“Flânerie”, Corporeality and Film in Music-Hall: Georges Méliès in the World of Modernist City Pleasures
Abstract
The article deals with the notion of “broken space” in music-hall, analysed as an example of new urban space, in which, in the beginning of the 20th century, cinema is an object of regular consumption under conditions similar to these in which the practice of flänerie takes place. Trying to restore cinema to the “transient” architecture that music-hall creates, the author explores the idea of audience mobility, starting from the ways in which space is occupied and used, which emphasize the role of seeing and looking (la vision), and aimless wandering without consumption. It turns out that the films by George Melies and those with the participation of Harry Houdini analysed from this angle, take central place in the con- stellation of attractions aiming at re-awakening the fear of an accident among the spectators, especially between that which is alive and the mechanical, in space, which it would appear, protects the public from the dangers of the boulevards.
Keywords:
Georges Méliès, flânerie, cityReferences
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Authors
Stéphane Tralongokwartalnik.filmowy@ispan.pl
Université de Lausanne, UNIL Switzerland
Doktor nauk o literaturze i sztuce; jest pierwszym asystentem w sekcji historii i estetyki filmu na Uniwersytecie w Lozannie. Autor dysertacji doktorskiej opisującej pojawienie się spektaklu kinematograficznego w kontekście sztuk scenicznych we Francji (Uniwersytet Lyon 2 / Uniwersytet w Montrealu). Członek kanadyjskiego zespołu badawczego GRAFICS. Wyniki jego badań nad wczesnym kinem były publikowane między innymi w czasopismach „Cinema & Cie”, „Etudes Theätrales” i „Revue d’Etudes Proustiennes”.
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