When evil is great and without radical medicine, we take improvised medicines – in the cinema´s industrialization the origins of public organization in France (1895-1914)
DOI:
https://doi.org/10.5965/2175180313322021e0203Abstract
The worldwide expansion of the commercial cinema theater between 1908 and 1914 was remarkable, and undeniable. In this paper, we seek to demonstrate that this expansion, or industrialization of cinema, developed in business logic that sought to explore as much as possible the reproducibility of the film and the multiplication of the number of spectators. Then came the first idea of the modern public. The formation of this public also went through the naturalization of the mode of representation of classical cinema, with its themes and formats that instituted passivity in individuals before the films. However, the position of the early-twentieth-century French working class movement vis-à-vis the cinematographer demonstrates that the creation of this mode of representation was not passively felt. The social coexistence of the workers in the first years of cinema´s existence presented another form of relationship with the moving picture, different from the commercial one, pointing in the category of “public” a scale of analysis in contemporary history alternative to the consecrated notions of “mass” or “spectator”.
Downloads
References
ADORNO, T. W.; HORKHEIMER, Max. Dialética do esclarecimento: fragmentos filosóficos. Rio de Janeiro: Jorge Zahar Ed., 1985.
ALTENLOH, Emilie. Pour une sociologie du cinéma (1914). In: BANDA, Daniel; MOURE, José. Le cinema: naissance d’un art – 1895-1920. Paris: Éditions Flammarion, 2008.
ARCHIVES NATIONALES. AN F715954/1: direction de la surete generale: dossier Sebástien Faure. Pierrefite-sur-Seine, [19--]. Série F/7 Police Générale.
DE AMICIS, Edmondo. Cinématographe Cérébral. In: BANDA, Daniel; MOURE, José. Le cinema: naissance d’un art – 1895-1920. Paris: Éditions Flammarion, 2008.
BANDA, Daniel; MOURE, José. Le cinema: naissance d’un art: 1895-1920. Paris: Éditions Flammarion, 2008.
BRENEZ, Nicole. O cinema e o “uso das representações”. In: MARINONE, Isabelle. Cinema e anarquia: uma história “obscura” do cinema na França (1895-1935). Rio de Janeiro: Azougue Editorial, 2009.
BURCH, Noel. La lucarne de l’infini: naissance du langage cinématographique. Paris: L’Harmattan, 2007.
COSTA, Flávia Cesarino. Primeiro Cinema. In: MASCARELLO, Fernando (org.). História do cinema mundial. Campinas: Papirus, 2006. p. 17-52.
DAUTHUILLE, A. En Champagne – Cinéma-Police. Le Libertaire, Paris, 29 abr. 1911.
DUREAU, Georges. Le Cinématographe et la Police. Ciné-Journal, Paris, p. 3, 21 janvier 1911.
ESQUENAZI, Jean-Pierre. Sociologia dos públicos. Porto: Porto Editora, 2006.
FAIT divers: films patriotiques. La Bataille Syndicaliste, Paris, 22 fevrier 1914.
GRAVE, Jean. La Société mourante ou l’anarchie. Paris: Tresse & Stock Éditeurs, 1893.
GUICHARD, E. Au Cinéma. Le Libertaire, Paris, 27 mai 1911.
HERZOG, Charlotte. The movie palace and the theatrical sources of its architectural style. In: HARK, Ina Rae (org.). Exhibition, the film reader. Londres: Routledge, 2002.
LAURENT, E.; LEPINE. Extrait de l’ordonnance de Police Concernant les Theatres (Cinématographes). Paris, le 10 Août 1908. In: Cinéma: Annuaire de la projection fixe et animée. Paris, Charles-Mendel Editeur, p. 52, 1911.
LE PUBLIC et le cinema. La Bataille Syndicaliste, Paris, 04 mars 1913.
LEVI, Giovanni. Comportamentos, recursos, processos: antes da “revolução” do consumo. In: REVEL, Jacques (org.). Jogos de escalas: a experiência da micro-análise. Rio de Janeiro: Fundação Getúlio Vargas Editora, 1998. p. 203-224.
MACEDO, Felipe. Cinéma du Peuple, le premier cinéclub. The cineclub’s review: n. 1. Marília: Editora Praxis, 2010.
MARINONE, Isabelle. Cinema e anarquia: uma história “obscura” do cinema na França (1895-1935). Rio de Janeiro: Azougue Editorial, 2009.
MARTINET, Marcel. Le cinema nécessaire. La bataille Syndicaliste, Paris, 09 mars 1913.
MAUERHOFER, Hugo. A psicologia da experiência cinematográfica. In: XAVIER, Ismail (org.). A experiência do cinema. Rio de Janeiro: Graal, 1983.
MCDONALD, D. Association Bulletin n. 14. Executive Committee meeting. In: Views and film index. New York: Films Publishing Co, n. 106, May 2, p. 5, 1908.
MENOTTI, Gabriel. Arquitetura da espectação: a construção histórica da situação cinema nos espaços de exibição cinematográfica. Revista Eletrônica do Programa de Pós-Graduação em Comunicação da Universidade Federal Fluminense, Rio de Janeiro, Ano 9, n. 18, p. 1-12, jul. 2007.
MERCIER, Lucien. Les universites populaires: 1899-1914: éducation populaire et mouvement ouvrier au début du siècle. Préface de Madeleine Rebérioux. Paris: Collection Mouvement Social; Les Éditions Ouvrières, 1986.
MORETTIN, Eduardo V. O cinema como fonte histórica na obra de Marc Ferro. In: CAPELATO, Maria Helena et al. História e cinema: dimensões históricas do audiovisual. 1 ed. São Paulo: Alameda Casa Editorial, 2007. p. 39-64.
MUNDIM, Luiz Felipe C. As marchas de Gustave Cauvin: a primeira forma sistematizada e regular do cinema militante. Revista Mundos do Trabalho, [S.l.], v.9, p. 83-98, 2018.
MUSSER, Charles. L’industrie du cinema em France et aux États Unis entre 1900 et 1920: l’évolution du mode de production. In: BENGHOZI, Pierre-Jean; DELAGE, Christian. Une histoire économique du cinéma français: 1895-1995: regards franco-américains. [Paris]: L’Harmattan, 1997. p. 63-80.
NORRIS, Frank. McTeague: a story of San Francisco. New York: Double Day & Company, 1904.
PERRON, Tangui. Le contrepoison est entre vos mains, camarades’: C.G.T. et cinéma au début du siècle. Le Mouvement Sociale, Paris: Éditions de l’atelier, n. 172, p. 21-36, juil./sept. 1995.
RANNEY, H. M. Account of the terrific and fatal riot at the New-York Astor Place Opera House: on the night of May 10th, 1849. New-York: H. M. RANNEY, 1849.
REVEL, Jacques. A história ao rés-do-chão. In: LEVI, Giovanni. A herança imaterial: trajetória de um exorcista no Piemonte do século XVII. Rio de Janeiro: Civilização Brasileira, 2000. p. 7-37.
SCHWARTZ, Vanessa. O espectador cinematográfico antes do aparato do cinema: o gosto do público pela realidade na Paris fim-de-século. In: CHARNEY, Leo; SCHWARTZ, Vanessa R. (org.) O cinema e a invenção da vida moderna. São Paulo: Cosac & Naify, 2001. p. 411-440.
WHAT PATHÉS visit means. In: Views and film index. New York: Films Publishing Co, n. 106, May 2, p. 3, 1908.
YOUNG, Paul. Telling descriptions: Frank Norris’s kinetoscopic naturalism and the future of the novel, 1899. In: MODERNISM / MODERNITY. [Baltimore]: The Johns Hopkins University Press, 2007. v. 14. p 645–668.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Tempo e Argumento
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
The articles published by the magazine are for free use, destined for educational purposes and not commercial. The copyrights are all granted to the magazine. The articles whose authors are identified represent the expressed opinion of its authors and not the official position of the Tempo e Argumento magazine or of the Postgraduate Program in History of the Universidade do Estado de Santa Catarina.
