early - cinema, Exercises of History of film

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frarne

NARRATIVE

Edited by

THOMAS ELSAESSER

with

IIDAM BARKER

BFI Publishing

i -inT1l]t-;'-'-^ '^ "-

The (^) Cinemo (^) of Afiroclions

TOM (^) GUNNING

Wridng in 1922, flushed with the

excitemenr (^) of seeing Á.beÌ (^) Gance\

La Roue' Fernand Léger tried to define

somerhrng"of. the radrcai

possibiliries o[ (^) rhe cinema. The porenoar of

the newäri did nor lie in

'uniøtrng rhe movemen$ of narure'o¡ in'the

misaken path'of ia resembrance

co theacre. Ir (^) uni_que power (^) was a .fiurrter

-of.ma]zing*igr,

,"rn,.l lr;;;;*"t

this hamessing of visibirity,

rhis acr of showing (^) äd (^) ohibrrion, *t,i.tr r t et cinema before 19O6 (^) dispiays most intersely- is (^) inspiration for (^) rhe avant_garde

oi the eariy decades o[ rhis cenrury

needs ro be re_eþlored.

.

wrirings by the earry modernisr (FururÍss,

Dadaiss and (^) surrearisrs) on the cinema follow (^) a pattem simirar ro I-éger: enrhusiasrn (^) for this new mediu¡n

and ir possibilities; and disappoinrment ar the way it (^) has arrcady deveroped, (^) irs

enslavement co tradirionar an forrns,

pamcurarry (^) thearre and (^) ii,.ru,.r.". Thia

fascinadon wirh the potential of a medium (and

ùre accompanying (^) fanmsy of

ræcuing rhe cinema (^) from ir e¡slavemen¡

to arien and pass¿'for"nrs) caí be

understood from a number (^) of viewÞoints. I wanr to use it .o i]ruminarea (^) ropic I

have also approached (^) belo¡e, the'strangely hererogeneous ¡eladon_thar (^) frlm belo¡e (^) ] 906 (o¡ so) bea¡s ro the ûrms rhat

iorÍow, andihe *ay a taking accounr of

ths.heterogeneiry (^) signaìs a new concepúon o[ film hisrcry and nfå (^) ør*. Vy

ivo¡k in rhis area (^) has been pursued

in collaborarion wirh André Gaudieauh.

.

The history (^) of early cinema, like rhe hisrory of cinema generally, (^) has been written (^) and theorized (^) under rhe hegemony oi narrative (^) n.,i. r"rry (^) mrn-

makers iike Snrich, Méliès and porrer

have been studied primarily írom the

viewpoinr (^) of their conuiburion (^) to Êìm as a storpelling medium, (^) panícuiarly (^) rhe

evolution of narrarive editing,.Alcr.rough such upproãches are not roa[y (^) mis-

guirìed, they are one-sided and potenrialy

distori uortr the work (^) of rhesá frh-

make¡s and the acual forces shaping cinema before 1906.

A {ew observatio¡rs will (^) indicate the way (^) that early cinema

\¡/as not dominated by the narrative

impulse rhat later assened is sway over the medium. Firsr there

is ùe artremely

importanr (^) role that actuality film pìays (^) in earry film production.

Invesngadon of

the Êlms copyrigh^ted in rhe us shows ùar actualicy hkns oumumbered. frcrionar

Êlms unril 1906.3 The Lumière t¡adi¡ion

of 'prácing the world within one,s

reach' qhrough ravel films and ropicars

did noì dÈappear with the exit of the

Cinémarographe from ñlm producion. Bur even

wirhin non-actualiry frlming _

wha¡ has (^) someümes been referred (^) to as rhe'Mélies

tr¿dirion'- rhe role oa¡rative

plays is quire dilferent (^) from in traditional nanarive Âlm. Méliès himself declared

in discussing his working (^) method:

Eorly Film, (^) lts Spectotor (^) ond lne

AvonlGorde

,ts for (^) the scenario,^the ,fable,,^ or,tale,, I only (^) corside¡ ir a¡ rhe end. (^) I can :;tate (^) rhat the (^) sceaario

constructed in thjs,manne¡

has (^) no imÐortdnce :;ince I use (^) tmerelyas (^) a pretext tor rhe,iå!e (^) effe.ì;,.il.;.,Ifi;i;"; nicely arranged (^) ubteau.{ -:

wharever (^) clilferences one rrrighr (^) find berween (^) Lumière and (^) Méries, rhey nor represe'ar rhe shourd (^) ooposition (^) berween narradve and non-na¡rative frrm-makine. at leasr as it (^) is understood today. t",t,"r, (^) o',.Lrrìi,. (^) ,t .* ,.. .o"l"riäiü;

:.T_:1"-r

less (^) as a rvay (^) of telling stories thun

^

r.,vay of (^) p..r"",få r.ri"rîi uews ro (^) an audience, (^) hscinating because (^) of rheir illusory power (^) f;fr.¿.frî

¡ealisric il'rsion o[ motion.

ofleied ro (^) ,rr. n*, *äià.ces (^) by Lumière. (^) or magical illusion rhe concocred b)' Méliès), (^) ;;ãexluclir. tn other words, (^) I believe rhat rhe reia (^) ríon to (^) rhe spectaror set up by che (^) fi'ms of both Lumière and (^) Méries

luld

uny (^) other ñlm-makerc before ìsóól (^) hJ;."mon basis, (^) and one rhar dll{.".!.* (^) rhe primary

specÞro¡ relarions'r", uf

Ul,.,..r"tive ûlm after 1906.

wiil I

call thi.:; earrier .o.r."ption

of cinema, 'ri..,. (^) .1n-Jr,L (^) o[ arracrio*s,. I believe that this concepdon dominares cinema (^) untir abour (^) 19o6-2. Arrhough (^) different

from the far;cinarion in srorytering

.pr"ãïy (^) ,r," cinema

from the tÍme of

Griffrth, it (^)! not necessariry (^) opposed to rt- (^) In fací the (^) cinema ofatcracdons (^) does

nor disappear wirh

rhe dominãnce (^) of narradve, ¡ui otfr., g*.

""d;rg.;;;

both inro,cr,nain avanr-garde pracdces

(^) and;r; (^) ;;;;nent

of na*adve fr.lms,

more evide¡rr.in (^) some genres (e.g. the (^) musical) ,t

"n-il

o*,.rr. rVhat (^) precisely is rhe cinema of (^) arcracrions? (^) Fi;;,;; rs a cinema thar

3_::.:'j ::: -1"

qua tùy cha r lrger ceteb rare

J, ì" ãl,r"y (^) *,h r, (^) ,o,,.;li;;: Lonimsred r-o (^) rhe voyeurisüc aspecr of (^) narradve cinema ánatysed

by christiai

Metz,> (^) rhis is (^) an exhibirionis¡ cinema. A,. (^) ,rp;.;;i;rly (^) cinema

which I have

writien abor¡r in orher amcres is

embiematic (^) or trlãit"..r,, ,"r^ri"rrrpìi" cinema (^) of attraccions (^) con_strucr_ with (^) ia ,p"crrro.: (^) the recurring (^) ,k ;., (^) ;; camera by acrors. (^) This acrion, which (^) Ís ìarcì perceiv.a (^) ,. ,p.n*i (^) m;;;i;; illusion o[ rhe cinema, (^) is here

undenaken wrih brio, atablishing

contact wich the audienct:- From comedians smirking (^) u,,h. .ua.r, (^) to the corsranc (^) bowing uil (^) q:ú!_g of.rhe (^) conjurors in magtc frlms. this (^) is a cinema that displays (^) is

visibility, willing ro rupture

a serf-encl-osecì (^) frcrionar worrd for a (^) chance ro (^) soricir the atrention of the (^) spectator

ExhibjnonÍsm (^) becomes (^) literal in the series (^) of eroric (^) fr.lms which play an imponanr (^) role in (^) early film

production (rhe same paùé

caralogu. *;uiá

advenise rhr:Passion play álong with

¡.**

gir.i.* (^) d,un ca¡acrère (^) piquant,,

erotic ñlms .[ten includins full nudiry),

(^) ,l!o ¿irr"n (^) ,n¿.rg.ounAi;ù;.r-;;;.

As Noël Bu¡r:h has shown Ïn

his film t"rrun* n (^) *r, How We Got into

pkhres

(1979)' (^) a filn:r likeTheÛrúe Retires (France, 1902) reveais a fundamenraì (^) conflicr berween this (^) exhibirionisuc (^) tendency of earþ (^) frrrn a'ra (^) trre creadon of a ficdonar diegesis. A r¡,oman (^) undresses for beá (^) while ír., (^) n.* ibu.,a p..rr r, (^) t,., i.o behind (^) a screen' Howeve¡,

ir is ro rhe came¡a and ¡he aucrience

that (^) the bride add¡esses (^) her eroric (^) s¡riorease, winking (^) at us as ri. (^) ¡r.o us,

smiring in e¡oric

dupìay.

A; the quore (^) from (^) Mélies points out, (^) ùe trick film, (^) perhaps the

5ó EÂRLy ct NEJua

f HE (^) çTNEfiA OF ,4TTRACf (^) IONs

i--iil.i:1lif---

the contexr of. archive

and academy, we risk

missing its viral relaûon ro

.

vaudeville, (^) irs (^) primary

pl.ace of exhibilon rn,¡r ,rou"¿

1905. Film ann nrcà

' (^) one aruacdon (^) on the ^" vaudevite (^) programme, surrounded by-a (^) # ;i fiäì;

acLs in a non-na¡raúve and

(^) even.nea¡ì.y (^) iilogicat succession (^) o[perrormances. Even (^) when presented (^) in

the nickelod"ol .,',u"r*....merging

ar rhe end of this

period, rhese shon films

always (^) appearea (^) in a io.i.ry formal (^) rick (^) films sandq4ched in wi¡h (^) farces, acualities,iillusrrar"d (^) songs,, and, quice (^) írçquenrly, cheap vaudeviile (^) acs. it was precisery this non-nar¡adve (^) variecy thar praced this

lorm of enterrainment undei

utr^ckiy (^) ."fÁ ;;;;,

in^ the^ earþ.19i0s. The

Russell (^) Sage Survey (^) of popuiar enrenainmenr (^) fãunávaudevilk ú;.rl;;;;

an artificial ra¡her than a natural human

(^) ancl (^) a.uaoprrrg interest, (^) these ac¡s having (^) no necessary (^) and as a rure, no acruar (^) .orrrr..,-iäl'* ilil;"äï; narra[ve' (^) A night (^) ar the variety theatre was ]il<e a ride on a srreetcar (^) or an acdve day in a (^) crowded city, according to this middie_cturr..forrn (^) g.oup, r,rul;;; an unheakhy (^) nervousness. (^) It wà precisery,r.t (^) uiii¿ rri,nîr"rîrr, rrà.*î,ìÌ

and Eisensrein wished

ro bo¡roù (^) from'th. (^) prp;i;;

arts and inject inro rhe

thear¡e, organizinþ popuìar energy tor

¡adicalirjmose.

.

Whar (^) happened ¡o (^) ¡he cinema of ari¡acuons? (^) The period from 1907 ro about J'9r'3 (^) represens (^) the rrue narrati vizatíonof (^) th..rn"*r,

culminating in

rhe appearance (^) of fearure Êlms which (^) radi*ily;;;;à (^) the ,ra.rery f;;,. Fî;

clearþ rook the legrdmatei'rhearre as.Íts

(^) *oá.t, p.Ju.ing

famous prayers in

lamous plays' rhe rransformarion

of ûrmic discourserhar (^) D. w. Griffuh bound rypifies cinemacic (^) signi6ers (^) ro the narradon (^) of srories and the creation of a (^) serf-

e.nclosed diegeric universe- The

rook at (^) the .came¡a^ becomes o¡oo

devices o[ cinema are transformed (^) f¡om playfur tric]<s' "nà-,i.

• cinemadc aruacdons

(Méliès gesuring ar us ro

ua¡ch (^) rhe lad'y íanish) _ (^) ," J;*";;ää: expression' enûies (^) inro the psychorogy orcharacter (^) and rhe (^) worrd or ficrion.

However, (^) ir would (^) be ioo easy to see this (^) as a Cain and Abel story, wirh narradve (^) srangling (^) the n*..rr, porribi[iúes (^) of a (^) voung iconocÌastic form

of

enrenainment.

Just as^ the^ va'iery format in some sense survived in

the rnovie palaces (^) o[ dre 20s (.¡,ith n"r..ái,.*oorr, (^) si.,g_"lorrg, o¡chesrra perforrnance

a'd (^) sometimes vaucreviile ac,' subordinared rã, (^) buri¡it coexisring *rh, (^) ;;;

narac.e

feature o[ the^ evening);^ che (^) system of an¡acuon (^) remains an essenriai

part oIpopular frlm-making.

The (^) chase frlrn shows how, towards (^) ¡he end of this period (basÍcally trom i903 (^) co 1906). a synrhesis (^) of artractio¡s (^) ,.,ã .riu. was (^) ;.*J; underway. The (^) chase had

been the originar rury narrarive gen¡e

of the cinema, providing (^) a model for causariry_anci linearity (^) as óe[ as a (^) basiî edi.i"g;"ri";ì;.

A film (^) like Biograpli's prrsonal(l9O+, themodelfor (^) ùe chase fii" *ïr;t;;;j

shows the creation (^) of a narrarive lineariry, (^) as rhe French nobreman runs for his

Iife from dre fiancées his personar corumn ad

has unre¿shed. (^) However, ar rhe same time, (^) as the group (^) of young women pursue their prey towards (^) rhe camera in each (^) shot, rJ-rey (^) encounrer some slighì obstacle (" (^) teí.e,

"

,".p (^) ,i"pl,^,

srream) rha¡ slows rhem aow'.for

the specutor, piovrding u *ini'-rp".'a""r.

pause in rhe unfolding of narrarive. The ÉdÈon

(^) company (^) seemed panicularrv

aware o[ this, since ùev offered

their pl a$anzedu.oìon'oi rt-ro

Siå;;;ilil

(How a Iìrench Noblemtn

Got a WiJe Through th¿

New yorh^ Lícrdd

,personal,

Columns) in cwo fo'ns, as- a

compleie (^) lit* o.'^ (^) ,"prrace shots, (^) so thar anv one

image of rhe ladies chasing_the

man (^) could (^) b" É";;t1;,h; in. ;ä; incìdent (^) <>r (^) narradve closurã

As raura (^) Murvey (^) has shown in a very (^) different (^) conreÌÈ, the dia]ecric

letwlen

spectacìe and na*adve iras

fuered (^) áu.h or (^) the crassicar cinema.ró

Donald C.rafron in his stu.dy of

slapsrick.o*Jy,

:fÀ. pie and rhe (^) chase,, has shown (^) rhe way slapstick did a balancing (^) u., ¡",. (^) the

pr.e

and the rlevelopment ;;;å.^ ;i;; of narra¡rve.17 (^) fir.*c.,

riJìru¿itronat specracre firm

proved nue ro irs.na¡ire

byhighlighring rno*ánr,

of pure

.,,isuai ,,rrL,r"î along (^) witir rurrative. (^) The 1924 vers-ion (^) oi Brnuurlin (^) fact shown (^) at a Bosron theatre w.Lth (^) a timetable (^) announcing the (^) moment (^) of its prime attracdons:

8.35 The (^) Star of Bethlehem

B.4O (^) Jerualem Restored

8.59 Fail oJ the House oJ Hur

10.29 The (^) last Suppn

10.50 (^) Reunænre

The Hol\nvood-adverrising (^) policy of enumerating (^) the features of a Âlm, (^) each ernblazoned vÀth rhe (^) command,'See'shows rhis p'rimal power of (^) the arrracrion running (^) t'enearh rhe (^) armature of nararive (^) regulation.

We seem (^) [a¡ from rhe

"'rront-gardJpremises

with which rhis dÈcus_

it::;,Y*-:::ma

began. But it is impoiani få¡ rhe ¡adicat

heterog.n.iry*hich

r nno rn (^) ezrrty cinema nor to be conceived as a (^) ftuly opposirional (^) p.ò!or_.,

on.

irreconcilable with the growth o[narradve

(^) .iner.ïhis,rie (^) is roo"se'rimánt (^) r and (^) too airistoricat. A fiLm like The.GreatTraín (^) Robbery

e9I3)does poinr in borh

direcrioru, (^) rowards a (^) direct assaur¡

on rhe specuto. (tù.^ ,p".r^.urar1y enrarged

outlaw .ulrloading

his pistol (^) in our (^) faces), ,nd ràu.À (^) a iinear n"Ë,r.

continuiry. This is early flm's ambiguous herimge. Clearly in

(^) ,o*. r.nr. ....n, specracle

'Ínema has^ realfi¡med^ its ioors in^ sdm-urus and Lrnivar rides, in whai

mÍght be r:ìled the Spielberg-Lucas_Coppola

cinema of effeco.

Bu¡ effecr a¡e umed atracrions.

Marinetri and Eisensrein under_

stood thar: rhey were (^) tu-pp*q (^) into. a,source of energy (^) rhar would (^) need focusing

and inrensificarion to furÊi i¡s revorudonary

porriÉiliri... Borh Eise'srein

and Mannecd planned (^) to exaggerate the impacr on,the (^) spectarors, (^) Marinerd propos_

ing-to litr:rally glue ùem to thei¡

seárc (ruÍned^ iu.rn.no paid for^ after^ the performance) and Eisenstein secring firecrackeo (^) offi.n,t, (^) ,ti. É;d;;;;;

in ñlm his,rory imphæ a change inirc acklress

to rhe çecator, ,.ò;.i;;i;; consuucu; (^) Íts (^) specntor in a neui

way. Now in a period of Ameri*n uuunrlg"rdl

cineru in which rhe traditìon

of conrempìariveìubjecrivity (^) has perhrps rin ia (often gìorious) (^) course,

ii is possibre rhaithis earlier'camivãl

of ri.,e cinema, and the merhods (^) of popular entenainmenr, sdll provide (^) an unexhausred (^) resource

a

coney Island of the avancgarde,

whose never domÌnant bur always senseJ currenr (^) can be'rraced (^) from Mériès through Kearon. (^) rhrough (^) unChin anÀ,arou (1928), (^) ar,dJack Smith

EARI.Y CTNEIIÁ

THE crNE*tÀ o¡( ATf

RACT!oNs óì

-t::lljTrlï"--"

Noles

l:irst publrslred rn (^) Wiàe Ang:IevoL-g (^) no. 3/4. Fall 19g6. r' fe*und (^) Léger' 'A crirical essây (^) on ùe plastic qualiries oiAber (^) Gance,s (^) firm rræ whs¿r,

il:::,i9ril,lyi);FunctoníoJp''niåi,åL.ää"äin"Ë;iñ;ïiåîr.Lifile

2. See (^) rny anicles .The^ non-continuous style of (^) earþ fiÌm,, (^) in Roger le00-.?e06 (^) (Bnrssers: Holman (ed.),^ Gnem¿ FtÁF, I9B2),;;j,Á";;ää*i

l"u"r.pace rhe sÞace

in

ä#,Î'äi1,ä'$1;"5oxn=;.'';Æ;ili'"Jr"h"i¡¿i¡r-(.Ð;;;,#t;

.",i,ü;;ö;;;äi;ily,i',?'åîåH:ï; ji?,1;:*liå;1.¿#i,ïi;'"'

Hiscory (August (^) rsas).i"

"¡¿í"

d* p*;;;;.ä;r,;ï;dïü#;

would also like aî^._¿."r,^ *

to nore the (^) imponance (^) of my discrrslio,.s .,uìO^ Aarrn (^) Sion and hope ro invesdeare our funher the' (^) histoj;il;ã;;tr;'iiì, 3 Roben C' ni,r.,^ rp..,uto.. A'e¡I (^) vauÀilte (^) and Fltiö;-ùï,;;fldr'i'M"diornt rortion (^) iN" .

york Amo prcss,^ I9B0), pp. I59. 2ÌZ_i3. '

' (^) ' ¿tsv)^ ttt

]'

ffi1î;Ïfrffi'Jlï:å'J:t

i' (^) Georges sadou t' Georges MíIiès (Paris: seghers,

.f

triþffiffiå'.{ffj::'"'1ffi',"á:x;?i,::ür'iïåïift .u,

o'

ffç;".

*^.ncan Viugraph t897-t90I',

cínemaJotnal,vol. (^22) no. 3, sprÍng 1983,

7' Raymond Fielding,'Hale's toua:

urtrarealism i¡ rhe pre-19r

motion picture', (^) in Feü,

^

lityf{o,iclIfú;pp. it6_¡0.^

'---- (^) -' qrv^ H¡L 'r

ó. l wrsh ro rha¡k Ben Bre,¡¡srer for his comments (^) afrer the orieinal delivery of which pointed out^ rhis^ paper (^) the importanc"

"r;.r"di;,h;"rp.L

Ír,n. o""ma of atuacriórs

9. Eisensrein,'How (^) I became a film.di.oTq¡, (^) in Noøs (^) o/c Fiim Director (Àloscow: Foreign ,^

Langrrage (^) Publ¡shing (^) House. n.d.), p

f6.'

ru- 'The monoge (^) of attm*ior¡s" in s. iú. ¡isenstein, (^) writings !g22-1g34, edired by Richand

, ,. ffIJl.

,t'o"n: BFr, reBB), p. (^) 35.

12. (^) Yon Barna, ELsenstzin(Bloor¡ì¡g6¡; Indiana Universiry p¡ess, (^) 1973), p. t3. 'rhe 59. variety (^) tnor.. ldl¡,in (^) uåb. Ap;ú;äj.liü,i"y,,r, tew

york: Viking press,^ l9Z3). p. (^) IZ7.

I4' MichaerDavis'''vùtointion-o¡Heasu¿(Newyo¡k:RussetsageFoundarion,Dept.

. _ 9f

Child Hygiene, pamphler,^ t9Í t). r). (^) DavidLevy,'Edisonsalænoliryandthecontinuousacrionñ1mÌ904_1906,,inFell,

. (^) -

Fíln Bcþre (^) Grilfrh,pp (^) zrit _ZZ.

rÞ 'vrsuar^ pleasure and narradve cinema"

(^) in Laura (^) Murvey,ví.,uat and other prensura (London: Macmillan, (^) I9g9).

17. (^) Paperdclivered (^) at rhe FIAF Conference (^) on Slapsrick, May 19g5, New york Ciw.
18. NictrolasVardac,Fromstaçeto.screen:Thea¡riàlui,¡a,frr"càrä',ää,Viiilf"

York: BenjaminBlom, l9õ). p.

i;;..

-*'--"'twuwqJtwt¡t

Let (^) There Be Lumière

DAI (^) VAUGHAN

To (^) look (^) cricically and sympathed<zlly (^) ar (^) the beginnings

of cinema _

ar those (^) programmes

oione_minur.é.no n.r, publicly exhibited

in

paris (^) Ín December (^) Ig95, (^) and i¡ London the (^) foltwingîillr|:; likepondering (^) what happened to ,'. uniu.r* (^) in tto (^) il¡sr few mic¡oseconds afte¡ the big (^) barrg.

We need (^) not doubt (^) thac, so far as rhe (^) genesis o[ $lm an^ rs^ concemed, these shov¿s (^) mounted by rhe Lumière brorhers .$rãr, trr" rea¡est (^) we wit find ro (^) a singulariry- (^) Before rhen, norwirhsunding (^) *J f....a.nu as^ rhe phoro-

graphic analysis of animal movemenr

by

'ír;;;;å'ü;iiil;

äi: projecdon (^) of animaæd drawings in Reynaud's iüi;

rúeatr. optiqu.

oîrr.rpã,iã of film narradve merhods in comic

srrþ and rantern sride sequence,

cinema (^) did not exÍsr l! (^) story so frequentry

repeated as ro have assume¿ *r"

r*,u, oitolt tor.

re'o how members

of'th. froiuucirences (^) ¿¿gã*t¿"

as a rrain sæamed

¡owards ¡ÌLem into a sradon. we

cannot serroust! imagine (^) char these eiruc¿ted

people in Paris and London

expected rhe uain (^) r.*.rg" from rhe (^) screen (^) and

run them rlown. It must have

been a reaccion (^) simibiìo

úar which prevenß^ us

from stepping with unconcem

on to a (^) staric esc¿rrr.r, (^) ." "ir.iffi'ÀHii;: may âssur (^) ourserves rhat aD ir requires is (^) a simple (^) sride o, ," r" r-*"¡ììi (^) åì

surface- \Ätrat this iegend means

is ¡hat the pardcurar combination

of visuar

signals present in ùur firm had had no previous

exisrence (^) o¡h¿r (^) thr, ; ,rg"ify*g

a real rain. pulling into a real

surion.

Yet already, in rhis primidve

world, we find strucrures rantalisingly

propheric (^) of some we

know tóday. Compare if-,. wori,.r,

Ieaúng (^) th,, i;;-:;, Factory, few of (^) whom rerurn.our gaze (^) witi even 4 glance frorr, ,nå....n, (^) Jrt the. (^) m.embers (^) disembarking froml river_bo* (^) toi (^) ito'C*g ress oJ photogr aphrc

Soailies at: Neuviile-sur-S¿óne, who greer

the came¡a (^) with'*r.i *";;;;;ã doffing of headgear. (^) Do we nor r.. (^) h.r. rhat diqtinction,

much a parr of our

television (^) axperience, berween rhose who wierd (^) the

fowe¡ of communicâ¡ion

and those who do nor; between those

granted,"i¡åì*ry (^) and those

held in

objecdviry by the rnedia?

Perhaps (^) we (^) should examine more closely (^) rhe recorded (^) responses

of

the (^) earliesl:viewers. A curio¡rs example (^) is offered ln'Stanl"y (^) R..da.#;;;;;

to the BFfs sound (^) version of

the frm Brirish Lumière programme. This

(^) ended wi¡h' (^) BoatLeavingwbour; ancl we (^) are.rold r¡u, (^) uiriìoi, .re forward after the performance (^) to poke

ar the screen^ wi¡h thei¡ walking scicks. convinced

drat it must (^) be made of glass and concear a unk (^) of warer. (^) ilril. *.

,n.y uilo* *rir-ro

pass as a measure of

the wonderment caused by the first

.ií. (^) .agofr.rì.

62 EARLy clNEfiÂ

LEf THER.E 8Ê

TUÁTEßE 63

'-i-:lT:!nÏt