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get the machine going again. During this time passersby, omnibuses, cars, had all changed places, of course. When I later projected the film, reattached at the point of the rupture, I suddenly saw the
Madeleine-Bastille bus changed into a hearse, and men changed into women. The trick-by-substitution, called the stop trick, had been invented and two days later I performed the first metamorphosis of men into women and the first sudden disappearances that had, at the beginning, such a great success.
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An obstruction of the apparatus that I used in the beginning (a rudimentary apparatus in which the film would often tear or get stuck and refuse to advance) produced an unexpected effect, one day when I was prosaically filming the Place de L'Opéra; I had to stop for a minute to free the film and to
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178:, used substitution splices for comedic effect. The transformations made possible by the substitution splice were so central to early fantasy films that, in France, such films were often described simply as
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out of two separately staged shots. Indeed, Méliès often used substitution splicing not as an obvious special effect, but as an inconspicuous editing technique, matching and combining short
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and
Elizabeth Ezra established that much of the effect was the result of Méliès's careful frame matching during the editing process, creating a seamless
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between two shots while maintaining the same framing and other aspects of the scene in both shots. The effect is usually polished by careful
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According to the film scholar
Jacques Deslandes, it is more likely that Méliès discovered the trick by carefully examining a print of the
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in which filmmakers achieve an appearance, disappearance, or transformation by altering one or more selected aspects of the
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into one apparently seamless longer shot. Substitution splicing could become even more seamless when the film was
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is among the other filmmakers who used substitution splicing to create elaborate fantasy effects.
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to establish a seamless cut and optimal moment of change. It has also been referred to as
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and early film fantasies, especially those that evolved from the stage tradition of the
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D.W. Griffith and the
Origins of American Narrative Film: The Early Years at Biograph
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Fantastic
Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon
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143:, as many of Méliès's films were; the addition of painted color acts as a
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The substitution splice was the most popular cinematic special effect in
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claimed to have accidentally developed the stop trick, as he wrote in
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technique, in which the entire shot is created frame by frame.
393:, New Brunswick, NJ: Rutgers University Press, pp. 71–2,
350:. New York The Museum of Modern Art Library. Paris, Gallimard.
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Translating Time: Cinema, the
Fantastic, and Temporal Critique
62:, an early silent film employing the effect for comic purposes
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376:, Albany: State University of New York Press, pp. 6–7
324:"Les vues cinématographiques | La Cinémathèque québécoise"
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248:, Cambridge, MA: Harvard University Press, p. 36,
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The earliest known use of the effect, in the 1895 film
469:""Primitive" Cinema: A Frame-up? Or the Trick's on Us"
419:, Urbana: University of Illinois Press, p. 132,
303:, Durham: Duke University Press, pp. 279–80,
245:Republic of Images: A History of French Filmmaking
147:technique allowing the cuts to pass by unnoticed.
390:Moving Color: Early Film, Mass Culture, Modernism
214:Film and Fairy Tales: The Birth of Modern Fantasy
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217:, London: I.B. Tauris & Co, p. 41,
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185:This technique is different from the
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42:The Execution of Mary Queen of Scots
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274:, London: Wallflower, p. 76,
268:Weinstock, Jeffrey Andrew (2012),
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97:The pioneering French filmmaker
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271:The Vampire Film: Undead Cinema
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242:Williams, Alan Larson (1992),
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372:, in Solomon, Matthew (ed.),
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445:Encyclopedia of Early Cinema
121:The Execution of Mary Stuart
116:Edison Manufacturing Company
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103:Les Vues Cinématographiques
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443:, in Abel, Richard (ed.),
361:Solomon, Matthew (2011),
127:Film historians such as
88:stop motion substitution
27:Cinematic special effect
439:Kessler, Frank (2005),
387:Yumibe, Joshua (2012),
344:Gallimard (1928–1929).
297:Lim, Bliss Cua (2009),
211:Moen, Kristian (2012),
180:scènes à transformation
59:Sherlock Holmes Baffled
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467:Gunning, Tom (1989).
413:Gunning, Tom (1991),
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520:Cinematic techniques
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162:Segundo de ChomĂłn
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479:(2): 3–12.
326:(in French)
187:stop motion
174:, starring
152:trick films
92:stop-action
330:2019-11-05
193:References
72:stop trick
18:Stop trick
133:match cut
514:Category
498:22 June
493:1225114
84:editing
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