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Posts tagged “Cinemagician

Georges Méliès

Georges Méliès (8 December 1861 – 21 January 1938), was a French filmmaker famous for leading many technical and narrative developments in the earliest cinema. He was very innovative in the use of special effects. He accidentally discovered the stop-trick, or substitution, in 1896, and was one of the first filmmakers to use multiple exposures, time-lapse photography, dissolves, and hand-painted color in his films. Because of his ability to seemingly manipulate and transform reality through cinematography, Méliès is sometimes referred to as the First “Cinemagician”.

He directed over 530 films between 1896 and 1914, ranging in length from one to forty minutes. In subject matter, these films are often similar to the magic theater shows that Méliès had been doing, containing “tricks” and impossible events, such as objects disappearing or changing size. These early special effects films were essentially devoid of plot. The special effects were used only to show what was possible, rather than enhance the overall film.

Méliès’s early films were mostly composed of single in-camera effects, used for the entirety of the film. For example, after experimenting with multiple exposure, Méliès created his film The One Man Band in which he played seven different characters simultaneously.

His most famous film is ‘A Trip to the Moon’ (Le voyage dans la Lune) made in 1902, which includes the celebrated scene in which a spaceship hits the eye of the man in the moon. Also famous is ‘The Impossible Voyage’ (Le voyage à travers l’impossible) from 1904. Both of these films are about strange voyages, somewhat in the style of Jules Verne.  These are considered to be some of the most important early science fiction films, although their approach is closer to fantasy. 

In addition, horror cinema can be traced back to Georges Méliès’s ‘Le Manoir du diable’ (1896). A print of the film was acquired by Thomas Edison, who then duplicated and distributed it in the United States, where it achieved financial success; however, Edison did not pay any revenues to Méliès.