<abstract xmlns="http://www.w3.org/1999/xhtml"><p>This article offers a case study in intermediality and explores relationships between tableaux vivants performances and early cinema around 1900. It locates processes of intermedial exchange not only at the level of form but also at the level of modes of address and reception. More specifically, the study is concerned with how bourgeois notions of beauty were transferred to the film image and reconciled with the attraction value of cinema. As a discussion of early film theory reveals, the concept of “beauty in film” depended on a taming of filmic motion, something that had already been realized in performance practices of tableaux vivants. In the subsequent analysis of the cultural context of tableaux vivants in European variety theatres, I outline a specific mode of address, which I term “beauty-as-attraction:” an overlap of the older aesthetics of the beautiful and the more modern aesthetics of attraction. Through concluding film analysis, I show how tableaux vivants became a model and source of inspiration for early cinema, thus bringing to fruition the two-fold address of beauty-as-attraction in a new media context.</p></abstract>

This article offers a case study in intermediality and explores relationships between tableaux vivants performances and early cinema around 1900. It locates processes of intermedial exchange not only at the level of form but also at the level of modes of address and reception. More specifically, the study is concerned with how bourgeois notions of beauty were transferred to the film image and reconciled with the attraction value of cinema. As a discussion of early film theory reveals, the concept of “beauty in film” depended on a taming of filmic motion, something that had already been realized in performance practices of tableaux vivants. In the subsequent analysis of the cultural context of tableaux vivants in European variety theatres, I outline a specific mode of address, which I term “beauty-as-attraction:” an overlap of the older aesthetics of the beautiful and the more modern aesthetics of attraction. Through concluding film analysis, I show how tableaux vivants became a model and source of inspiration for early cinema, thus bringing to fruition the two-fold address of beauty-as-attraction in a new media context.

Tableaux Vivants, Early Cinema, and Beauty-as-Attraction

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"Tableaux Vivants, Early Cinema, and Beauty-as-Attraction"}

This article offers a case study in intermediality and explores relationships between tableaux vivants performances and early cinema around 1900. It locates...

Tableaux Vivants, Early Cinema, and Beauty-as-Attraction

Data publikacji: 16 paź 2018

Zakres stron: 9 - 32

DOI: https://doi.org/10.1515/ausfm-2018-0001

Słowa kluczowe
early cinema, intermediality, film theory, art, painting

© 2018 Daniel Wiegand, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Tableaux Vivants, Early Cinema, and Beauty-as-Attraction

Data publikacji: 16 paź 2018

Zakres stron: 9 - 32

DOI: https://doi.org/10.1515/ausfm-2018-0001

Słowa kluczoweearly cinema, intermediality, film theory, art, painting

© 2018 Daniel Wiegand, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Słowa kluczowe
early cinema, intermediality, film theory, art, painting