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First Encounters: French Literature and the Cinematograph Author(S): Roland-François Lack Source: Film History, Vol

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First Encounters: French Literature and the Cinematograph Author(S): Roland-François Lack Source: Film History, Vol First Encounters: French Literature and the Cinematograph Author(s): Roland-François Lack Source: Film History, Vol. 20, No. 2, Moving Picture Fiction (2008), pp. 133-143 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/25165468 . Accessed: 08/08/2013 06:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Film History. http://www.jstor.org This content downloaded from 86.186.242.240 on Thu, 8 Aug 2013 06:16:48 AM All use subject to JSTOR Terms and Conditions Film History, Volume 20, pp. 133-143,2008. Copyright ? John Libbey Publishing ISSN: 0892-2160. Printed inUnited States of America First encounters: French literature and the cinematograph Roland-Fran?ois Lack / c/e/y my contemporaries to give the date of Colette, who wrote film criticism and film scripts but, their first encounter with the cinema beyond describing a character's face in 1903 as (Jean-Paul Sartre) having 'a cinematographic mobility', rarely men tioned the cinema inher several modern-day fictions Drawing on roughly forty years of French writing of the period up to 1914.4 The period initiated the for examples, from the invention of the cine vogue for romans-fleuve, vast novel-cycles of con matograph to the publication of the first history temporary life, so it is a further disappointment that of cinema in France, my aim in this essay is no one inRolland's Jean-Christophe (1904-1912) or to consider how literature represented going to the Proust's A la recherche du temps perdu (1913-1927) cinema while this was still a new experience, how the finds the time to go to the movies. This did eventually raw material of this experience was processed into happen inLa belle saison, an early volume of Martin art. An alternative titlewould be The Cinema Scene du Gard's cycle Les Thibault (1922-1937), where a as Motif inFrench Literary Fiction'. Importantwork on full programme o? actualit?s, Helen Holmes-style ad this topic for the first part of my period has already ventures and documentary images of 'Unknown Af been done by Stephen Bottomore in an invaluable rica' provides a backdrop to erotic fumblings in the essay to which Iam much indebted.1 audience.5 I have taken as a starting point Bottomore's The principal characters of these lengthy nar remark to the effect that few famous authors contrib ratives are males who reach adulthood before the uted to the genre of fictions about cinema in the early invention of cinema, and their authors seem to con period. It is certainly true that few French contribu sider that their heroes have leftbehind such childish tions match the quality of Kipling's 'MrsBathurst', the things. Historians may find evidence of this early best ifnot the first in the genre. Bottomore discusses assumption that cinema was only for children and fine art-stories by Apollinaire ('Un beau film', 1907) women in the source of my epigraph, Sartre's auto and Giraudoux ('Au cin?ma', 1908), but that these biographical Les mots, published 1964 but a locus are the best French literature has to offer is disap classicus of literature's first encounters with film. The pointing, especially given how many of France's lit relevant pages are rich indetail for the film historian erary artists of the period up to 1914 acknowledged to footnote, such as the specific dates of films men the existence of the cinematograph; they drew on it tioned (Zigomar, 1911; Fantomas, 1913; Les for similes, or commented on it discursively, but Myst?res de New York, 1914; Les Exploits de Maciste declined to tell stories about it.2 We might have expected more, for example, from Jules Verne (who died in 1905) than a brief Lack is a Senior Lecturer at Univer reference to the kinetograph in 1895; after all, H.G. Roland-Fran?ois sity College London, where he teaches French litera Wells would soon, inWhen the Wakes Sleeper (1899), ture and film. He is currently writing a book on Cinema demonstrate how central the cinematographic appa and Place. to ratus could be to visions of the future.3 Or from Correspondence [email protected]_ This content downloaded from 86.186.242.240 on Thu, 8 Aug 2013 06:16:48 AM All use subject to JSTOR Terms and Conditions 134 FILMHISTORYVoL20 Issue2(2008)^ __.^ _ ^ ^ ( __ ,_?_?_ __ ^._5?J?Ei5ll?r^!?95?J??I^f1?^ Fig. 1. Maurice Bard?che evoke the origins of cinema Jean-Paul Sartre, through parallels with literature: Lesmots (Paris: Gallimard-Folio, Everyone probably knows, nevertheless, that 1983 [1964]). the origins of the film liemuch further back, and that movies date from the era of President Faure and President Cleveland and of Bour get's first novels. They date, in fact, from a time when the boy Proust used to admire Mme Swann in the Bois de Boulogne, and woo Gil berte in the Champs Elys?es. A Jewish army captain was arrested and tried then, but no body foresaw that a year or two later the name of Dreyfus would convulse the whole French nation. The bicycle was still a velocipede. The automobile had just appeared, but older peo ple insisted that itwould never be as much use as the horse. Boldini was the fashionable painter. Itwas at such a moment that the film appeared.7 In fact, in the year cinema was born, Paul Bourget was onto his twelfth novel, and Tenfant Proust' was a grown man who had already published his first texts, but these literary associations help Brasillach and Bard?che present this story of origin as a kind of Proustian cinema, a succession of im ages laid out before the eyes of memory. - Brasillach, born 1909, devoted a large section i.e.Cabina, 1913), and the specific cinemas visited of Comme le temps passe to the origins of cinema, (the Panth?on, the Kin?rama, the Gaumont Palace). depicting the activities of a film-production company This historian may also discuss issues around dat in the early 1900s, evidently informed by Brasillach's a peculiar of belatedness that ing, through figure work as a film historian: marks the passage. Sartre, famously, reads the age of the cinema against his own: Matricante went to see M?li?s with Ren?, and even visited the hangar inMontreuil where the We had the same mental age. Iwas seven master illusionist prepared most of his trues. years old and \ could read. He, the cinema, He came back filled with enthusiasm, for he was twelve, and couldn't speak. People said had seen nothing at Charles Path?'s, where he he was just starting out, that he had progress had been taken by his compatriot Zecca, to to make; I thought would we would grow up match the ingeniousness, the acrobatic skill of together.6 this inspired, laughing, proud littleman, who Since he was born in 1905, we calculate that spent his days in his workshop, as inventive Sartre dates the birth of the cinema as 1900, at least with his fingers as with his wit, and who took five years after the event. as much pleasure in organising f?eries for The problem is not historical accuracy: itsuits children as he did large-scale comedies, Sartre's literary purpose to make cinema a child of staged actualit?s and little melodramas. In the twentieth century, and in film history we have front of the astonished Ren? he opened trap become used to the rhetoric of false memory, espe doors, suspended himself in the air, spat out cially when the past thing remembered is Tenfance fire, waggled his wizard's beard, produced a de l'art'. In the firstHistoire du Cin?ma, from 1935, dozen women inwhite swimsuits from a giant the novelist Robert Brasillach and literary critic rose, and had singing on the screen, thanks to This content downloaded from 86.186.242.240 on Thu, 8 Aug 2013 06:16:48 AM All use subject to JSTOR Terms and Conditions First encounters: French literature and the cinematograph FILM HISTORYVol. 20 Issue 2 (2008) 135 a phonograph, the grey silhouette of Paulus. ognised her three mortal enemies, in league against Ren? went home entirely won over by Matri her on the magic screen'.12 cante's plans, and ready to swear that the Where other novelists in the thirties deign to cinematograph would conquer the world.8 name or evoke specific films, the details are not so to be derived from historiographie or An habitu? in the 1920s of art-house cinemas likely cinephilic competence. InMort ? cr?dit (1936), C?line feeds on like the Studio des Ursulines and the Vieux Colombier childhood memories of afternoons at M?li?s's related inhis memoir Notre Brasil (as avant-guerre), Th??tre Robert-Houdin: lach's historical knowledge was founded on his cinephilia, which fed directly into the cinema scenes My dog went with us everywhere, even to the he included inother novels. Cinema, at the Robert Houdin, for the Thurs day matin?e.
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