This programme proposes to illustrate the work of cataloguing and restoration carried out by Archives du Film of the Centre National de la Cinématographie, within the framework of the first centenary celebrations.

From the Factory to the World

Like every invention, the cinematograph did not appear from nowhere. The work of cataloguing led to the discovery of a print on a paper support (Jeux d’enfants dans une rue, out of catalogue), probably prior to the first film on celluloid base (91: Sortie d’usine), filmed on the 19th of March 1895.

From 1896 onwards, the cinematograph spread all over the world within a few years, after the realisation of the early films which portray the native city (101: Bataille de neige) and the ambience closest to the Lumière family (1102: Le toilette du petit chien). Soon works were being realised in the rest of France (1216: Pau: La Terrasse), in Europe (250: Angleterre: Londres: Entrée du Cinématographe;   318: Suisse: Schaffhouse chutes du Rhin vues de loin; 294: Italie: Venise: grand canal avec barques; 1035: Puits de pétrole à Bakou), and on the other continents (1276: Indochine: Déchargement du four à briques).

 The Obsession with Motion

The great novelty of the cinematograph lies in its capacity to record and reproduce life in motion. To exalt such a specific characteristic, the cameramen choose places of movement (streets with vehicular and pedestrian traffic, military parades). Also when the subjects are filmed in a limited space, they must move (1396: Lorient: Ecole de gymnastique de la marine: leçon de boxe). When the operator has doubts about the mobility of his subject, he provokes or he accentuates movements (1274: Indochine: Enfants aunamites ramassant des sapèques devant la pagode des dames, where the babies look like a flock of birds in flight).

A world famous work perfectly illustrates this fascination with movement (653: Arrivée d’un train à la Ciotat) showing the desire to create an emotion based on the arrival of a train: the locomotive must appear from the bottom of the screen. It is logical, therefore, that the cine-camera in filming the movement, decides to “make a big step” and leaps onto the train to take its place (1212: Panorama de la ligne de Cauterets). From this moment on this allows for any type of movement: in a boat (295: Italie: Venise: Panorama du Grand canal pris d’un bateau), in a lift (992: Exposition universelle de Paris 1900: Panorama pendant l’ascension de la Tour Eiffel). The logical conclusion of this fascination creates the most beautiful works of filmography (1241: Vue prise d’une baleinière en marche; 1296: Indochine: le village de Namo: Panorama pris d’une chaise à porteurs).

Fireworks

Finally, the presence of colour is proof of an extraordinary work: 765: Danse serpentine.

(Michelle Aubert)