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themselves set to work separating the film frames, discovering that only the edges of the film stock had decomposed and congealed together, and thus that many of the frames themselves were still salvageable. Between 2002 and 2005, various digitisation efforts allowed 13,375 fragments of images from the print to be saved. In 2010, a complete restoration of the hand-colored print was launched by
Lobster Films, the Groupama Gan Foundation for Cinema, and the Technicolor Foundation for Cinema Heritage. The digitised fragments of the hand-colored print were reassembled and restored, with missing frames recreated with the help of a black-and-white print in the possession of the Méliès family, and time-converted to run at an authentic silent-film speed, 16 frames per second. The restoration was completed in 2011 at
742:. Rather than attempting to move his weighty camera toward an actor, he set a pulley-operated chair upon a rail-fitted ramp, placed the actor (covered up to the neck in black velvet) on the chair, and pulled him toward the camera. In addition to its technical practicality, this technique also allowed Méliès to control the placement of the face within the frame to a much greater degree of specificity than moving his camera allowed. A substitution splice allowed a model capsule to suddenly appear in the eye of the actor playing the Moon, completing the shot. Another notable sequence in the film, the plunge of the capsule into real ocean waves filmed on location, was created through
608:. The French film historian Thierry Lefebvre hypothesises that Méliès drew upon both of these works, but in different ways: he appears to have taken the structure of the film—"a trip to the Moon, a Moon landing, an encounter with extraterrestrials with a deformity, an underground trek, an interview with the Man in the Moon, and a brutal return to reality back on Earth"—directly from the 1901 attraction, but also incorporated many plot elements (including the presence of six astronomers with pseudo-scientific names, telescopes that transform into stools, a moonshot cannon mounted above ground, a scene in which the Moon appears to approach the viewer, a lunar snowstorm, an
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1375:. Mauclaire obtained a copy from Paris in October 1929, and LeRoy found one from London in 1930, though both prints were incomplete; Mauclaire's lacked the first scene, and LeRoy's was missing the entire final sequence featuring the parade and commemorative statue. These prints were occasionally screened at retrospectives (including the Gala Méliès), avant-garde cinema showings, and other special occasions, sometimes in presentations by Méliès himself.
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952:, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other filmic ideas. Rather, each camera setup in Méliès's film is designed as a distinct dramatic scene uninterrupted by visible editing, an approach fitting the theatrical style in which the film was designed.
746:, with a shot of the capsule falling in front of a black background superimposed upon the footage of the ocean. The shot is followed by an underwater glimpse of the capsule floating back to the surface, created by combining a moving cardboard cutout of the capsule with an aquarium containing tadpoles and air jets. The descent of the capsule from the Moon was covered in four shots, taking up about twenty seconds of film time.
653:. In addition to their work as cameramen, Méliès's operators also did odd jobs for the company such as developing film and helping to set up scenery, and another salaried operator, François Lallement, appeared onscreen as the marine officer. By contrast, Méliès hired his actors on a film-by-film basis, drawing from talented individuals in the Parisian theatrical world, with which he had many connections. They were paid one
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final shot even resembles the pompous, bullying colonialists in Méliès's political cartoons. The film scholar
Elizabeth Ezra agrees that "Méliès mocks the pretensions of colonialist accounts of the conquest of one culture by another," and adds that "his film also thematizes social differentiation on the home front, as the hierarchical patterns on the moon are shown to bear a curious resemblance to those on earth."
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1185:, in New York in 1903. The office was designed to sell Méliès's films directly and to protect them by registering them under United States copyright. The introduction to the English-language edition of the Star Film Company catalogue announced: "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!"
399:) appears, but it is killed easily by an astronomer, as the creatures explode if they are hit with force. More Selenites appear, and it becomes increasingly difficult for the astronomers to destroy them as they are surrounded. The Selenites capture the astronomers and take them to the palace of their king. An astronomer lifts the Selenite King off his throne and throws him to the ground, causing him to explode.
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358:. After addressing some dissent, five other brave astronomers—Nostradamus, Alcofrisbas, Omega, Micromegas, and Parafaragaramus—agree to the plan. A space capsule in the shape of a bullet is built, along with a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by young women in sailors' outfits. The
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addition, Méliès's innovative editing and special effects techniques were widely imitated and became important elements of the medium. The film also spurred on the development of cinematic science fiction and fantasy by demonstrating that scientific themes worked on the screen and that reality could be transformed by the camera. In a 1940 interview, Edwin S. Porter said that it was by seeing
964:—in which time and space are treated as repeatable and flexible rather than linear and causal—is highly unconventional by the standards of Griffith and his followers, before the development of continuity editing. Other filmmakers performed similar experiments with time. (Porter, for instance, used temporal discontinuity and repetition extensively in his 1903 film
2265:, p. 234: "I remember that in "Trip to the Moon," the Moon (the woman in a crescent,) was Bleuette Bernon, music hall singer, the Stars were ballet girls, from theatre du Châtelet—and the men (principal ones) Victor André, of Cluny theatre, Delpierre, Farjaux—Kelm—Brunnet, music-hall singers, and myself—the Sélenites were acrobats from Folies Bergère."
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capsule, and
Selenite fall through space and land in an ocean on Earth, where they are rescued by a ship and towed ashore. The final sequence (missing from some prints of the film) depicts a celebratory parade in honour of the travellers' return, including a display of the captive Selenite and the unveiling of a commemorative statue bearing the motto "
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1166:, and Edison were all redistributing it. Edison's print of the film was even offered in a hand-colored version available at a higher price, just as Méliès had done. Méliès was often uncredited altogether; for the first six months of the film's distribution, the only American exhibitor to credit Méliès in advertisements for the film was
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580:(1901), a French translation of which was published a few months before Méliès made the film, as another likely influence. Sadoul argued that the first half of the film (up to the shooting of the projectile) is derived from Verne and that the second half, the travellers' adventures on and in the Moon, is derived from Wells.
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464:. Speaking about his work late in life, Méliès commented: "The greatest difficulty in realising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not yet exist." All told, Méliès took an acting role in at least 300 of his 520 films.
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argued that Méliès most likely collaborated with the painter
Claudel on the scenery, and with Jehanne d'Alcy on the costumes. One of the backdrops for the film, showing the inside of the glass-roofed workshop in which the space capsule is built, was painted to look like the actual glass-roofed studio
676:). Throughout his film career, Méliès worked on a strict schedule of planning films in the morning, filming scenes during the brightest hours of the day, tending to the film laboratory and the Théâtre Robert-Houdin in the late afternoon, and attending performances at Parisian theatres in the evening.
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Robert-Houdin was demolished in 1923, the prints kept there were sold by weight to a vendor of second-hand film. Finally, in that same year, Méliès had a sudden fit of rage and burned all his remaining negatives in his garden in
Montreuil. In 1925, he began selling toys and candy from a stand in the
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was screened at Méliès's Théâtre Robert-Houdin in Paris. The film was shown after
Saturday and Thursday matinee performances by Méliès's colleague and fellow magician, Jules-Eugène Legris, who appeared as the leader of the parade in the two final scenes. Méliès sold black-and-white and color prints
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political cartoonist, mocks imperialistic domination in the film by presenting his colonial conquerors as bumbling pedants who mercilessly attack the alien lifeforms they meet and return with a mistreated captive amid fanfares of self-congratulation. The statue of
Barbenfouillis shown in the film's
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Because Méliès does not use a modern cinematic vocabulary, some film scholars have created other frameworks of thought with which to assess his films. For example, some recent academicians, while not necessarily denying Méliès's influence on film, have argued that his works are better understood as
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by an anonymous donor as part of a collection of two hundred silent films. It is unknown whether this version, a hand-colored print struck from a second-generation negative, was colored by
Elisabeth Thuillier's lab, but the perforations used imply that the copy was made before 1906. The flag waved
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plots and spectacular visuals, including lavish scenery and mechanically worked stage effects. In an advertisement he proudly described the difference between his innovative films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes
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The astronomers run back to their capsule while continuing to hit the pursuing
Selenites, and five get inside. The sixth astronomer, Barbenfouillis himself, uses a rope to tip the capsule over a ledge on the Moon and into space. A Selenite tries to seize the capsule at the last minute. Astronomer,
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and other Méliès films that he "came to the conclusion that a picture telling a story might draw the customers back to the theatres, and set to work in this direction." Similarly, D. W. Griffith said simply of Méliès: "I owe him everything." Since these
American directors are widely credited with
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Similarly, Tom Gunning has argued that to fault Méliès for not inventing a more intimate and cinematic storytelling style is to misunderstand the purpose of his films; in Gunning's view, the first decade of film history may be considered a "cinema of attractions," in which filmmakers experimented
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plays with temporal continuity by showing an event twice: first the capsule is shown suddenly appearing in the eye of an anthropomorphic moon; then, in a much closer shot, the landing occurs very differently, and much more realistically, with the capsule actually plummeting into believable lunar
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technique, in which the camera operator stopped filming long enough for something onscreen to be altered, added, or taken away. Méliès carefully spliced the resulting shots together to create apparently magical effects, such as the transformation of the astronomers' telescopes into stools or the
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combined "spectacle, sensation, and technical wizardry to create a cosmic fantasy that was an international sensation." It was profoundly influential on later filmmakers, bringing creativity to the cinematic medium and offering fantasy for pure entertainment, a rare goal in film at the time. In
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to French fairground exhibitors met with failure because of the film's unusually high price. Finally, Méliès offered to let one such exhibitor borrow a print of the film to screen for free. The applause from the very first showing was so enthusiastic that fairgoers kept the theatre packed until
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film, saying it "aims to show the illogicality of logical thinking" with its satirically portrayed inept scientists, anthropomorphic moon face, and impossible transgressions of laws of physics. The film historian Richard Abel believes Méliès aimed in the film to "invert the hierarchal values of
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for the hand-colored print, and Gimenez accepted. Bromberg and Lange consulted various specialist laboratories in an attempt to restore the film, but because the reel of film had apparently decomposed into a rigid mass, none believed restoration to be possible. Consequently, Bromberg and Lange
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is highly satirical in tone, poking fun at nineteenth-century science by exaggerating it in the format of an adventure story. The film makes no pretense whatsoever to be scientifically plausible; the real waves in the splashdown scene are the only concession to realism. The film scholar Alison
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In 1999, Anton Gimenez of the Filmoteca de Catalunya mentioned the existence of this print, which he believed to be in a state of total decomposition, to Serge Bromberg and Eric Lange of the French film company Lobster Films. Bromberg and Lange offered to trade a recently rediscovered film by
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After Méliès's financial difficulties and decline, most copies of his prints were lost. In 1917, his offices were occupied by the French military, who melted down many of Méliès's films to gather the traces of silver from the film stock and make boot heels from the celluloid. When the Théâtre
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with a presentational style based on spectacle and direct address rather than on intricate editing. Though the attraction style of filmmaking declined in popularity in favour of a more integrated "story film" approach, it remains an important component of certain types of cinema, including
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385:, goddess of the Moon, appears seated in a crescent-moon swing. Phoebe causes a snowfall that awakens the astronomers, and they seek shelter in a cavern where they discover giant mushrooms. One astronomer opens his umbrella; it promptly takes root and turns into a giant mushroom itself.
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1390:, opened the film up once again to a wide audience of Americans and Canadians and established it definitively as a landmark in the history of cinema. LeRoy's incomplete print became the most commonly seen version of the film and the source print for most other copies, including the
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for them. A mask-making specialist, probably from the major Parisian mask- and box-making firm of the Maison Hallé, used these moulds to produce cardboard versions for the actors to wear. Though other details about the film's making are scarce, the film historian
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Many circumstances surrounding the film—including its unusual budget, length, and production time, as well as its similarities to the 1901 New York attraction—indicate that Méliès was especially keen to release the film in the United States. Because of rampant
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is highly stylised, recalling the traditions of the 19th-century stage, and is filmed by a stationary camera, placed to evoke the perspective of an audience member sitting in a theatre. This stylistic choice was one of Méliès's first and biggest innovations.
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vein in the film's satire. The film scholar Matthew Solomon notes that the last part of the film (the parade and commemoration sequence missing in some prints) is especially forceful in this regard. He argues that Méliès, who had previously worked as an
828:, which follows Méliès's film scene by scene and may have been used as a score for the film; it may have been commissioned by Méliès himself, who had likely met Read on one of his trips to England. More recent composers who have recorded scores for
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It remains Méliès's most famous film as well as a classic example of early cinema, with the image of the capsule stuck in the Man in the Moon's eye particularly well known. The film has been evoked in other creative works many times, ranging from
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The stationary position of the camera, which became known as one of Méliès's characteristic trademarks, was one of the most important elements of the style. Though he often moved his camera when making actualities outdoors (for example, 15 of
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midnight. The exhibitor bought the film immediately, and when he was reminded of his initial reluctance he even offered to add ₣200 to compensate "for inconvenience." The film was a pronounced success in France, running uninterrupted at the
321:
Although the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognised by film devotees. An original
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The film's total length is about 260 metres (roughly 845 feet) of film, which, at Méliès's preferred projection speed of 12 to 14 frames per second, is about 17 minutes. Films made in the same era by Méliès's contemporaries, the
1808:
actually contains more than fifty shots. All such editing was deliberately designed to be unnoticeable by the viewer; the camera angle remained the same, and action continued fluidly through the splice by means of careful
785:'s coloring lab in Paris. The Thuilliers led a studio of two hundred women, painting directly on film stock with brushes in carefully chosen colors. Each worker was assigned a specific color to apply to a frame of film in
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was due to the mechanically operated scenery and the Selenite costumes in particular, which were made for the film using cardboard and canvas. Méliès himself sculpted prototypes for the heads, feet, and kneecap pieces in
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was "surely not one of my best," but acknowledged that it was widely considered his masterpiece and that "it left an indelible trace because it was the first of its kind." The film which Méliès was proudest of was
801:, or narrator, to explain the story as it unfolded on the screen, accompanied by sound effects and live music. Méliès himself took considerable interest in musical accompaniment for his films, and prepared special
1850:, used in French theatre to mean "scene" or "stage picture," refers in Méliès's catalogues to distinct episodes in the film, rather than changes of scene; thus, Méliès counted thirty tableaux within the scenes of
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The historian Richard Abel notes that stories involving trips to the moon, whether in print, on stage, or as themed attractions, were highly popular in America at the time; indeed, a previous film of Méliès's,
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was one of the most complex films that Méliès had made, and employed "every trick he had learned or invented". It was his longest film yet; both the budget and filming duration were unusually lavish, costing
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Color prints were produced for a small percent of Méliès's films and advertised alongside the black-and-white versions at a higher price. From approximately 1897 to 1912, these prints (for films such as
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as the first entry, argues that the film "directly reflects the histrionic personality of its director", and that the film "deserves a legitimate place among the milestones in world cinema history."
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reported on the film's great success in their theatres. The film also did well in other countries, including Germany, Canada, and Italy, where it was featured as a headline attraction through 1904.
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in 1931. During this renaissance of interest in Méliès, the cinema manager Jean Mauclaire and the early film experimenter Jean Acme LeRoy both set out independently to locate a surviving print of
1212:
in 1908 hastened his financial ruin, as his films were impractically expensive under the new standards. After 1908, his films waned from the fashions of time as fanciful magic fell out of vogue.
2490:
Morrissey, Priska (2014), "La garde-robe de Georges Méliès: Origines et usages des costumes des vues cinématographiques", in Malthête, Jacques; Gaudreault, André; Le Forestier, Laurent (eds.),
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described the film as a work "satirizing the pretensions of professors and scientific societies while simultaneously appealing to man's sense of wonder in the face of an unexplored universe."
922:
capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his
1367:, Méliès and his work were rediscovered in the late 1920s. A "Gala Méliès" was held at the Salle Pleyel in Paris on 16 December 1929 in celebration of the filmmaker, and he was awarded the
649:
10,000 to make and taking three months to complete. The camera operators were Théophile Michault and Lucien Tainguy, who worked on a daily basis with Méliès as salaried employees for the
1030:
argues that it codified "many of the basic generic situations that are still used in science fiction films today". Other genre designations are possible; Méliès advertised the film as a
1534:
once summed up Méliès's importance to film history by commenting that Méliès "profoundly influenced both Porter and Griffith and through them the whole course of American film-making."
338:. The film remains Méliès' best known, and the moment when the capsule lands in the moon's eye remains one of the most iconic and frequently referenced images in the history of cinema.
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editing is necessary because, in reality, Méliès used much splicing and editing within his scenes, not only for stop-trick effects but also to break down his long scenes into smaller
1113:
in May 1902, finished the film in August of that year and began selling prints to French distributors in the same month. From September through December 1902, a hand-colored print of
1142:, Méliès never received most of the profits of the popular film. One account reports that Méliès sold a print of the film to the Paris photographer Charles Gerschel for use in an
458:(1900). His extensive involvement in all of his films as director, producer, writer, designer, technician, publicist, editor, and often actor makes him one of the first cinematic
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was met with especially large enthusiasm in the United States, where (to Méliès's chagrin) its piracy by Lubin, Selig, Edison and others gave it wide distribution. Exhibitors in
1208:. In these negotiations, a print sale price of US$ 0.15 per foot was standardised across the American market, which proved useful to Méliès. Later price standardisations by the
474:(the woman on the crescent moon). Méliès discovered Bernon in the 1890s, when she was performing as a singer at the cabaret L'Enfer. She also appeared in his 1899 adaption of
442:
as Professor Barbenfouillis and The Moon. Méliès, a pioneering French film-maker and magician now generally regarded as one of the first people to recognise the potential of
672:
as possible, a concept used by most still photography studios from the 1860s onward; it was built with the same dimensions as Méliès's own Théâtre Robert-Houdin (13.5 × 6.6
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or "artificially arranged scenes". The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French
1060:, a catch-all term for the popular early film genre of innovative, special effects-filled shorts—a genre Méliès himself had codified and popularised in his earlier works.
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was one of the most popular films of the first few years of the twentieth century, rivalled only by a small handful of others (similarly spectacular Méliès films such as
817:. He did not require specific music for any film, allowing exhibitors freedom to choose whatever accompaniment they felt most suitable. When the film was screened at the
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1641:, without the initial article. Similarly, though the film was first sold in France without an initial article in the title, it has subsequently been commonly known as
1833:
In Méliès's numbering system, films were listed and numbered according to their order of production, and each catalogue number denotes about 20 metres of film; thus
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310:, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of
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style, with more than twenty colors sometimes used for a single film. On average, the Thuilliers' lab produced about sixty hand-colored copies of a film.
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or breathing apparatus) and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a
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1394:'s print. A complete version of the film, including the entire celebration sequence, was finally reconstructed in 1997 from various sources by the
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Essai de reconstitution du catalogue français de la Star-Film; suivi d'une analyse catalographique des films de Georges Méliès recensés en France
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among the "32 most pivotal moments in the history of ," saying it "changed the way movies were produced." Chiara Ferrari's essay on the film in
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in which the camera appears to approach the Man in the Moon was accomplished using an effect Méliès had invented the previous year for the film
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theatre, under strict stipulation that the print only be shown in Algeria. Gerschel sold the print, and various other Méliès films, to the
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disappearance of the exploding Selenites in puffs of smoke. Other effects were created using theatrical means, such as stage machinery and
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In addition to these literary sources, various film scholars have suggested that Méliès was heavily influenced by other works, especially
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were shot with a moving camera setup), he considered a theatrical viewpoint more appropriate for the fiction films staged in his studio.
1635:, the common English-language title, was first used in Méliès's American catalogues. It was initially labelled in British catalogues as
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Solomon, Matthew (Fall 2012), "Georges Méliès: First Wizard of Cinema (1896–1913)/Georges Méliès Encore: New Discoveries (1896–1911)",
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1126:. In France, black-and-white prints sold for ₣560, and hand-colored prints for ₣1,000. Méliès also sold the film indirectly through
1455:
The restored version premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the
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François Lallement as the officer of the marines. Lallement was one of the salaried camera operators for the Star Film Company.
17:
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Barbenfouillis is French for "Tangled-Beard". The name probably parodies President Impey Barbicane, the hero of Jules Verne's
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modern French society and hold them up to ridicule in a riot of the carnivalesque". Similarly, the literary and film scholar
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Jules-Eugène Legris as the parade leader. Legris was a magician who performed at Méliès's theatre of stage illusions, the
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1673:; Méliès had previously used the name in a different context in 1891, for the stage magic act "Le Décapité Recalcitrant".
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The statue of Barbenfouillis, seen here in a frame from the hand-colored print, may be intended to satirise colonialism.
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section below), Frederick Hodges, Robert Israel, Eric Le Guen, Lawrence Lehérissey (a great-great-grandson of Méliès),
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per day, a considerably higher salary than that offered by competitors, and had a full free meal at noon with Méliès.
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and create a new genre entirely different from the ordinary cinematographic views of real people and real streets."
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At a meeting of the Astronomy Club, its president, Professor Barbenfouillis, proposes an expedition to the
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in films was a later innovation. The following cast details can be reconstructed from available evidence:
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Uncropped production still from the film, showing the edges of the backdrop and the floor of the studio
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Though Méliès's films were silent, they were not intended to be seen silently; exhibitors often used a
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4244:, Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage, archived from
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5893:
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3643:"Cannes 2011: Méliès's Fully Restored A Trip To The Moon in Color To Screen Fest's Opening Night"
2040:
1767:, were on average about one third this length. Méliès went on to make longer films; his longest,
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1131:
601:
454:
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was made, film actors performed anonymously and no credits were given; the practice of supplying
4155:
4147:
4110:
Méliès, Georges (2011a) , "A Fantastical ... Trip to the Moon", in Solomon, Matthew (ed.),
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6061:
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5587:
5580:
5443:
5327:
5257:
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5035:
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4740:
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1656:
Proper names taken from the authorized English-language catalogue description of the film: see
1475:, a feature-length documentary by Bromberg and Lange about the film's restoration, in 2012. In
1431:
961:
448:
3694:
1122:, where the film was assigned the catalogue number 399–411 and given the descriptive subtitle
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1544:
1273:
1256:
902:
The film's style, like that of most of Méliès's other films, is deliberately theatrical. The
763:
726:
495:
392:
3967:, Bois d'Arcy: Service des archives du film du Centre national de la cinématographie, 1981,
3172:
494:
Victor André, Delpierre, Farjaux, Kelm, and Brunnet as the astronomers. André worked at the
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8:
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5998:
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5492:
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5081:
4972:
4965:
4666:
4596:
4582:
4379:
2492:
Méliès, carrefour des attractions; suivi de Correspondances de Georges Méliès (1904–1937)
1043:
837:
717:
439:
291:
79:
1764:
365:
Landing safely on the Moon, the astronomers get out of the capsule (without the need of
6324:
5949:
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5812:
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5250:
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4993:
4807:
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3004:
1531:
1477:
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edition featuring both color and black & white versions of the film also including
1360:
1182:
1077:
404:
378:
6089:
1485:
called the restoration "surely a cinematic highlight of the year, maybe the century."
1173:
In order to combat the problem of film piracy that became clear during the release of
362:
watches the capsule as it approaches, and, in an iconic shot, it hits him in the eye.
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6318:
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5886:
5777:
5703:
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3915:
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3313:
3248:
3224:
3178:
3152:
2896:
2847:
2753:
2687:
2625:
2596:
2592:
D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph
2330:
1922:
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spectacular theatrical creations rooted in the 19th-century stage tradition of the
919:
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music hall in Paris in 1902, an original film score was reportedly written for it.
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2816:
910:
Although he had initially followed the popular trend of the time by making mainly
875:
314:(lunar inhabitants), and return to Earth with a captive Selenite. Méliès leads an
6412:
6124:
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5134:
4338:
4331:
4322:
4174:
Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
4130:
Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
4112:
Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
4049:
Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
4027:
Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
3912:
Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
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945:
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346:
306:
271:
111:
3148:
Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema
1010:
318:
of French theatrical performers as the main character Professor Barbenfouillis.
5784:
5717:
5643:
5278:
4445:
3090:
1549:
1201:
1159:
1154:, who sent them directly to Edison's laboratories to be duplicated and sold by
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911:
705:
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443:
284:
4292:
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6679:
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4211:
4128:
Méliès, Georges (2011b) , "Reply to Questionary", in Solomon, Matthew (ed.),
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1436:
1236:
1197:
1127:
915:
833:
786:
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654:
315:
4075:
1895: Revue de l'Association française de recherche sur l'histoire du cinéma
1870:, was often shown in the United States under the title "A Trip to the Moon".
1712:
1356:
1170:, who chose the film as the inaugural presentation of his Electric Theater.
679:
5534:
4575:
4522:
2035:
1951:
Frame rate calculations produced using the following formula: 845 feet / ((
1072:
1035:
995:
853:
722:
646:
256:
1530:
developing modern film narrative technique, the literary and film scholar
1439:, indicating that the hand-colored copy was made for a Spanish exhibitor.
1188:
Various trade arrangements were made with other film companies, including
978:, temporal repetition again became a familiar device to screen audiences.
6586:
6401:
6306:
4540:
4281:
2044:
1683:
1564:
1482:
1452:'s laboratories in Los Angeles. Restoration costs were $ 1 million.
1364:
1252:
1139:
1039:
944:
preceded the development of narrative film editing by filmmakers such as
571:
551:
530:
366:
295:
246:
65:
4270:
3310:
The Films of Tim Burton: Animating Live Action in Contemporary Hollywood
1732:, literally "in the eye," is the French equivalent of the English word "
1018:
With its pioneering use of themes of scientific ambition and discovery,
5074:
3008:
2494:, Rennes: Presses universitaires de Rennes, pp. 177–188 (here 183)
1955:
1725:
1695:
1387:
1378:
Following LeRoy's death in 1932, his film collection was bought by the
1089:
1057:
849:
824:
In 1903, the English composer Ezra Read published a piano piece called
802:
693:
665:
374:
287:
205:
4328:
Was the NASA splashdown inspired by Georges Méliès? – A letter to NASA
3948:
The Technique of Film and Video Editing: History, Theory, and Practice
1966:"Tables & Formulas: Feet Per Minute for 35 mm, 4-perf Format"
668:-like building with glass walls and a glass ceiling to let in as much
446:, had already achieved considerable success with his film versions of
3647:
1468:
1289:
1244:
1155:
903:
609:
395:
inhabitant of the Moon, named after one of the Greek moon goddesses,
4172:
Solomon, Matthew (2011), "Introduction", in Solomon, Matthew (ed.),
3000:
1052:
928:
332:
was ranked 84th among the 100 greatest films of the 20th century by
6662:
4287:
3243:
Margot, Jean-Michel (2003), "Introduction", in Verne, Jules (ed.),
2891:
2842:
1435:
during the launching scene in this copy is colored to resemble the
1056:
genre, as does Frank Kessler. It can also be described simply as a
955:
Similarly, film scholars have noted that the most famous moment in
669:
37:"Le voyage dans la lune" redirects here. For the opéra-féerie, see
3199:
Things to Come: An Illustrated History of the Science Fiction Film
683:
The workshop set includes a glass roof, evoking the actual studio.
4348:
2624:, New Brunswick, N.J.: Rutgers University Press, pp. 71–74,
1464:
1248:
1143:
933:
697:
687:
According to Méliès's recollections, much of the unusual cost of
613:
70:
The landing on the eye of the Moon, the movie's most iconic scene
2983:
Kovács, Katherine Singer (Autumn 1976), "Georges Méliès and the
1607:
Tonight, Tonight (The Smashing Pumpkins song) § Music video
415:
4132:, Albany: State University of New York Press, pp. 233–34,
4114:, Albany: State University of New York Press, pp. 227–32,
4029:, Albany: State University of New York Press, pp. 115–28,
3914:, Albany: State University of New York Press, pp. 129–42,
2683:
Music and the Silent Film: Contexts and Case Studies, 1895–1924
2028:
1382:
in 1936. The museum's acquisition and subsequent screenings of
856:(for an abridged print featured as a prologue to the 1956 film
460:
396:
389:
311:
4051:, Albany: State University of New York Press, pp. 49–64,
566:(1870). Cinema historians, the mid-20th-century French writer
4176:, Albany: State University of New York Press, pp. 1–24,
4066:
2718:"Le Voyage dans la lune de Georges Méliès par Serge Bromberg"
1746:
895:
The scene as it appears in the hand-colored print of the film
673:
612:
scene, and umbrella-wielding travellers), not to mention the
370:
6579:
1548:
through the extensive tribute to Méliès and the film in the
1463:. The restoration was released by Flicker Alley in a 2-disc
1430:
were known to survive until 1993, when one was given to the
1352:
was largely forgotten to history and went unseen for years.
1220:
According to Méliès's memoirs, his initial attempts to sell
716:, as in numerous other Méliès films, were created using the
1801:
1355:
Thanks to the efforts of film history devotées, especially
1034:, a term referring to a type of spectacular Parisian stage
355:
1824:
has also been nominated as the first science fiction film.
4001:
Artificially Arranged Scenes: The Films of Georges Méliès
3217:
Dixon, Wheeler Winston; Foster, Gwendolyn Audrey (2008),
1158:. Copies of the print spread to other firms, and by 1904
5170:
Gulliver's Travels Among the Lilliputians and the Giants
2752:, Berkeley: University of California Press, p. 70,
3910:
as an American Phenomenon", in Solomon, Matthew (ed.),
3724:"Your Questions Answered – A Trip to the Moon in Color"
3312:, Continuum International Publishing Group, p. 4,
377:
appears with human faces peering out of each star, old
3088:
2779:: An Obscure English Score for a Famous French Fantasy
1105:
Preliminary sketch by Méliès for a poster of the film
5416:
A Wager Between Two Magicians, or Jealous of Myself
3963:
2547:
2083:
1495:
Georges Méliès in culture § A Trip to the Moon
616:tone of the film, from the Offenbach opera-féerie.
593:(an unauthorised parody of Verne's novels) and the
326:print was discovered in 1993 and restored in 2011.
5658:The Inventor Crazybrains and His Wonderful Airship
4342:is available for free viewing and download at the
3747:Scott, A. O.; Dargis, Manohla (14 December 2011),
3692:
3622:
2953:
2915:Michael Todd's Around the World in 80 Days Almanac
2866:"Georges Méliès – A la conquête du cinématographe"
1837:, at about 260 metres long, is listed as #399–411.
1785:his 19 short films about the 1900 Paris Exposition
5806:The Eclipse, or the Courtship of the Sun and Moon
3544:
3542:
3089:Gaudreault, André; Le Forestier, Laurent (2011),
2686:, New York: Oxford University Press, p. 72,
2621:Moving Color: Early Film, Mass Culture, Modernism
2218:
2216:
6677:
4047:: A Composite Film", in Solomon, Matthew (ed.),
3330:
3328:
3196:
3128:
3126:
3124:
3097:Centre culturel international de Cerisy-la-Salle
1891:
1889:
1887:
1288:(1908), a serious historical drama now presumed
1277:among them). Late in life, Méliès remarked that
498:; the others were singers in French music halls.
381:leans out of a window in his ringed planet, and
4154:, New York: The H. W. Wilson Company, pp.
4091:
3598:
3492:
3247:, Amherst, N.Y.: Prometheus Books, p. 13,
2749:The Ciné Goes to Town: French Cinema, 1896–1914
2446:
2375:
2326:Special Effects: An Introduction to Movie Magic
2207:
2171:
2144:
2016:
3806:, University of California Press, p. 51,
3771:
3769:
3539:
3282:, London: Laurence King Publishing, p. 19
2473:
2471:
2213:
2140:
2138:
2136:
1711:The name of a space traveller from Voltaire's
1046:in the second half of the nineteenth century.
826:A Trip to the Moon: Comic Descriptive Fantasia
6565:
6386:
4364:
3721:
3395:
3393:
3391:
3325:
3121:
2572:
2570:
2430:
2428:
2403:
2401:
2258:
2256:
2254:
1884:
1386:, under the direction of MoMA's film curator
4234:
4092:Malthête, Jacques; Mannoni, Laurent (2008),
3778:1001 Movies You Must See Before You Die 2012
3670:"A Trip to the Moon: A Blockbuster Restored"
3628:
3616:
3604:
3548:
3456:
3440:
3438:
3064:Film: An International History of the Medium
2810:
2808:
2806:
2804:
2643:
2595:, University of Illinois Press, p. 37,
2535:
2462:
2419:
2286:
2222:
2195:
1997:
1995:
1993:
1991:
1912:
1910:
1908:
1906:
1904:
1895:
1398:, a foundation set up by the Méliès family.
660:Méliès's film studio, which he had built in
570:first among them, have frequently suggested
484:Henri Delannoy as the captain of the rocket.
6146:Tribulation or the Misfortunes of a Cobbler
4238:La couleur retrouvée du Voyage dans la Lune
4225:
3985:, Manchester: Manchester University Press,
3766:
3746:
3686:
3410:
3408:
3334:
3303:
3301:
3216:
3066:, New York: Harry N. Abrams, pp. 33–36
2864:Lefèvre, François-Olivier (18 April 2012),
2519:
2517:
2515:
2513:
2468:
2388:
2386:
2384:
2241:
2239:
2237:
2235:
2233:
2231:
2133:
2108:
2106:
2079:
2077:
2075:
2073:
1459:, with a new soundtrack by the French band
1179:an American branch of the Star Film Company
6572:
6558:
6393:
6379:
6118:The Good Shepherdess and the Evil Princess
4699:Divers at Work on the Wreck of the "Maine"
4371:
4357:
4069:Les Vues spéciales de l'Exposition de 1900
3388:
3212:
3210:
3208:
2567:
2425:
2398:
2329:, Twenty-First Century Books, p. 15,
2251:
2201:
64:
6701:Films based on From the Earth to the Moon
4488:Conjurer Making Ten Hats in Sixty Seconds
4235:Wemaere, Séverine; Duval, Gilles (2011),
4152:World Film Directors: Volume I, 1890–1945
3819:
3775:
3435:
3277:
3174:Science Fiction Film Directors, 1895–1998
2945:
2801:
2613:
2611:
2489:
2359:
2357:
2155:
2153:
2123:
2121:
1988:
1901:
1840:
1827:
1773:, runs to 650 metres or about 44 minutes.
1602:List of films featuring extraterrestrials
1568:. Film scholar Andrew J. Rausch includes
546:When asked in 1930 what inspired him for
4064:
4042:
3945:
3932:, New York: W. W. Norton & Company,
3849:
3780:, Octopus Publishing Group, p. 20,
3776:Schneider, Steven Jay (1 October 2012),
3749:"Old-Fashioned Glories in a Netflix Age"
3560:
3405:
3364:
3298:
3223:, Rutgers University Press, p. 12,
3197:Menville, Douglas; Reginald, R. (1977),
3190:
3057:
3055:
3053:
3020:
2951:
2939:
2917:, New York: Random House, pp. 59–61
2882:
2711:
2709:
2555:
2541:
2510:
2407:
2381:
2310:
2298:
2274:
2228:
2103:
2070:
2012:
2010:
1512:, a remake of the film; runtime 00:06:46
1498:
1405:
1323:
1304:
1300:
1229:music hall in Paris for several months.
1100:
1009:
970:.) Later in the twentieth century, with
678:
623:
525:
414:
345:
27:1902 French short film by Georges Méliès
5121:The Catastrophe of the Balloon "Le Pax"
4189:
4171:
4127:
4109:
4016:
3837:
3825:
3695:"A Trip to the Moon – a return journey"
3533:
3521:
3517:
3515:
3513:
3444:
3429:
3425:
3423:
3346:
3307:
3266:
3205:
3170:
3138:
3132:
3044:
2863:
2741:
2739:
2737:
2588:
2523:
2477:
2348:
2262:
2245:
2097:
2058:
1916:
1657:
1575:1001 Movies You Must See Before You Die
1050:describes the film as belonging to the
845:
14:
6741:Silent science fiction adventure films
6716:French science fiction adventure films
6678:
4474:Arrival of a Train (Joinville Station)
4230:, Norman: University of Oklahoma Press
3998:
3874:
3667:
3640:
3504:
3480:
3468:
3399:
3370:
3292:
3242:
2982:
2976:
2667:
2617:
2608:
2576:
2561:
2504:
2458:
2434:
2392:
2354:
2322:
2150:
2118:
2112:
1963:
1958:* 60 seconds) / 16 frames per foot) =
1921:, London: Gordon Fraser, p. 141,
1752:
1335:The restored black-and-white print of
1124:Pièce à grand spectacle en 30 tableaux
725:. The film also features transitional
6736:Films based on science fiction novels
6691:1900s science fiction adventure films
6553:
6479:Space Mountain: De la Terre à la Lune
6374:
4352:
4145:
3852:"Hugo and the Magic of Film Trickery"
3799:
3414:
3271:
3144:
3061:
3050:
2771:
2715:
2706:
2679:
2064:
2007:
1947:
1945:
1943:
1941:
1939:
1937:
1401:
628:Méliès (at left) in the studio where
4096:, Paris: Éditions de La Martinière,
3980:
3927:
3905:
3510:
3420:
3382:
3358:
3115:
3076:
3032:
2927:
2912:
2745:
2734:
2655:
2363:
2183:
2159:
2127:
2029:Village Voice Critics' Poll (2001),
2001:
1970:The Camera Assistant Manual Web Site
1857:
1624:
1022:is sometimes described as the first
6256:The Voyage of the Bourrichon Family
5820:Shakespeare Writing "Julius Caesar"
3151:, Academic Monographs, p. 58,
2814:
844:(for the 2011 restoration; see the
32:A Trip to the Moon (disambiguation)
24:
5971:Mishaps of the New York–Paris Race
5908:Long Distance Wireless Photography
4378:
4228:The Movies in the Age of Innocence
3693:Festival de Cannes (20 May 2011),
3201:, New York: Times Books, p. 3
1934:
1812:
505:as stars and as cannon attendants.
290:written, directed and produced by
25:
6777:
6761:Films about extraterrestrial life
5690:The Tramp and the Mattress Makers
4264:
3850:Hoberman, J. (24 February 2012),
3722:Flicker Alley (21 January 2012),
3668:Parisi, Paula (10 October 2017),
3092:Méliès, carrefour des attractions
2772:Marks, Martin (4 February 2012),
1597:List of early color feature films
1419:A restored hand-colored print of
932:stage tradition, known for their
6711:Films directed by Georges Méliès
6445:Jules Verne's Rocket to the Moon
6353:
6352:
5992:The Mischances of a Photographer
5602:The Palace of the Arabian Nights
5479:Tchin-Chao, the Chinese Conjurer
5458:The Imperceptible Transmutations
5384:The Terrible Turkish Executioner
5349:Alcofrisbas, the Master Magician
5015:What Is Home Without the Boarder
4632:The Laboratory of Mephistopheles
4003:, Boston: G. K. Hall & Co.,
3868:
3843:
3831:
3800:Kawin, Bruce F. (January 1992),
3793:
3740:
3715:
3661:
3634:
3610:
3561:Bromberg, Serge (October 2012),
3554:
3527:
3498:
3486:
3474:
3462:
3450:
3171:Fischer, Dennis (17 June 2011),
1071:one of the earliest examples of
888:
874:
6645:Voyage: Inspired by Jules Verne
6486:Voyage: Inspired by Jules Verne
6242:Cinderella or the Glass Slipper
5651:The Scheming Gambler's Paradise
5465:A Miracle Under the Inquisition
5423:Every Man His Own Cigar Lighter
5001:Going to Bed Under Difficulties
4755:The Temptation of Saint Anthony
3898:
3376:
3352:
3340:
3286:
3260:
3236:
3164:
3109:
3095:(academic conference program),
3082:
3070:
3038:
3026:
3014:
2933:
2921:
2906:
2857:
2833:
2765:
2673:
2661:
2649:
2637:
2582:
2529:
2498:
2483:
2452:
2440:
2413:
2369:
2342:
2316:
2304:
2292:
2280:
2268:
2189:
2177:
2165:
2091:
1790:
1776:
1739:
1718:
1705:
1689:
1676:
1663:
1190:American Mutoscope and Biograph
805:for several of them, including
712:Many of the special effects in
6538:The Purchase of the North Pole
6531:Journey Through the Impossible
5799:Tunnelling the English Channel
5623:An Adventurous Automobile Trip
4910:The Misfortunes of an Explorer
4071:, tournées par Georges Méliès"
4025:", in Solomon, Matthew (ed.),
3878:Turning Points In Film History
3567:: Une restauration exemplaire"
3245:Journey Through the Impossible
2960:The Cambridge Guide to Theatre
2784:American Musicological Society
2461:, p. 41; dimensions from
2022:
1650:
1316:The incomplete LeRoy print of
1295:
1210:Motion Picture Patents Company
783:Élisabeth and Berthe Thuillier
521:
388:At this point, a Selenite (an
13:
1:
6731:Films based on multiple works
6111:Pharmaceutical Hallucinations
5335:Bob Kick, the Mischievous Kid
5272:A Spiritualistic Photographer
5029:The Brahmin and the Butterfly
4334: (archived July 28, 2020)
4220:10.5749/movingimage.12.2.0187
4204:10.5749/movingimage.12.2.0187
3641:Savage, Sophia (2 May 2011),
2680:Marks, Martin Miller (1997),
1974:The Camera Assistant's Manual
1612:
516:
6706:French black-and-white films
6299:The Invention of Hugo Cabret
6217:The Diabolical Church Window
6192:The Spider and the Butterfly
6013:French Cops Learning English
5202:Misfortune Never Comes Alone
5142:The Coronation of Edward VII
5096:The Man with the Rubber Head
4987:Fat and Lean Wrestling Match
4311:AFI Catalog of Feature Films
4226:Wagenknecht, Edward (1962),
3574:Journal of Film Preservation
2716:Bayer, Katia (26 May 2011),
1877:
1761:Edison Manufacturing Company
1555:The Invention of Hugo Cabret
1542:'s 1908 unauthorised remake
1215:
1148:Edison Manufacturing Company
739:The Man with the Rubber Head
709:in which the film was made.
662:Montreuil, Seine-Saint-Denis
7:
6291:Around the World in 80 Days
5936:The New Lord of the Village
5901:The Dream of an Opium Fiend
5792:How Bridget's Lover Escaped
5760:Robert Macaire and Bertrand
5507:The Providence of the Waves
5114:The Eruption of Mount Pelee
4980:Coppelia, the Animated Doll
4952:The Artist and the Mannikin
4896:The Miracles of the Brahmin
4829:Christ Walking on the Water
4773:A Dinner Under Difficulties
4043:Lefebvre, Thierry (2011), "
3930:A History of Narrative Film
3493:Malthête & Mannoni 2008
3280:100 Ideas That Changed Film
2952:Senelick, Laurence (2000),
2447:Malthête & Mannoni 2008
2376:Malthête & Mannoni 2008
2208:Malthête & Mannoni 2008
2172:Malthête & Mannoni 2008
2145:Malthête & Mannoni 2008
2017:Malthête & Mannoni 2008
1585:
967:Life of an American Fireman
859:Around the World in 80 Days
749:
10:
6782:
6726:1902 science fiction films
6502:From the Earth to the Moon
6437:From the Earth to the Moon
6407:From the Earth to the Moon
6055:The Old Footlight Favorite
5978:The Woes of Roller Skaters
5862:The Good Luck of a "Souse"
5827:Sightseeing Through Whisky
5732:The Merry Frolics of Satan
5595:The Venetian Looking-Glass
5321:Ten Ladies in One Umbrella
5293:The Kingdom of the Fairies
5237:The Inn Where No Man Rests
5022:China Versus Allied Powers
4748:The Four Troublesome Heads
4727:Adventures of William Tell
4604:The Surrender of Tournavos
4590:The School for Sons-in-law
4502:Miss de Vère (English Jig)
4150:, in Wakeman, John (ed.),
4094:L'oeuvre de Georges Méliès
4065:Malthête, Jacques (2002),
3875:Rausch, Andrew J. (2004),
1671:From the Earth to the Moon
1492:
1426:No hand-colored prints of
1268:The Kingdom of the Fairies
1181:, directed by his brother
1096:
808:The Kingdom of the Fairies
758:The Kingdom of the Fairies
619:
557:From the Earth to the Moon
533:card showing a scene from
301:From the Earth to the Moon
176:1 September 1902
36:
29:
6746:Rediscovered French films
6721:French silent short films
6655:
6636:
6626:The First Men in the Moon
6610:The First Men in the Moon
6593:
6582:The First Men in the Moon
6520:
6455:
6420:
6334:
6277:Georges Méliès in culture
6269:
6226:
6201:
6155:
6076:Incident from Don Quixote
6020:Fun With the Bridal Party
5880:Humanity Through the Ages
5871:
5769:
5667:
5616:The Enchanted Sedan Chair
5551:
5400:
5370:The Ballet-Master's Dream
5193:
5105:
5059:
5043:Dislocation Extraordinary
5008:The Doctor and the Monkey
4880:
4764:
4683:
4639:The Barber and the Farmer
4618:Gugusse and the Automaton
4562:An Hallucinated Alchemist
4532:
4416:
4409:
4400:Reconstructed actualities
4386:
3950:, New York: Focal Press,
3278:Parkinson, David (2012),
1964:Elkins, David E. (2013),
1821:Gugusse and the Automaton
1804:during production. Thus,
1488:
1457:2011 Cannes Film Festival
1285:Humanity Through the Ages
1005:
577:The First Men in the Moon
252:
242:
234:
190:
167:
151:
143:
126:
101:
93:
85:
75:
63:
58:
6751:1900s rediscovered films
6235:The Conquest of the Pole
6210:Baron Munchausen's Dream
6097:Fortune Favors the Brave
5915:The Prophetess of Thebes
5560:The Living Playing Cards
5486:The Wonderful Living Fan
5437:The Fugitive Apparitions
4889:Addition and Subtraction
4815:The Clown and Automobile
4787:The Bridegroom's Dilemma
4780:Robbing Cleopatra's Tomb
4625:Between Calais and Dover
4017:Kessler, Frank (2011), "
3981:Ezra, Elizabeth (2000),
3629:Wemaere & Duval 2011
3617:Wemaere & Duval 2011
3605:Wemaere & Duval 2011
3549:Wemaere & Duval 2011
3457:Wemaere & Duval 2011
3308:McMahan, Alison (2005),
3177:, McFarland, p. 9,
2644:Wemaere & Duval 2011
2536:Wemaere & Duval 2011
2463:Wemaere & Duval 2011
2420:Wemaere & Duval 2011
2287:Wemaere & Duval 2011
2223:Wemaere & Duval 2011
2196:Wemaere & Duval 2011
1896:Wemaere & Duval 2011
1770:The Conquest of the Pole
1749:for "work conquers all".
1745:"Labor omnia vincit" is
1617:
1473:The Extraordinary Voyage
1118:of the film through his
865:
792:
6249:The Knight of the Snows
6006:A Tricky Painter's Fate
5964:A Love Tragedy in Spain
5929:A Fake Diamond Swindler
5894:Why That Actor Was Late
5855:The Knight of Black Art
5676:A Mix-up in the Gallery
5521:The Wonderful Rose-Tree
5342:Extraordinary Illusions
4548:Comedian Paulus Singing
4460:The Rescue on the River
3928:Cook, David A. (2004),
3906:Abel, Richard (2011), "
3220:A Short History of Film
3145:Creed, Barbara (2009),
2840:"Méliès the magician",
2782:(conference abstract),
2618:Yumibe, Joshua (2012),
2549:Essai de reconstitution
2085:Essai de reconstitution
1592:1902 in science fiction
1518:A Short History of Film
1194:Warwick Trading Company
1164:Selig Polyscope Company
1132:Warwick Trading Company
1083:There is also a strong
1032:pièce à grand spectacle
1028:A Short History of Film
602:Pan-American Exposition
410:
341:
6510:Le voyage dans la lune
6464:Le voyage dans la lune
6062:Honeymoon in a Balloon
5588:A Mesmerian Experiment
5581:The Lilliputian Minuet
5451:The Clockmaker's Dream
5444:The Untamable Whiskers
5377:The Damnation of Faust
5328:Jack Jaggs and Dum Dum
5314:Jupiter's Thunderbolts
5223:The Queen's Musketeers
5209:The Infernal Cake Walk
5149:The Treasures of Satan
5036:The Triple-Headed Lady
4917:Paris Exposition, 1900
4801:The Devil in a Convent
4794:An Up-to-Date Conjuror
4741:The Cave of the Demons
4734:The Astronomer's Dream
4611:Sea Fighting in Greece
4339:Le Voyage dans la lune
4146:Rosen, Miriam (1987),
3946:Dancyger, Ken (2007),
3565:Le Voyage dans la Lune
3062:Sklar, Robert (1993),
2889:"A Trip to the moon",
2746:Abel, Richard (1998),
1917:Hammond, Paul (1974),
1867:The Astronomer's Dream
1818:Méliès's earlier film
1713:story of the same name
1644:Le Voyage dans la Lune
1513:
1432:Filmoteca de Catalunya
1423:
1392:Cinémathèque Française
1340:
1321:
1109:Méliès, who had begun
1106:
1015:
974:'s development of the
962:nonlinear storytelling
960:terrain. This kind of
684:
636:As the science writer
633:
590:Le voyage dans la lune
543:
540:Le voyage dans la lune
420:
351:
277:Le voyage dans la lune
275:
47:Le voyage dans la lune
40:Le voyage dans la lune
18:Le Voyage dans la lune
6756:Films set on the Moon
6618:First Men in the Moon
6314:Théâtre Robert-Houdin
6041:A Grandmother's Story
6034:Buncoed Stage Johnnie
5746:The Mysterious Retort
5697:The Hilarious Posters
5630:The Mysterious Island
5528:The Impossible Voyage
5514:The Barber of Seville
5300:The Infernal Cauldron
5184:The Marvellous Wreath
5068:The Magician's Cavern
4959:Thanking the Audience
4871:The Mysterious Knight
4836:Summoning the Spirits
4822:A Mysterious Portrait
4720:Pygmalion and Galatea
3999:Frazer, John (1979),
2589:Gunning, Tom (1994),
1796:The specification of
1545:Excursion to the Moon
1510:Excursion to the Moon
1507:
1418:
1334:
1315:
1301:Black-and-white print
1274:The Impossible Voyage
1104:
1013:
992:science fiction films
814:The Barber of Seville
770:The Barber of Seville
764:The Impossible Voyage
682:
627:
529:
489:Théâtre Robert-Houdin
418:
349:
44:. For the album, see
6294:(1956 film prologue)
6139:The Frozen Policeman
6069:The Duke's Good Joke
5848:Delirium in a Studio
5739:A Seaside Flirtation
5637:Unexpected Fireworks
5472:Faust and Marguerite
5391:A Moonlight Serenade
5265:The Oracle of Delphi
4713:The Famous Box Trick
4439:Watering the Flowers
3703:Cannes Film Festival
3580:: 13, archived from
2817:"A Trip to the Moon"
2323:Miller, Ron (2006),
1972:(companion site for
1508:Segundo de Chomón's
1380:Museum of Modern Art
1168:Thomas Lincoln Tally
1024:science fiction film
852:, Donald Sosin, and
846:Hand-colored version
304:and its 1870 sequel
30:For other uses, see
6185:King of the Mediums
6178:Whimsical Illusions
6171:The Diabolic Tenant
6164:The Doctor's Secret
6104:Hypnotist's Revenge
6083:The Fairy Dragonfly
5999:The Indian Sorcerer
5609:The Tower of London
5542:The Christmas Angel
5493:The Cook in Trouble
5430:The Bewitched Trunk
5258:The Witch's Revenge
5082:The Sacred Fountain
4973:Crying and Laughing
4966:The Christmas Dream
4667:A Hypnotist at Work
4597:The Last Cartridges
4583:D. Devant, Conjurer
4251:on 11 November 2011
1698:was a pseudonym of
1396:Cinémathèque Méliès
838:Jean-Benoit Dunckel
718:substitution splice
696:, and then created
503:Théâtre du Châtelet
280:) is a 1902 French
199:260 metres/845 feet
6602:A Trip to the Moon
6472:A Trip to the Moon
6429:A Trip to the Moon
6286:(1952 documentary)
5950:Sideshow Wrestlers
5922:In the Barber Shop
5574:The Crystal Casket
5251:The Mystical Flame
5244:The Drawing Lesson
5230:The Enchanted Well
5216:The Mysterious Box
5163:Up-to-Date Surgery
5128:A Trip to the Moon
4994:A Fantastical Meal
4903:The Cook's Revenge
4843:The Dreyfus Affair
4808:The Pillar of Fire
4692:A Novice at X-Rays
4674:Dancing in a Harem
4569:The Haunted Castle
4516:The Haunted Castle
4509:The Vanishing Lady
4495:A Serpentine Dance
4481:A Lightning Sketch
4318:A Trip to the Moon
4305:A Trip to the Moon
4299:TCM Movie Database
4294:A Trip to the Moon
4283:A Trip to the Moon
4272:A Trip to the Moon
4045:A Trip to the Moon
4019:A Trip to the Moon
3908:A Trip to the Moon
3753:The New York Times
3587:on 7 February 2014
2913:Cohn, Art (1956),
2777:A Trip to the Moon
1852:A Trip to the Moon
1835:A Trip to the Moon
1806:A Trip to the Moon
1660:, pp. 227–29.
1632:A Trip to the Moon
1580:A Trip to the Moon
1570:A Trip to the Moon
1532:Edward Wagenknecht
1527:A Trip to the Moon
1522:A Trip to the Moon
1514:
1478:The New York Times
1428:A Trip to the Moon
1424:
1421:A Trip to the Moon
1402:Hand-colored print
1384:A Trip to the Moon
1373:A Trip to the Moon
1361:Jean George Auriol
1350:A Trip to the Moon
1341:
1339:; runtime 00:12:47
1337:A Trip to the Moon
1322:
1320:; runtime 00:11:10
1318:A Trip to the Moon
1279:A Trip to the Moon
1263:A Trip to the Moon
1233:A Trip to the Moon
1222:A Trip to the Moon
1175:A Trip to the Moon
1115:A Trip to the Moon
1111:A Trip to the Moon
1107:
1078:Edward Wagenknecht
1069:A Trip to the Moon
1064:A Trip to the Moon
1020:A Trip to the Moon
1016:
957:A Trip to the Moon
942:A Trip to the Moon
830:A Trip to the Moon
775:A Trip to the Moon
714:A Trip to the Moon
689:A Trip to the Moon
685:
642:A Trip to the Moon
634:
630:A Trip to the Moon
596:A Trip to the Moon
550:, Méliès credited
548:A Trip to the Moon
544:
425:A Trip to the Moon
421:
405:Labor omnia vincit
352:
330:A Trip to the Moon
267:A Trip to the Moon
133:Théophile Michault
116:François Lallement
59:A Trip to the Moon
6671:
6670:
6547:
6546:
6494:Autour de la Lune
6368:
6367:
6265:
6264:
5985:Love and Molasses
5957:The Broken Violin
5887:The Genii of Fire
5704:A Desperate Crime
5683:The Chimney Sweep
5363:The Magic Lantern
4945:The Two Blind Men
4938:The Rajah's Dream
4850:The Human Pyramid
4646:The Bewitched Inn
4555:A Funny Mahometan
4183:978-1-4384-3581-7
4148:"Méliès, Georges"
4139:978-1-4384-3581-7
4121:978-1-4384-3581-7
4103:978-2-7324-3732-3
4058:978-1-4384-3581-7
4036:978-1-4384-3581-7
3957:978-0-240-80765-2
3921:978-1-4384-3581-7
3888:978-0-8065-2592-1
3881:, Citadel Press,
3813:978-0-520-07696-9
3787:978-1-84403-733-9
3631:, pp. 184–86
3619:, pp. 183–84
3361:, pp. 130–35
3230:978-0-8135-4475-5
3184:978-0-7864-8505-5
3158:978-0-522-85258-5
2631:978-0-8135-5296-5
2602:978-0-252-06366-4
2480:, pp. 233–34
2422:, pp. 165–67
2336:978-0-7613-2918-3
2289:, pp. 166–67
2277:, pp. 50, 58
2004:, pp. 120–21
1919:Marvellous Méliès
1700:François Rabelais
1684:purported prophet
1540:Segundo de Chomón
1505:
1445:Segundo de Chomón
1416:
1346:Gare Montparnasse
1332:
1313:
1120:Star Film Company
1000:avant-garde films
972:sports television
920:documentary films
744:multiple exposure
651:Star Film Company
606:Buffalo, New York
585:Jacques Offenbach
535:Jacques Offenbach
335:The Village Voice
263:
262:
161:Star Film Company
16:(Redirected from
6773:
6696:1902 short films
6574:
6567:
6560:
6551:
6550:
6395:
6388:
6381:
6372:
6371:
6356:
6355:
6048:The Helping Hand
5834:Good Glue Sticks
4924:The One-Man Band
4653:A Private Dinner
4467:A Terrible Night
4414:
4413:
4373:
4366:
4359:
4350:
4349:
4344:Internet Archive
4259:
4258:
4256:
4250:
4243:
4231:
4222:
4186:
4168:
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4106:
4088:
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3571:
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3537:
3531:
3525:
3519:
3508:
3507:, pp. 55–56
3502:
3496:
3490:
3484:
3478:
3472:
3466:
3460:
3454:
3448:
3442:
3433:
3427:
3418:
3412:
3403:
3402:, pp. 46–48
3397:
3386:
3380:
3374:
3368:
3362:
3356:
3350:
3344:
3338:
3337:, pp. 35–36
3335:Wagenknecht 1962
3332:
3323:
3322:
3305:
3296:
3295:, pp. 98–99
3290:
3284:
3283:
3275:
3269:
3264:
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3257:
3240:
3234:
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3203:
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3142:
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3119:
3118:, pp. 16–17
3113:
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2980:
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2931:
2930:, pp. 15–16
2925:
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2829:
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2799:
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2795:
2786:, archived from
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2704:
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2579:, pp. 91–93
2574:
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2496:
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2437:, pp. 42–43
2432:
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2313:, pp. 53–58
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2055:
2054:
2052:
2043:, archived from
2031:"100 Best Films"
2026:
2020:
2014:
2005:
1999:
1986:
1984:
1983:
1981:
1949:
1932:
1931:
1914:
1899:
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1774:
1765:Lumière Brothers
1756:
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1743:
1737:
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1716:
1709:
1703:
1693:
1687:
1682:The name of the
1680:
1674:
1667:
1661:
1654:
1648:
1638:Trip to the Moon
1628:
1562:film adaptation
1506:
1417:
1333:
1314:
1241:Washington, D.C.
1177:, Méliès opened
1152:Alfred C. Abadie
1085:anti-imperialist
1044:Adolphe d'Ennery
924:scènes composées
892:
878:
587:'s opera-féerie
508:Acrobats of the
496:Théâtre de Cluny
227:
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6416:
6413:Around the Moon
6399:
6369:
6364:
6330:
6283:Le Grand Méliès
6261:
6222:
6197:
6151:
6125:The Living Doll
6090:Moitié de polka
5867:
5841:Satan in Prison
5765:
5663:
5547:
5396:
5189:
5177:Robinson Crusoe
5135:The Shadow-Girl
5101:
5055:
5050:Red Riding Hood
4876:
4760:
4679:
4528:
4405:
4382:
4377:
4332:Wayback Machine
4323:Rotten Tomatoes
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3803:How Movies Work
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3135:, pp. 9–12
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2964:Credo Reference
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2823:
2815:Bennett, Carl,
2813:
2802:
2793:
2791:
2790:on 9 March 2014
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2048:
2047:on 13 June 2016
2027:
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1724:The image is a
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1578:, which places
1560:Martin Scorsese
1499:
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1406:
1404:
1369:Legion of Honor
1324:
1305:
1303:
1298:
1218:
1204:'s studio, and
1099:
1038:popularised by
1008:
946:Edwin S. Porter
912:actuality films
900:
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868:
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664:in 1897, was a
622:
563:Around the Moon
524:
519:
468:Bleuette Bernon
433:closing credits
413:
360:Man in the Moon
344:
307:Around the Moon
282:science-fiction
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5785:Under the Seas
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5778:Rogues' Tricks
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5718:A Roadside Inn
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5711:Punch and Judy
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5307:The Apparition
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5279:The Melomaniac
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4660:After the Ball
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4446:The Rag-Picker
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4411:
4407:
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4380:Georges Méliès
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4353:
4347:
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4325:
4314:
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4266:
4265:External links
4263:
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3983:Georges Méliès
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3699:The Daily 2011
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3597:
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3526:
3524:, pp. 3–5
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3432:, pp. 2–3
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3047:, pp. 6–7
3037:
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3023:, pp. 3–4
3013:
2989:Cinema Journal
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1809:shot-matching.
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1550:Brian Selznick
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1299:
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1294:
1217:
1214:
1202:Robert W. Paul
1160:Siegmund Lubin
1098:
1095:
1067:McMahan calls
1007:
1004:
976:instant replay
950:D. W. Griffith
894:
887:
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706:Georges Sadoul
621:
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568:Georges Sadoul
523:
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515:
514:
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510:Folies Bergère
506:
501:Ballet of the
499:
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465:
444:narrative film
440:Georges Méliès
419:Georges Méliès
412:
409:
343:
340:
298:'s 1865 novel
294:. Inspired by
292:Georges Méliès
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147:Georges Méliès
145:
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136:Lucien Tainguy
134:
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128:
127:Cinematography
124:
123:
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119:Henri Delannoy
117:
114:
109:
108:Georges Méliès
105:
103:
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97:Georges Méliès
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89:Georges Méliès
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80:Georges Méliès
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42:(opera-féerie)
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6521:Related works
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6421:Film versions
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6325:Gaston Méliès
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6132:Seein' Things
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5705:
5701:
5699:
5698:
5694:
5692:
5691:
5687:
5685:
5684:
5680:
5678:
5677:
5673:
5672:
5670:
5666:
5660:
5659:
5655:
5653:
5652:
5648:
5646:
5645:
5641:
5639:
5638:
5634:
5632:
5631:
5627:
5625:
5624:
5620:
5618:
5617:
5613:
5611:
5610:
5606:
5604:
5603:
5599:
5597:
5596:
5592:
5590:
5589:
5585:
5583:
5582:
5578:
5576:
5575:
5571:
5569:
5568:
5567:The Black Imp
5564:
5562:
5561:
5557:
5556:
5554:
5550:
5544:
5543:
5539:
5537:
5536:
5532:
5530:
5529:
5525:
5523:
5522:
5518:
5516:
5515:
5511:
5509:
5508:
5504:
5502:
5501:
5497:
5495:
5494:
5490:
5488:
5487:
5483:
5481:
5480:
5476:
5474:
5473:
5469:
5467:
5466:
5462:
5460:
5459:
5455:
5453:
5452:
5448:
5446:
5445:
5441:
5439:
5438:
5434:
5432:
5431:
5427:
5425:
5424:
5420:
5418:
5417:
5413:
5411:
5410:
5406:
5405:
5403:
5399:
5393:
5392:
5388:
5386:
5385:
5381:
5379:
5378:
5374:
5372:
5371:
5367:
5365:
5364:
5360:
5358:
5357:
5353:
5351:
5350:
5346:
5344:
5343:
5339:
5337:
5336:
5332:
5330:
5329:
5325:
5323:
5322:
5318:
5316:
5315:
5311:
5309:
5308:
5304:
5302:
5301:
5297:
5295:
5294:
5290:
5288:
5287:
5283:
5281:
5280:
5276:
5274:
5273:
5269:
5267:
5266:
5262:
5260:
5259:
5255:
5253:
5252:
5248:
5246:
5245:
5241:
5239:
5238:
5234:
5232:
5231:
5227:
5225:
5224:
5220:
5218:
5217:
5213:
5211:
5210:
5206:
5204:
5203:
5199:
5198:
5196:
5192:
5186:
5185:
5181:
5179:
5178:
5174:
5172:
5171:
5167:
5165:
5164:
5160:
5158:
5157:
5156:The Human Fly
5153:
5151:
5150:
5146:
5144:
5143:
5139:
5137:
5136:
5132:
5130:
5129:
5125:
5123:
5122:
5118:
5116:
5115:
5111:
5110:
5108:
5104:
5098:
5097:
5093:
5091:
5090:
5086:
5084:
5083:
5079:
5077:
5076:
5072:
5070:
5069:
5065:
5064:
5062:
5058:
5052:
5051:
5047:
5045:
5044:
5040:
5038:
5037:
5033:
5031:
5030:
5026:
5024:
5023:
5019:
5017:
5016:
5012:
5010:
5009:
5005:
5003:
5002:
4998:
4996:
4995:
4991:
4989:
4988:
4984:
4982:
4981:
4977:
4975:
4974:
4970:
4968:
4967:
4963:
4961:
4960:
4956:
4954:
4953:
4949:
4947:
4946:
4942:
4940:
4939:
4935:
4933:
4932:
4928:
4926:
4925:
4921:
4919:
4918:
4914:
4912:
4911:
4907:
4905:
4904:
4900:
4898:
4897:
4893:
4891:
4890:
4886:
4885:
4883:
4879:
4873:
4872:
4868:
4866:
4865:
4861:
4859:
4858:
4854:
4852:
4851:
4847:
4845:
4844:
4840:
4838:
4837:
4833:
4831:
4830:
4826:
4824:
4823:
4819:
4817:
4816:
4812:
4810:
4809:
4805:
4803:
4802:
4798:
4796:
4795:
4791:
4789:
4788:
4784:
4782:
4781:
4777:
4775:
4774:
4770:
4769:
4767:
4763:
4757:
4756:
4752:
4750:
4749:
4745:
4743:
4742:
4738:
4736:
4735:
4731:
4729:
4728:
4724:
4722:
4721:
4717:
4715:
4714:
4710:
4708:
4707:
4703:
4701:
4700:
4696:
4694:
4693:
4689:
4688:
4686:
4682:
4676:
4675:
4671:
4669:
4668:
4664:
4662:
4661:
4657:
4655:
4654:
4650:
4648:
4647:
4643:
4641:
4640:
4636:
4634:
4633:
4629:
4627:
4626:
4622:
4620:
4619:
4615:
4613:
4612:
4608:
4606:
4605:
4601:
4599:
4598:
4594:
4592:
4591:
4587:
4585:
4584:
4580:
4578:
4577:
4573:
4571:
4570:
4566:
4564:
4563:
4559:
4557:
4556:
4552:
4550:
4549:
4545:
4543:
4542:
4538:
4537:
4535:
4531:
4525:
4524:
4520:
4518:
4517:
4513:
4511:
4510:
4506:
4504:
4503:
4499:
4497:
4496:
4492:
4490:
4489:
4485:
4483:
4482:
4478:
4476:
4475:
4471:
4469:
4468:
4464:
4462:
4461:
4457:
4455:
4454:
4453:Post No Bills
4450:
4448:
4447:
4443:
4441:
4440:
4436:
4434:
4433:
4429:
4427:
4426:
4425:Playing Cards
4422:
4421:
4419:
4415:
4412:
4408:
4401:
4398:
4395:
4392:
4391:
4389:
4385:
4381:
4374:
4369:
4367:
4362:
4360:
4355:
4354:
4351:
4345:
4341:
4340:
4336:
4333:
4329:
4326:
4324:
4320:
4319:
4315:
4312:
4309:
4307:
4306:
4302:
4300:
4296:
4295:
4291:
4289:
4285:
4284:
4280:
4278:
4274:
4273:
4269:
4268:
4247:
4240:
4239:
4233:
4229:
4224:
4221:
4217:
4213:
4209:
4205:
4201:
4198:(2): 187–92,
4197:
4193:
4188:
4185:
4179:
4175:
4170:
4167:
4165:0-8242-0757-2
4161:
4157:
4153:
4149:
4144:
4141:
4135:
4131:
4126:
4123:
4117:
4113:
4108:
4105:
4099:
4095:
4090:
4080:
4076:
4072:
4070:
4063:
4060:
4054:
4050:
4046:
4041:
4038:
4032:
4028:
4024:
4020:
4015:
4012:
4010:0-8161-8368-6
4006:
4002:
3997:
3994:
3992:0-7190-5395-1
3988:
3984:
3979:
3976:
3970:
3966:
3962:
3959:
3953:
3949:
3944:
3941:
3939:0-393-97868-0
3935:
3931:
3926:
3923:
3917:
3913:
3909:
3904:
3903:
3890:
3884:
3880:
3879:
3871:
3857:
3853:
3846:
3839:
3834:
3827:
3822:
3815:
3809:
3805:
3804:
3796:
3789:
3783:
3779:
3772:
3770:
3755:, p. AR8
3754:
3750:
3743:
3729:
3728:Flicker Alley
3725:
3718:
3704:
3700:
3696:
3689:
3675:
3671:
3664:
3650:
3649:
3644:
3637:
3630:
3625:
3618:
3613:
3607:, p. 183
3606:
3601:
3583:
3579:
3575:
3568:
3566:
3557:
3550:
3545:
3543:
3535:
3530:
3523:
3518:
3516:
3514:
3506:
3501:
3494:
3489:
3482:
3477:
3471:, p. 191
3470:
3465:
3459:, p. 162
3458:
3453:
3446:
3441:
3439:
3431:
3426:
3424:
3417:, p. 755
3416:
3411:
3409:
3401:
3396:
3394:
3392:
3385:, p. 136
3384:
3379:
3372:
3367:
3360:
3355:
3348:
3343:
3336:
3331:
3329:
3321:
3319:0-8264-1566-0
3315:
3311:
3304:
3302:
3294:
3289:
3281:
3274:
3268:
3263:
3256:
3254:1-59102-079-4
3250:
3246:
3239:
3232:
3226:
3222:
3221:
3213:
3211:
3209:
3200:
3193:
3186:
3180:
3176:
3175:
3167:
3160:
3154:
3150:
3149:
3141:
3134:
3129:
3127:
3125:
3117:
3112:
3098:
3094:
3093:
3085:
3078:
3073:
3065:
3058:
3056:
3054:
3046:
3041:
3034:
3029:
3022:
3021:Dancyger 2007
3017:
3010:
3006:
3002:
2998:
2994:
2990:
2986:
2979:
2965:
2961:
2956:
2948:
2941:
2940:Malthête 2002
2936:
2929:
2924:
2916:
2909:
2902:
2898:
2894:
2893:
2885:
2871:
2867:
2860:
2853:
2849:
2845:
2844:
2836:
2822:
2818:
2811:
2809:
2807:
2805:
2789:
2785:
2781:
2780:
2776:
2768:
2761:
2759:9780520912915
2755:
2751:
2750:
2742:
2740:
2738:
2723:
2719:
2712:
2710:
2695:
2693:0-19-506891-2
2689:
2685:
2684:
2676:
2670:, p. 118
2669:
2664:
2657:
2652:
2646:, p. 169
2645:
2640:
2633:
2627:
2623:
2622:
2614:
2612:
2604:
2598:
2594:
2593:
2585:
2578:
2573:
2571:
2563:
2558:
2552:, p. 112
2551:
2550:
2544:
2537:
2532:
2525:
2520:
2518:
2516:
2514:
2506:
2501:
2493:
2486:
2479:
2474:
2472:
2465:, p. 163
2464:
2460:
2455:
2448:
2443:
2436:
2431:
2429:
2421:
2416:
2409:
2408:Lefebvre 2011
2404:
2402:
2394:
2389:
2387:
2385:
2378:, p. 285
2377:
2372:
2365:
2360:
2358:
2351:, p. 191
2350:
2345:
2338:
2332:
2328:
2327:
2319:
2312:
2311:Lefebvre 2011
2307:
2300:
2299:Lefebvre 2011
2295:
2288:
2283:
2276:
2275:Lefebvre 2011
2271:
2264:
2259:
2257:
2255:
2247:
2242:
2240:
2238:
2236:
2234:
2232:
2225:, p. 165
2224:
2219:
2217:
2209:
2204:
2198:, p. 166
2197:
2192:
2185:
2180:
2174:, p. 106
2173:
2168:
2161:
2156:
2154:
2147:, p. 125
2146:
2141:
2139:
2137:
2129:
2124:
2122:
2114:
2109:
2107:
2100:, p. 123
2099:
2094:
2088:, p. 111
2087:
2086:
2080:
2078:
2076:
2074:
2067:, p. 748
2066:
2061:
2046:
2042:
2038:
2037:
2032:
2025:
2019:, p. 344
2018:
2013:
2011:
2003:
1998:
1996:
1994:
1992:
1975:
1971:
1967:
1961:
1957:
1954:
1948:
1946:
1944:
1942:
1940:
1938:
1930:
1928:0-900406-38-0
1924:
1920:
1913:
1911:
1909:
1907:
1905:
1898:, p. 186
1897:
1892:
1890:
1888:
1883:
1869:
1868:
1860:
1853:
1849:
1843:
1836:
1830:
1823:
1822:
1815:
1807:
1803:
1799:
1793:
1786:
1779:
1772:
1771:
1766:
1762:
1755:
1748:
1742:
1735:
1731:
1728:: the phrase
1727:
1721:
1714:
1708:
1701:
1697:
1692:
1685:
1679:
1672:
1666:
1659:
1653:
1646:
1645:
1640:
1639:
1634:
1633:
1627:
1623:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1589:
1583:
1581:
1577:
1576:
1571:
1567:
1566:
1561:
1558:and its 2011
1557:
1556:
1551:
1547:
1546:
1541:
1535:
1533:
1528:
1523:
1519:
1511:
1496:
1486:
1484:
1480:
1479:
1474:
1470:
1466:
1462:
1458:
1453:
1451:
1446:
1440:
1438:
1437:flag of Spain
1433:
1429:
1422:
1399:
1397:
1393:
1389:
1385:
1381:
1376:
1374:
1370:
1366:
1362:
1358:
1353:
1351:
1347:
1338:
1319:
1293:
1291:
1287:
1286:
1280:
1276:
1275:
1270:
1269:
1264:
1260:
1258:
1254:
1250:
1246:
1242:
1238:
1237:New York City
1234:
1230:
1228:
1223:
1213:
1211:
1207:
1203:
1200:Trading Co.,
1199:
1198:Charles Urban
1195:
1191:
1186:
1184:
1183:Gaston Méliès
1180:
1176:
1171:
1169:
1165:
1161:
1157:
1153:
1149:
1145:
1141:
1135:
1133:
1129:
1128:Charles Urban
1125:
1121:
1116:
1112:
1103:
1094:
1091:
1086:
1081:
1079:
1074:
1070:
1065:
1061:
1059:
1055:
1054:
1049:
1045:
1041:
1037:
1033:
1029:
1025:
1021:
1012:
1003:
1001:
997:
993:
987:
985:
979:
977:
973:
969:
968:
963:
958:
953:
951:
947:
943:
938:
935:
931:
930:
925:
921:
917:
916:slice of life
913:
908:
905:
891:
877:
863:
861:
860:
855:
851:
847:
843:
839:
835:
834:Nicolas Godin
831:
827:
822:
820:
816:
815:
810:
809:
804:
800:
790:
788:
787:assembly line
784:
780:
776:
772:
771:
766:
765:
760:
759:
747:
745:
741:
740:
735:
734:tracking shot
730:
728:
724:
719:
715:
710:
707:
702:
699:
695:
690:
681:
677:
675:
671:
667:
663:
658:
656:
652:
648:
643:
639:
631:
626:
617:
615:
611:
607:
603:
599:
597:
592:
591:
586:
581:
579:
578:
573:
569:
565:
564:
559:
558:
553:
549:
542:
541:
536:
532:
528:
512:as Selenites.
511:
507:
504:
500:
497:
493:
490:
486:
483:
480:
477:
473:
469:
466:
463:
462:
457:
456:
451:
450:
445:
441:
438:
437:
436:
434:
430:
426:
417:
408:
406:
400:
398:
394:
391:
386:
384:
380:
376:
372:
368:
363:
361:
357:
348:
339:
337:
336:
331:
327:
325:
319:
317:
316:ensemble cast
313:
309:
308:
303:
302:
297:
293:
289:
286:
283:
279:
278:
273:
269:
268:
258:
255:
251:
248:
245:
241:
237:
233:
223:
217:
211:
207:
201:
198:
197:
195:
189:
175:
174:
172:
166:
162:
158:
150:
146:
142:
135:
132:
131:
129:
125:
118:
115:
113:
110:
107:
106:
104:
100:
96:
92:
88:
84:
81:
78:
74:
67:
62:
57:
54:
50:
48:
43:
41:
33:
19:
6673:
6648:(video game)
6643:
6624:
6616:
6608:
6601:
6600:
6580:
6536:
6529:
6508:
6505:(miniseries)
6500:
6492:
6489:(video game)
6484:
6470:
6462:
6443:
6435:
6428:
6427:
6411:
6405:
6357:
6347:Bibliography
6345:
6338:
6305:
6297:
6289:
6281:
6254:
6247:
6240:
6233:
6215:
6208:
6190:
6183:
6176:
6169:
6162:
6144:
6137:
6130:
6123:
6116:
6109:
6102:
6095:
6088:
6081:
6074:
6067:
6060:
6053:
6046:
6039:
6032:
6025:
6018:
6011:
6004:
5997:
5990:
5983:
5976:
5969:
5962:
5955:
5948:
5941:
5934:
5927:
5920:
5913:
5906:
5899:
5892:
5885:
5878:
5860:
5853:
5846:
5839:
5832:
5825:
5818:
5811:
5804:
5797:
5790:
5783:
5776:
5758:
5751:
5744:
5737:
5730:
5725:Soap Bubbles
5723:
5716:
5709:
5702:
5695:
5688:
5681:
5674:
5656:
5649:
5642:
5635:
5628:
5621:
5614:
5607:
5600:
5593:
5586:
5579:
5572:
5565:
5558:
5540:
5535:The Firefall
5533:
5526:
5519:
5512:
5505:
5498:
5491:
5484:
5477:
5470:
5463:
5456:
5449:
5442:
5435:
5428:
5421:
5414:
5407:
5389:
5382:
5375:
5368:
5361:
5356:Jack and Jim
5354:
5347:
5340:
5333:
5326:
5319:
5312:
5305:
5298:
5291:
5284:
5277:
5270:
5263:
5256:
5249:
5242:
5235:
5228:
5221:
5214:
5207:
5200:
5182:
5175:
5168:
5161:
5154:
5147:
5140:
5133:
5127:
5126:
5119:
5112:
5094:
5087:
5080:
5073:
5066:
5048:
5041:
5034:
5027:
5020:
5013:
5006:
4999:
4992:
4985:
4978:
4971:
4964:
4957:
4950:
4943:
4936:
4929:
4922:
4915:
4908:
4901:
4894:
4887:
4869:
4864:The Snow Man
4862:
4855:
4848:
4841:
4834:
4827:
4820:
4813:
4806:
4799:
4792:
4785:
4778:
4771:
4753:
4746:
4739:
4732:
4725:
4718:
4711:
4706:The Magician
4704:
4697:
4690:
4672:
4665:
4658:
4651:
4644:
4637:
4630:
4623:
4616:
4609:
4602:
4595:
4588:
4581:
4576:On the Roofs
4574:
4567:
4560:
4553:
4546:
4539:
4523:Tom Old Boot
4521:
4514:
4507:
4500:
4493:
4486:
4479:
4472:
4465:
4458:
4451:
4444:
4437:
4430:
4423:
4337:
4317:
4304:
4293:
4282:
4271:
4253:, retrieved
4246:the original
4237:
4227:
4195:
4192:Moving Image
4191:
4173:
4151:
4129:
4111:
4093:
4082:, retrieved
4078:
4074:
4068:
4048:
4044:
4026:
4022:
4018:
4000:
3982:
3964:
3947:
3929:
3911:
3907:
3899:Bibliography
3877:
3870:
3859:, retrieved
3856:The Guardian
3855:
3845:
3840:, p. 13
3838:Solomon 2011
3833:
3826:Solomon 2011
3821:
3802:
3795:
3777:
3757:, retrieved
3752:
3742:
3731:, retrieved
3727:
3717:
3706:, retrieved
3698:
3688:
3677:, retrieved
3673:
3663:
3652:, retrieved
3646:
3636:
3624:
3612:
3600:
3589:, retrieved
3582:the original
3577:
3573:
3564:
3556:
3551:, p. 12
3534:Solomon 2011
3529:
3522:Solomon 2011
3500:
3495:, p. 10
3488:
3483:, p. 54
3476:
3464:
3452:
3445:Solomon 2011
3430:Solomon 2011
3378:
3373:, p. 46
3366:
3354:
3347:Solomon 2011
3342:
3309:
3288:
3279:
3273:
3267:Kessler 2011
3262:
3244:
3238:
3219:
3198:
3192:
3173:
3166:
3147:
3140:
3133:Solomon 2011
3111:
3100:, retrieved
3091:
3084:
3079:, p. 22
3072:
3063:
3045:Solomon 2011
3040:
3035:, p. 14
3028:
3016:
2992:
2988:
2984:
2978:
2967:, retrieved
2959:
2947:
2935:
2923:
2914:
2908:
2890:
2884:
2873:, retrieved
2869:
2859:
2841:
2835:
2824:, retrieved
2820:
2792:, retrieved
2788:the original
2778:
2774:
2767:
2748:
2725:, retrieved
2722:Format Court
2721:
2697:, retrieved
2682:
2675:
2663:
2658:, p. 27
2651:
2639:
2620:
2591:
2584:
2564:, p. 96
2557:
2548:
2543:
2538:, p. 85
2531:
2524:Solomon 2011
2507:, p. 95
2500:
2491:
2485:
2478:Méliès 2011b
2454:
2442:
2415:
2410:, p. 51
2395:, p. 99
2371:
2366:, p. 15
2349:Solomon 2012
2344:
2325:
2318:
2306:
2294:
2282:
2270:
2263:Méliès 2011b
2246:Solomon 2011
2210:, p. 88
2203:
2191:
2186:, p. 17
2179:
2167:
2162:, p. 18
2130:, p. 13
2115:, p. 98
2098:Kessler 2011
2093:
2084:
2060:
2049:, retrieved
2045:the original
2036:filmsite.org
2034:
2024:
1978:, retrieved
1973:
1969:
1959:
1952:
1918:
1865:
1859:
1851:
1847:
1842:
1834:
1829:
1819:
1814:
1805:
1797:
1792:
1778:
1768:
1754:
1741:
1729:
1720:
1707:
1691:
1678:
1670:
1665:
1658:Méliès 2011a
1652:
1643:
1642:
1637:
1636:
1631:
1630:
1626:
1579:
1573:
1569:
1563:
1553:
1543:
1536:
1526:
1521:
1517:
1515:
1509:
1476:
1472:
1454:
1441:
1427:
1425:
1420:
1383:
1377:
1372:
1354:
1349:
1342:
1336:
1317:
1283:
1278:
1272:
1266:
1262:
1261:
1232:
1231:
1221:
1219:
1187:
1174:
1172:
1136:
1123:
1114:
1110:
1108:
1082:
1073:pataphysical
1068:
1063:
1062:
1051:
1048:Richard Abel
1036:extravaganza
1031:
1027:
1019:
1017:
988:
983:
980:
965:
956:
954:
941:
939:
927:
923:
909:
901:
857:
854:Victor Young
829:
825:
823:
812:
806:
798:
796:
779:hand-colored
774:
768:
762:
756:
753:
737:
731:
723:pyrotechnics
713:
711:
688:
686:
659:
641:
635:
629:
600:at the 1901
595:
588:
582:
575:
561:
555:
547:
545:
538:
475:
459:
453:
447:
424:
422:
401:
387:
373:passes, the
364:
353:
333:
329:
328:
324:hand-colored
320:
305:
299:
276:
266:
265:
264:
226:(24 frame/s)
220:(16 frame/s)
214:(14 frame/s)
192:Running time
169:Release date
53:
46:
39:
6766:Trick films
6637:Other media
6587:H. G. Wells
6456:Other media
6402:Jules Verne
6340:Filmography
6310:(2011 film)
6302:(2007 book)
5644:Rip's Dream
5500:The Mermaid
5409:Tit for Tat
5286:The Monster
4931:Joan of Arc
4541:A Nightmare
4402:(1897–1902)
4396:(1896–1900)
4394:Actualities
4387:Actualities
3828:, p. 1
3733:23 February
3708:23 February
3654:23 February
3536:, p. 8
3505:Frazer 1979
3481:Frazer 1979
3469:Frazer 1979
3447:, p. 3
3400:Frazer 1979
3371:Frazer 1979
3349:, p. 7
3293:Frazer 1979
2995:(1): 1–13,
2875:7 September
2826:7 September
2668:Frazer 1979
2577:Frazer 1979
2562:Frazer 1979
2526:, p. 6
2505:Frazer 1979
2459:Frazer 1979
2449:, p. 9
2435:Frazer 1979
2393:Frazer 1979
2248:, p. 2
2113:Frazer 1979
1552:2007 novel
1483:A. O. Scott
1450:Technicolor
1365:Paul Gilson
1296:Rediscovery
1257:Kansas City
1253:New Orleans
1140:film piracy
1134:in London.
1040:Jules Verne
803:film scores
799:bonimenteur
732:The pseudo-
572:H. G. Wells
560:(1865) and
552:Jules Verne
531:Stereoscope
522:Inspiration
455:Joan of Arc
452:(1899) and
367:space suits
296:Jules Verne
218:14 minutes
212:16 minutes
202:18 minutes
94:Produced by
76:Directed by
6686:1902 films
6680:Categories
6467:(operetta)
6027:Not Guilty
5089:Blue Beard
5075:Excelsior!
4857:Cinderella
4084:24 January
3974:2903053073
3591:12 January
3415:Rosen 1987
2942:, § 2
2870:DVDClassik
2821:Silent Era
2775:Music for
2065:Rosen 1987
1730:dans l'œil
1726:visual pun
1696:Alcofribas
1613:References
1493:See also:
1388:Iris Barry
1357:René Clair
1348:in Paris.
1090:Boulangist
1058:trick film
850:Jeff Mills
694:terracotta
666:greenhouse
655:Louis d'or
638:Ron Miller
632:was filmed
598:attraction
554:'s novels
517:Production
476:Cinderella
449:Cinderella
375:Big Dipper
350:Title card
288:trick film
224:9 minutes
180:1902-09-01
153:Production
86:Written by
6475:(TV film)
6327:(brother)
5943:The Miser
5753:The Witch
4432:Conjuring
4255:10 August
4212:1532-3978
3674:VFX Voice
3648:Indiewire
3383:Abel 2011
3359:Abel 2011
3116:Cook 2004
3077:Cook 2004
3033:Cook 2004
2928:Cook 2004
2901:731957033
2852:123082747
2656:Ezra 2000
2364:Cook 2004
2184:Ezra 2000
2160:Cook 2004
2128:Ezra 2000
2002:Ezra 2000
1878:Citations
1846:The word
1245:Cleveland
1216:Reception
1156:Vitagraph
1150:employee
904:stage set
727:dissolves
610:earthrise
491:in Paris.
390:insectoid
312:Selenites
285:adventure
144:Edited by
6663:Cavorite
6523:by Verne
6359:Category
4288:AllMovie
3759:2 August
3679:27 March
2969:11 March
2955:"Féerie"
2892:WorldCat
2843:WorldCat
2051:2 August
1980:8 August
1763:and the
1734:bullseye
1586:See also
996:musicals
940:Because
914:(short "
832:include
750:Coloring
670:sunlight
243:Language
102:Starring
6656:Related
6513:(album)
6497:(album)
6270:Related
4330:at the
4308:at the
4297:at the
3102:23 July
3009:1225446
2794:8 March
2727:8 March
2699:21 July
1956:frame/s
1848:tableau
1798:visible
1520:notes,
1465:Blu-ray
1249:Detroit
1227:Olympia
1206:Gaumont
1144:Algiers
1097:Release
934:fantasy
819:Olympia
777:) were
698:plaster
640:notes,
620:Filming
614:parodic
461:auteurs
429:opening
235:Country
206:frame/s
178: (
155:company
49:(album)
6629:(2010)
6621:(1964)
6613:(1919)
6605:(1902)
6481:(ride)
6448:(1967)
6440:(1958)
6432:(1902)
6321:(wife)
5813:Hamlet
4218:
4210:
4180:
4162:
4156:747–65
4136:
4118:
4100:
4055:
4033:
4023:Féerie
4007:
3989:
3971:
3954:
3936:
3918:
3885:
3810:
3784:
3316:
3251:
3227:
3181:
3155:
3007:
2985:Féerie
2899:
2850:
2756:
2690:
2628:
2599:
2333:
1962:. See
1925:
1489:Legacy
1363:, and
1255:, and
1196:, the
1192:, the
1162:, the
1053:féerie
1006:Themes
998:, and
984:féerie
929:féerie
773:, and
701:moulds
472:Phoebe
397:Selene
383:Phoebe
379:Saturn
272:French
259:10,000
253:Budget
247:Silent
238:France
4410:Films
4249:(PDF)
4242:(PDF)
4216:JSTOR
3861:4 May
3585:(PDF)
3570:(PDF)
3005:JSTOR
1802:takes
1747:Latin
1618:Notes
1088:anti-
866:Style
793:Music
423:When
393:alien
371:comet
6594:Film
6410:and
6307:Hugo
6227:1912
6202:1911
6156:1909
5872:1908
5770:1907
5668:1906
5552:1905
5401:1904
5194:1903
5106:1902
5060:1901
4881:1900
4765:1899
4684:1898
4533:1897
4417:1896
4277:IMDb
4257:2013
4208:ISSN
4178:ISBN
4160:ISBN
4134:ISBN
4116:ISBN
4098:ISBN
4086:2014
4053:ISBN
4031:ISBN
4005:ISBN
3987:ISBN
3969:ISBN
3952:ISBN
3934:ISBN
3916:ISBN
3883:ISBN
3863:2014
3808:ISBN
3782:ISBN
3761:2013
3735:2014
3710:2014
3681:2018
3656:2014
3593:2014
3314:ISBN
3249:ISBN
3225:ISBN
3179:ISBN
3153:ISBN
3104:2013
2971:2014
2897:OCLC
2877:2014
2848:OCLC
2828:2014
2796:2014
2754:ISBN
2729:2014
2701:2013
2688:ISBN
2626:ISBN
2597:ISBN
2331:ISBN
2053:2013
1982:2013
1923:ISBN
1565:Hugo
1467:and
1290:lost
1271:and
1042:and
948:and
836:and
811:and
431:and
411:Cast
356:Moon
342:Plot
204:(12
6585:by
6404:'s
4321:at
4286:at
4275:at
4200:doi
4021:as
2997:doi
2987:",
2041:AMC
1516:As
1469:DVD
1461:Air
1130:'s
862:).
842:Air
840:of
781:by
604:in
574:'s
537:'s
470:as
407:".
6682::
4214:,
4206:,
4196:12
4194:,
4158:,
4079:36
4077:,
4073:,
3854:,
3768:^
3751:,
3726:,
3701:,
3697:,
3672:,
3645:,
3578:87
3576:,
3572:,
3541:^
3512:^
3437:^
3422:^
3407:^
3390:^
3327:^
3300:^
3207:^
3123:^
3052:^
3003:,
2993:16
2991:,
2962:,
2958:,
2895:,
2868:,
2846:,
2819:,
2803:^
2736:^
2720:,
2708:^
2610:^
2569:^
2512:^
2470:^
2427:^
2400:^
2383:^
2356:^
2253:^
2230:^
2215:^
2152:^
2135:^
2120:^
2105:^
2072:^
2039:,
2033:,
2009:^
1990:^
1968:,
1936:^
1903:^
1886:^
1736:".
1481:,
1359:,
1292:.
1251:,
1247:,
1243:,
1239:,
1026:.
1002:.
994:,
986:.
918:"
767:,
761:,
729:.
274::
6573:e
6566:t
6559:v
6394:e
6387:t
6380:v
4372:e
4365:t
4358:v
4202::
4067:"
3563:"
2999::
1985:.
1976:)
1960:x
1953:n
1854:.
1715:.
1702:.
1686:.
1647:.
674:m
647:₣
478:.
270:(
257:₣
208:)
182:)
51:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.