‘Like a butterfly under glass’: the cancan, Loïe Fuller and cinema
‘Like a butterfly under glass’: the cancan, Loïe Fuller and cinema
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“就像玻璃下的蝴蝶”：康康舞、洛伊·富勒和电影
DOI：
10.1386/padm.5.2-3.107/1
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发表时间：
2009
期刊：
影响因子：
--
通讯作者：
Claire Parfitt
中科院分区：
文献类型：
--
作者：
Claire Parfitt
摘要本文讨论了早期电影与现场娱乐环境之间的关系，它是在巴黎电影院诞生的。以前电影、舞蹈和视觉文化理论家对这种关系的描述经常将洛伊·富勒的编排视为电影中光、动作和技术融合的关键先驱。然而，本文认为，富勒的作品在很大程度上不同于早期电影的美学，汤姆·冈宁(1990)将其称为“景点电影”。相反，有人认为，景点的电影院与流行的巴黎咖啡馆--音乐会和舞厅--的美学更接近，富勒的作品与之形成了对比。这种美学借鉴了自19世纪20年代末以来康康舞所体现的神秘舞蹈机器的浪漫话语。有人认为，富勒最著名的作品并不是抢占了早期电影，而是在1907年左右叙事电影的兴起。采用了跨学科的方法，借鉴了早期电影研究、舞蹈研究以及英法文学学者对19世纪法国表演的研究。这一结论意味着对早期电影及其美学的重新定位，涉及到更广泛的娱乐、观众和舞蹈背景。
Abstract This article discusses the relationship between early cinema and the live entertainment context from which it emerged in fin-de-siéle Paris. Previous accounts of this relationship by film, dance and visual culture theorists have often identified Loïe Fuller's choreography as a key precursor to cinema's confluence of light, movement and technology. This article argues, however, that Fuller's work differed in significant ways from the aesthetic of early cinema, labelled the ‘cinema of attractions’ by Tom Gunning (1990). Rather, it is argued that the cinema of attractions was more closely aligned with the aesthetic of the popular Parisian café-concert and dance hall, with which Fuller's work was contrasted. This aesthetic drew on the romantic discourse of the uncanny dancing machine that had been embodied by the cancan since the late 1820s. It is proposed that Fuller's most famous work preempts not early cinema, but the rise of narrative cinema around 1907. An interdisciplinary approach is employed, drawing on literature from early film studies, dance studies and research on nineteenth century French performance by English and French literature scholars. The conclusion implies a repositioning of early cinema and its aesthetic in relation to the broader contexts of fin-de-siécle entertainment, spectatorship and dance.