Chronicling one of the greatest and most popular national cinemas, Republic of Images traces the evolution of French filmmaking from 1895âthe year of the debut of the Cinematographe in Parisâto the present day. Alan Williams offers a unique synthesis of history, biography, aesthetics and film theory. He brings to life all of the major directors, setting before us the cultures from which they emerged, and sheds new light on the landmark films they created. He distills what is historically and artistically unique in each of their careers and reveals what each artist has in common with the forebears and heirs of the craft.Within the larger story of French cinema, Williams examines the treasury of personal expression, social commentary, and aesthetic exploration that France has produced so consistently and exported so well. It is the tale of an industry rife with crises, and Williams offers a superb narrative of the economic, political, and social forces that have shaped its century-long history. He provides biographical sketches of filmmakers from the early pioneers of the silent era such as Louis LumiĂšre and Alice Guy to modern directors such as Louis Malle, Claude Chabrol, and François Truffaut. Some of their careers, he shows, exemplify the significant contributions individuals made to the development of French fllmmaking; others yield illuminating evidence of the problems and opportunities of a whole generation of filmmakers. Throughout, he presents critical analyses of significant films, from The Assassination of the Duc de Guise (1908) to works by the postâ nouvelle vague directors.Williams captures the formal and stylistic developments of film in France over nearly one hundred years. Free of cant and jargon, Republic of Images is the best general account available of the rich interplay of film, filmmaker, and society. It will delight both general reader and student, as well as the viewer en route to the video store.
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Classical theatre staged its minimal actions in minimal stage settings, ideally unchanging throughout an entire play, whereas the nineteenth century popular stage gloried in extravagant and numerous sets. The other senses were not neglected either: melodrama included abundant music (often substituting for speech), striking sound effects, and even the occasional attempt at the mise en scĂšne of smells. Classical theatre was orderly, hierarchical, and discreet; melodrama and related genres like the mime play were baroque, egalitarian, and exhibitionistic, like the new audiences they appealed to. For this was, not coincidentally, the beginning of the mass marketing of spectacle, of which the cinema was to be one of the most notable later developments.
Possibly the increasing density and diversity of the modern city accounted in part for such developments. This was the opinion of Walter Benjamin, who considered Paris, as much for its material as for its intellectual qualities, the âcapital of the nineteenth century.â In any event, Paris was the site of the exemplary visual consumer experience of the early modern period, the Diorama. Beginning in 1822, patrons of this attraction could enter a small theatre just off the so-called âBoulevard of Crimeâ and see âThe Earthquake at Lima,â âThe Goldau Valley Before and After the Catastrophe [a huge landslide],â or the celebrated âMidnight Mass at St.-Etienne-du-Mont.â These shows were produced by means borrowed largely from the melodrama; they made ample use of transparent fabrics printed on both sides (where a change of lighting produced a proto-âdissolveâ), as well as sound effects, pyrotechnics, small moving models, multi-plane coordinated movement, and so on.
This was as far as Niepce got with the process, but it was enough to arouse the persistent interest of Daguerre, who wrote repeatedly to the inventor suggesting scientific collaboration and professional partnership. Niepce eventually agreed, apparently because he could not reduce his exposure times, and also perhaps because of his visit to the Diorama, with which he pronounced himself much impressed: âThese representations are so real, even in their smallest detail, that one believes that he actually sees rural and primeval nature ⊠The illusion is so great that one attempts to leave oneâs box in order to wander out into the open and climb to the summit of the mountain.â3 In 1829 the two men signed a partnership agreement and Daguerre learned the secret of what Niepce called heliography. Niepceâs trust in Daguerreâs tinkering abilities and commercial acumen was to prove well founded. Though the first heliographer died in 1833, before the perfection of his process, his heirs were to profit handsomely from itâthough not, to be sure, as much as Daguerre.