, St Louis; d. 1950, Philadelphia actor, director, USA W.Christy Cabanne (pronounced Ca-ban-ay) learned his craft working with D.W.Griffith. After a hitch in the Navy prior to going on stage, he joined the Biograph Company in 1910, and remained with Griffith through his
2、moves to the Reliance, Majestic, and Fine Arts companies. In the late 1910s, he connected with Metro, and later worked at nearly every studio in a long, slowly declining career that ended on poverty row. However, he was a better director than many of his later credits would seem to indicate. ROBERT
3、S.BIRCHARD cafs-concerts In France, up to 1906, theaters devoted exclusively to moving pictures were few. In Paris and other large cities, moving pictures were screened mostly in cafs-concerts and music halls. During the last two decades of the 19th century, cafs-concerts (cafconc) multiplied both i
4、n the center of major cities and in their outlying neighborhoods. A show at a caf- concert would unfold according to specific conventions. The orchestra opened with stirring tunes. Most of the program was comprised of singers who would generally perform two songs each; these were often risqu, and th
5、eir subject matter was frequently related to military life. Following the songs (although this was not always the case), comic artists, acrobats, dialogists, or dancers performed attractions. After an intermission, the show usually would end with a one-act play, often a comic vaudeville. French musi
6、c halls followed the tradition of cafs-concerts, yet their programs involved more attractions and fewer songs. As variety revues became the fashion, their place in the program grew in importance. In 1900, Le Nouvelliste des Concerts, Cirques et Music-Halls defined the caf-concert as follows: “Lights
7、, music, and women, in a usually packed theater, on whose seats you Encyclopedia of early cinema 128 could digest your dinner, entertained by the scene, a cigar in your mouth and a glass in front of you; a place where the spectators daily worries, like the smoke from their cigars, vanish for an even
8、ing: thats what the Caf-concert is.” Moving pictures did not have a set place in these programs, but they frequently occurred in the middle or at the end. Several films were shown so as to provide an interlude of about ten minutes. Like other numbers in the program, the screenings were put together
9、by an outside service contracted for a specific period. In large cities, some businesses specializing in screenings would set up in the same theater for extended periods of time. In Paris, for instance, beginning in 1901, Georges Froissart (American Vitograph) worked with the Eldorado for twelve yea
10、rs or so. Beginning in October 1905, Georges Petit (Booston-Vio) was responsible for screenings at the Etoile-Palace for nearly three years. American Vitograph had enough equipment and personnel to be in charge of screenings simultaneously in several locations in Paris, in provincial cities, and eve
11、n abroad Other businesses were much more limited and shared certain similarities with itinerant exhibitors: they owned all the projection equipment needed, including the films, but lacked the premises. However, they did not systematically tour places they had booked in advance (as did itinerant exhi
12、bitors) and charged a one-time contract fee rather than collect any of the receipts. The difference between these two types of exhibition, however, was not always so clear-cut, especially in the provinces. Screenings in cafs-concerts peaked around 19051908, before declining with the emergence of per
13、manent moving picture theaters. As a certain loss of interest in cafs- concerts occurred, some of them even turned into moving picture theaters. Such screenings disappeared almost completely by World War I. Further reading Meusy, Jean-Jacques (1995) Paris-Palaces, ou le temps des cinmas (18941918),
14、Paris: CNRS Editions. JEAN-JACQUES MEUSY Calcina, Vittorio b. 1847; d. 1916 photographer, cameraman, exhibitor, inventor, Italy In 1896, Turinese photographer Vittorio Calcina was Lumires agent for Northern Italy and the owner of the first Italian movie theater. After making several actualits about
15、Italys reigning nobility, he became the royal familys authorized Entries A-Z 129 Figure 16 Caf-concert “Kursaal”, Paris. Behind the rows of benches can be seen small tables where drinks could be ordered. Photo Bernard Chevojon. operator as he filmed formal events, ceremonies, and official visits. Be
16、tween 1908 and 1911, he devised an apparatus consisting of camera, printing machine, and projector that used a special film stock format, smaller than the established 35 mm gauge. Called Cine Parvus, it failed to gain widespread commercial exploitation, unlike Path Baby, a similar product profitably
17、 launched in 1922. GIORGIO BERTELLINI Calmettes, Andr b. 1861; d. 1942 filmmaker, France Between the spring and fall of 1908, Calmettes organized shooting on the first three dramas released by Film dArt, under the artistic direction of Charles Le Bargy: LAssassinat du duc de Guise The Assassination
18、of the Duke de Guise (1908), Le Encyclopedia of early cinema 130 Retour dUlysse The Return of Ulysses (1909), and Le Baiser de Judas The Kiss of Judas (1909). Between the time of the Laffitte managements departure and the takeover of the company by Agence gnrale de cinmatographie (AGC), he was the m
19、ain director for Film dArt, most notably on Madame Sans-Gne (1911). In 1913, he still directed Les Trois Mousquetaires The Three Musketeers, his longest multiple-reel/feature film for the company. ALAIN CAROU Cambodia During the period of early cinema, the region today known as Cambodia was under a
20、French Protectorate, forming part of the larger colonial administrative unit of Indochina. During the early 1900s, local audiences began to attend screenings of foreign films while Protectorate Cambodia became a subject for foreign cinematographers. No films were made by Cambodians themselves, howev
21、er, until the late 1940s and early 1950s. As a European technological innovation of the late 19th and early 20th centuries, cinema seems to have first come to Cambodia in 1909. But if we think of cinema as a lighted screen on which stories are told, then it could be said that Cambodia already had a
22、long-standing tradition of such narratives since troupes of shadow puppeteers had for centuries brought stories to life through the movement of pricked leather images projected on screens set in front of blazing fires. These shadow puppet theaters retrospectively were dubbed kon Khmer or “Khmer cine
23、ma,” thus underscoring the similarities between modern cinema and older local forms of performance. Early 20th-century Cambodia was filled with encounters between existing local practices and unfamiliar technologies brought from abroad. Under colonial rule, goods, images, and ideas infiltrated and a
24、ffected the region. The introduction of moving pictures was part of this colonial influx. Records in the National Archives of Cambodia indicate that the French entrepreneur Brignon established a riverside cinema in the capital city of Phnom Penh in October 1909. The Brignon Cinema probably was simpl
- 配套讲稿:
如PPT文件的首页显示word图标,表示该PPT已包含配套word讲稿。双击word图标可打开word文档。
- 特殊限制:
部分文档作品中含有的国旗、国徽等图片,仅作为作品整体效果示例展示,禁止商用。设计者仅对作品中独创性部分享有著作权。
- 关 键 词:
- Encyclopedia of Early CinemaPart C Cinema Part
链接地址:https://www.31doc.com/p-3758077.html