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Les Affiches en goguette (Méliès, 1906), 230n47
Alice Guy tourne une phonoscène sur la théâtre de pose des Buttes-Chaumont (Gaumont, 1905), 156
American Film Manufacturing Company, 4, 174–75, 196
American Mutoscope and Biograph: and artificial light, 7, 90, 95–99, 101, 236n25; Bronx studio, 8, 213n20; competition, 88, 105, 117; and W. K. L. Dickson, 48–49; dispute with Edison, 92, 95–96; films, 103, 238n45; Los Angeles studios, 181, 183; Manhattan studio, 97–98; open-air studio, 5, 48–49; westward expansion, 172, 178, 182
American Vitagraph: Brooklyn studios, 7, 105–107, 110–111, 238n49; competition, 88, 105, 117; and concrete, 110–111, 240n64; film production, 105, 251n99; in Jacksonville, FL, 173; Manhattan rooftop studio, 5, 105; and prismatic glass, 108, 110; relationship between architecture and corporate image, 111; and studio lighting, 101, 107; westward expansion, 172, 184, 191, 260n7
Amy Muller (Heise, 1896), 44
Annie Oakley (Heise, 1894), 44
architectural modernism, 89, 119
architecture: and cinematic space, 10; close relationship to cinema, 14–15, 109–110, 120, 215n36, 215n37; and film form, 42, 204, 208; fin-de-siècle architecture, 77; glass-and-iron architecture, 55–59; modern architecture, 14, 89, 105, 109–110, 112, 119, 124. See also studio architecture; urban architecture
artificial light. See light
Au pays noir (Zecca, 1905), 141
L’Auberge de bon repos (Méliès, 1903), 70
L’Auberge ensorcelée (Méliès, 1897), 70
Barbe-bleue (Méliès, 1901), 75, 76
Black Diamond Express (Edison, 1900), 52
Black Maria: aesthetic, 9, 25, 28, 43, 204; appellation, 23, 28; as architectural solution, 25, 39; black tunnel, 27, 39, 43; demolition, 48; design, 12, 24, 27–29, 39, 48; environmental control, 40, 54; films, 43–44, 47; first studio, 5, 9, 23; “framed aesthetic,” 14, 43–44, 49, 204; as “laboratory,” 31, 32, 206; reconstruction, 210; regulation of light, 39, 40–41; retractable roof, 16, 39; rotation, 16, 28, 39, 40
British Mutoscope Company, 6
Building Made Easy, or How Mechanics Work in the Twentieth Century (Edison, 1901), 94
Carmen (Boggs, 1909), 180
Champion film company, 178
Le Château hanté (Méliès, 1897), 70
Chez le photographe (Baron, 1899), 213n18
Chocat, Pierre Etienne Auguste, 63
Chimmie Hicks at the Races (Biograph, 1900), 49
Chirurgie fin de siècle (Méliès, 1900), 78
cinema: close relationship to architecture, 14–15, 109–110, 120, 208, 215n36, 215n37; early cinema’s development, 3–4, 16, 24, 29, 59, 62, 100, 205; industrialization, 105–106, 108, 127–28, 132–33, 151, 160; as modern technology, 17, 19–21, 77, 85, 207; relationship to photography, 62, 68; and urban architecture, 87–89
cinema of attractions, 44, 46, 50
Cinématographe at the Salon Indien. See Grand Café
Cité Elgé, 7, 15, 125–26, 166; design, 152–55; and electricity, 151, 152, 156; expansion, 152, 157, 158–60; film production, 154–57; industrialization, 148, 152, 158, 160, 208; location, 130; research and development, 157–58
Clown, chien, ballon (Guy, 1905), 155
Le Coffre enchanté (Méliès, 1904), 73
Collapsible Studio, 13, 176
Compagnie Général des Phonographes, Cinématographes, et Appareils de Précision, 133, 135, 136, 137, 140, 144, 146, 244n16, 245n25. See also Pathé Frères
Cooper Hewitt Electric Company, 97
La Course à la saucisse (Guy, 1907), 163
Count of Monte Cristo, The (Boggs, 1908), 172
Crissie Sheridan (Edison, 1897), 44
Devil’s Slide (Bitzer, 1902), 174
Dickson, W. K. L.: at Biograph, 5, 48–49; design of the Black Maria, 12, 16, 23–24, 26–27, 39–43, 60; at the Edison laboratory, 11, 32, 34–37, 47–48, 219n8; “framed aesthetic,” 14, 43–44, 46, 49, 204; motion picture experiments, 35, 37–38, 46–47
Dickson Experimental Sound Film (Dickson and Heise, 1895), 47
Dickson Greeting (Dickson and Heise, 1891), 38
East Coast Productions, 178
Edison Electric Light Company, 235n12
Edison laboratory, 5, 24, 31–36; motion picture experiments, 35, 37–38, 46–47; phonograph studio, 47–48, 121, 224n69; photographic building, 11, 35, 37
Edison Manufacturing Company: Bronx studio, 7–8, 9, 15, 112–18, 145; East 21st Street studio, 7, 53, 91–92, 95; electricity, 96–97, 149, 236n21; film production, 93–94, 105, 118; monopoly, 92, 95, 96, 105. See also Black Maria; Portland cement
Edison National Historic Site, 210
electrical lighting. See light
Electrocuting an Elephant (Edison, 1903), 96
Escamotage d’une dame chez Robert-Houdin (Méliès, 1896), 70
Execution of Czolgosz (Porter, 1901), 96
Exposition internationale d’électricité, 149
Exposition Universelle, 35, 149
Extramission 6 (Black Maria), 210
Faust aux enfers (Méliès, 1903), 75
Florida: filming in Jacksonville, 172–73; “the first Hollywood,” 172
Galeries des Machines, 55, 57, 83
Gaumont, 17–18, 125–26, 134; capitalization, 132; and electricity, 148, 151, 152; films, 160, 162–64; glass studio, 7; research and development, 148–49, 151, 157–58, 166–67; and WWI, 166–67, 207–208, 260n5. See also Cité Elgé
glass, 56, 117, 169; “glass house,” 11, 16, 54–55, 57, 92, 99, 114; “glass room,” 35, 40, 222n43; glass studio, 5, 7, 9, 55, 56, 111, 178–79, 184, 214n34; prismatic glass, 12, 88, 107–110
glass-and-iron architecture, 15, 55–59, 67, 73; glass-and-iron studios, 6, 7, 56, 68, 76, 92, 93, 95, 141
La guirlande merveilleuse (Méliès, 1903), 73
Heart of a Race Tout, The (Boggs, 1909), 180
Une Héroïne de quatre ans (Guy, 1907), 163
Une Histoire roulante (Guy, 1906), 163
L’Homme-mouche (Méliès, 1902), 72–3
L’Homme à la tête en caoutchouc (Méliès, 1901), 72
L’Homme orchestra (Méliès, 1900), 72
Un Homme de tête (Méliès, 1898), 71–72
In the Power of the Sultan (Boggs, 1909), 180
industrial modernity, 10, 24, 34, 71, 85, 103, 124, 128, 196, 203, 207
industrialization: of American cinema, 89, 105–106; of cinema, 108, 160; of French cinema, 7, 132–35, 140, 148; of laboratories, 30; of Paris, 138–39, 145, 148, 243n6
infrastructure: and capital, 160, 162; electrical infrastructure, 148–51, 206; and expansion, 87, 135, 184, 252n8; as film subject, 162–63; New York, 89–90; Paris, 128, 133; studio infrastructure, 7, 105, 125–26, 139, 158, 169, 182–85; transportation infrastructure, 139; urban infrastructure, 10, 87–88, 202
Interior NY Subway 14th Street to 42nd Street (Bitzer, 1905), 103
Intolerance (Griffith, 1916), 125, 196
Jack and the Beanstalk (Porter and Fleming, 1902), 93
Jenney, William Le Baron, 109
Joseph Loth & Co. Silk Ribbon Mill, 114–15
light: artificial light, 16–17, 35, 80, 88, 95–101, 109, 156; and control, 12, 182; daylight factories, 88, 119, 121, 203; electrical light, 14, 52–53, 87, 90–91, 96–99, 101, 109, 136, 149, 172, 235n12; incandescent lighting, 97, 98, 101; natural light, 14, 41, 57, 108, 115, 119, 198; and realism, 100; regulation of, 35, 39, 60, 158, 169; solar illumination, 12; and studio migration, 171, 173, 179; sunlight, capture of, 16, 27–28, 40, 99, 104–105, 107–108, 224n60. See also Cooper Hewitt lamps; luminosity
Le Locataire diabolique (Méliès, 1909), 70–71
location shooting, 13, 170, 185, 189–90; accessibility, 190; “location” as commodity, 190; “location” as limited resource, 186, 189; location “prospecting,” 186–87; new film subjects, 173–74; and privatization, 190, 191–92; and realism, 100; “studio beyond the studio,” 170, 188; and the urban environment, 88, 129, 165. See also backlot
Lubin, Siegmund, 5, 8, 173, 176; Betzwood, 8, 189; Lubinville, 8, 107, 189
Lumière, Auguste and Louis, 11, 67, 68
La lune à un mètre (Méliès, 1898), 70
Le Magicien (Méliès, 1898), 70
Manhatta (Sheeler and Strand, 1921), 88
Manual of Photography, A (Lea, 1868), 11, 35, 40
Méliès, Georges: formal innovation, 74; glass house, 54, 55; matte inserts, 71–72, 75; multiple exposures, 71–73, 75; painted backdrops, 66, 75, 83; as studio architect, 55, 60; studio design, 60–61, 74–75; and studio photography, 11, 61–65; studios, 6, 7, 14, 68, 75, 80, 82–85, 95; substitution effects, 69–71, 75; and technology, 56–57, 77–80, 233n70; treatment of film space, 66–67, 69–77; trick films, 14, 56, 68–70, 75–76
Moisson, Georges, 15, 145
Moisson, Théodore-Léon, 15, 145
Motion Picture Patents Company, 80, 178
Mr. Edison at Work in His Chemical Laboratory (White and Heise, 1897), 32
nature: cinema’s ability to capture, 22, 175; cinema’s artificial reproduction of, 18, 90, 179, 185, 188, 195, 206; and location shooting, 174; paradoxical relationship to cinema, 16–18, 51, 66, 185, 195; relationship with technology, 20–21, 24, 53–54, 99, 175, 206–207; replacement of, 24, 108; as studio, 193, 195–96, 198, 256n66. See also landscape; scenics
New York Motion Picture Company, 172, 192, 193
Old Faithful Geyser (Edison, 1901), 174
Old Maid Having Her Picture Taken, The (Porter and Fleming, 1901), 93
Opening Ceremonies, New York Subway, October 24, 1904 (Edison, 1904), 92
Opening of New East River Bridge (Edison, 1903), 92
Pan-American Exposition, 52
Pan American Exposition by Night (Porter and White, 1901), 53
Panorama View, Street Car Motor Room (Bitzer, 1904), 103
Paris 1900 Exhibition, 52
Paris qui dort (Clair, 1924), 215n37
Passaic Falls (Heise, 1896), 52
Pathé Frères: in California, 182, 184, 192; capitalization, 132–33, 135; division of labor, 137; electric light, 136, 246n32; expansion, 135–38, 146, 248n68; Joinville-le-Pont studio, 7, 15, 142, 145–47, 260n7; and Méliès, 77–78, 80–81; Montreuil studio, 7, 138–39; municipal regulation, 143–45; Vincennes studio, 7, 15, 130–31, 140–41, 147. See also Compagnie Général des Phonographes, Cinématographes, et Appareils de Précision
Peerless Feature Producing Company, 179
La Photographie électrique à distance (Méliès, 1908), 80
Le Portrait mystérieux (Méliès, 1899), 72
Le Portrait spirite (Méliès, 1903), 73–74
La Possession de l’enfant, 156, 165
Les Quatre cents farces du diable (Méliès, 1906), 79
Le Raid New York–Paris en automobile (Méliès, 1908), 78
Raleigh & Robert studio, 9
Repas de bébé (Lumière, 1895), 174
reverse motion effects, 94
Robertson, Etienne-Gaspart, 63
Robetta and Doretto (Dickson and Heise, 1894), 44
Robin Hood (Dwan, 1922), 125
Rough Sea at Dover (Acres and Paul, 1895), 51, 174, 253n14
Royal Gorge (Edison, 1898), 174
Sandow (Biograph, 1896), 49
“Scènes de la vie telle qu’elle est” series, 129, 156, 164–65
Schwarzmann, Hermann, 114
Shocking Incident, A (Biograph, 1903), 98
Skyscraper Symphony (Florey, 1929), 88
Société cinématographique des auteurs et gens de lettres studio, 9, 147, 251n99
La Sortie des usines Lumière (1895), 51
La Soubrette ingénieuse (Zecca, 1902), 230n49
Sous le toits de Paris (Clair, 1930), 215n37
space: architectural space, 16–17, 123, 204; cinematic space, 10, 43, 59, 68, 123, 202; human experience of, 205; light and dark, 44; and modernism, 14–16; spatial dominance of studios, 147; spatial dynamism, 69–71; studio space, 50; technological space, 22, 24, 25, 206; urban space, 15–16, 88, 129, 162. See also spatial plasticity
Le Statue (Guy, 1905), 154, 156
Studio and What to Do in It, The (Robinson, 1891), 11
studios: aesthetics, 9, 145; appelations, 2, 9–10; definition, 4; environmental control, 18, 19, 35, 39, 48, 181; form and function, 44, 141, 209; health and safety, 143–44; histories of, 3–4; and industry norms, 170; infrastructure, 7, 105, 125–26, 139, 158, 169, 182–85; as “plant” or “factory,” 9, 108, 203; relationship to film form, 3, 14, 49–50, 202, 204; rotating studio, 5, 6, 40–41, 49; and systematization, 127–29, 140, 154, 158; weather, regulation of, 25, 41. See also backlot; Black Maria; Collapsible Studio; “dark” studio; light; open-air studios; photography studios; rooftop studio; studio architecture; studio tours
studio architecture: and cinematic space, 10–11, 123; and corporate image, 111; design principles, 31, 33; and efficiency, 12, 158, 203; and film form, 2–3, 13, 141; and industrial practice, 3, 88, 116–17; regulation of light, 12, 41, 88–89, 104–105; regulation of space, 16–17, 137; materials, 12, 16; and movement, 25, 43–44; municipal oversight, 89, 113–14, 117–18, 143–45; and the natural environment, 41
technology: and cinema, 17, 19–20, 208–209; and danger, 79–80; as film subject, 77–79, 103, 163, 202; film technologies, 24, 30, 52, 202; and the Industrial Revolution, 17, 226n4; and modernization, 158; photographic technology, 148; relationship with nature, 20–21, 24, 53–54, 99, 175, 206–207; research and development, 30, 148, 149, 151; technological change, 17, 19, 32, 77, 85, 207. See also experimentation; invention; laboratories
temperature, regulation of, 31, 40–41
Triangle Film Corporation, 178
Le Tripot clandestine (Méliès, 1906), 70
Twentyfour-Dollar Island (Flaherty, ca. 1926), 88
Union Iron Works (Edison, 1898), 51
Upside Down, or The Human Flies (Paul, 1899), 230n49
Les Vampires (Feuillade, 1915–16), 156, 165
La Vie du Christ (Guy, 1906), 155
Vingt milles lieus sous les mers (Méliès, 1907), 78, 232n66
Visite sous-marine du Maine (Méliès, 1898), 78
Le Voyage à travers l’impossible (Méliès, 1904), 78, 79, 80
Le Voyage dans la lune (Méliès, 1902), 75, 78, 79, 80, 93
Le Voyage de la famille Bourrichon (Méliès, 1913), 70, 233n74
Westinghouse Air Brake Company (Bitzer, 1904), 103
What Happened on Twenty-Third Street, New York (Edison, 1901), 92