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Au<strong>di</strong>ences are far better served by fiction<br />
films. For fiction show <strong>di</strong>sasters – shipwrecks,<br />
battles, fires –in detail and great<br />
splendour, and manages even to make visible<br />
something invisible: the mental state<br />
of people in extreme situations.. It is striking<br />
how quickly – in comparison with today<br />
– current affairs of 1912 became the subjects<br />
of fiction films, probably thanks to the<br />
short production schedules. Within a year<br />
of the Titanic <strong>di</strong>saster (it sank at the end<br />
of April 1912) some longish features had<br />
appeared, La Hantise by Feuillade and In<br />
Nacht und Eis by Mime Misu among them.<br />
The Mona Lisa <strong>di</strong>sappeared from the Louvre<br />
on 21 August 1911, and by the time<br />
the painting turned up again at the end of<br />
1913 the robbery had provided the basis<br />
for several films, both thrillers and come<strong>di</strong>es.<br />
And there was one item of current affairs<br />
that was always in comedy’s firing line:<br />
fashion. Fashion today is, unfortunately, a<br />
deadly serious matter and its intrinsically<br />
comic and grotesque aspects are almost taboo,<br />
so much so that it has only occurred<br />
to a single come<strong>di</strong>an, fearless to operate<br />
beyond the pale, to expose them – he is<br />
Sacha Baron Cohen (in Brüno, 2009).<br />
In 1912 Georges Méliès shot his last film<br />
and Joris Ivens his first, Wigwam, a home<br />
movie western, inspired by the Wild West<br />
novels of Karl May (1842-1912). May is<br />
probably the most-read of all German authors,<br />
with 200 million copies in 40 languages<br />
sold around the world, and Ivens<br />
was not the only one to be nudged into<br />
creativity by his influence: the 11 year-old<br />
Othmar Schoeck would base his first opera<br />
on May’s most successful novel for young<br />
people, Der Schatz im Silbersee.<br />
PATHÉ COURANT 178A<br />
Francia, 1912<br />
█.Prod.:.Pathé. █.35mm..L.:.51.m..D.:.3’.a.17.f/s..<br />
Col..Didascalie.olandesi./.Dutch.intertitles. █.Da:.<br />
EYE.–.Film.Institute.Netherlands<br />
WAS HE A GERMAN SPY?<br />
Gran Bretagna, 1912 Regia: Hay Plumb<br />
█.Prod.:.Hepworth. █.35mm..L.:.150.m..D.:.7’.30’’.a.<br />
18.f/s..Bn. █.Da:.EYE.–.Film.Institute.Netherlands<br />
PATOUILLARD A UNE FEMME<br />
QUI VEUT SUIVRE LA MODE<br />
Francia, 1912 Regia: Romeo Bosetti<br />
█.T..ol.:.Patouillard heft en frow de med de mode<br />
wil mededoen.. Int.:. Sarah. Duhamel. (Petronille),.<br />
Paul.Bertho.(Patouillard)..Prod.:.Lux. █.35mm..L.:.113.<br />
m..D.:.6’.a.18.f/s..Col..Didascalie.olandesi./.Dutch.<br />
intertitles. █.Da:.EYE.–.Film.Institute.Netherlands<br />
CINÉ-GAZETTE<br />
Francia, 1912<br />
█.35mm..L.:.55.m..D.:.3.a.18.f/s..Col..Didascalie.<br />
francesi. /. French. intertitles. █. Da:. CNC. –.<br />
Archives.Françaises.du.Film<br />
MOTTRAM SHOW<br />
Gran Bretagna, 1912<br />
█.35mm..L.:.100.m..D.:.5’.a.17.f/s..Bn. █.Da:.BFI.<br />
National.Archive<br />
PROGRAMMA 8: IL DOPPIO. MAX MACK<br />
PROGRAMME 8: DOPPELGANGERS. MAX MACK<br />
Programma.e.note.<strong>di</strong>./.Programme and notes by.Mariann Lewinsky<br />
Il regista tedesco Max Mack nacque nel<br />
1884, nel 1933 emigrò a Londra, dove morì<br />
nel 1973. Dopo aver lavorato in provincia<br />
come attore <strong>di</strong> teatro tra il 1906 e il 1910,<br />
passò a Berlino e al cinema, alla Vitascope<br />
<strong>di</strong> Jules Greenbaum, scrisse sceneggiature<br />
per Viggo Larsen e altri, e tra il 1911 e il<br />
1935 <strong>di</strong>resse un totale <strong>di</strong> 127 film. Tre<strong>di</strong>ci<br />
<strong>di</strong> questi si sono conservati, vale a <strong>di</strong>re che<br />
qualcosa se n’è conservato. Si può <strong>di</strong>re che<br />
un film sia conservato, quando ne esistono<br />
soltanto copie spettrali <strong>di</strong> un vecchio con-<br />
DE WIGWAM<br />
Paesi Bassi, 1912 Regia: Joris Ivens<br />
█.F.:.Kees.Ivens..Int.:.Dorothea.Ivens,.Hans.Ivens,.<br />
Jacoba. Ivens,. Joris. Ivens. (Flamming. Arrow),.<br />
Peter. Ivens. (Black. Eagle),. Theodora. Ivens,.<br />
Willem.Ivens. █.35mm..L.:.150.m..D.:.10’.a.16.f/s..Bn..<br />
Didascalie.olandesi./.Dutch.intertitles. █.Da:.EYE.<br />
–. Film. Institute. Netherlands. per. concessione.<br />
<strong>di</strong>. Capi. Film.. Un. ringraziamento. a. André.<br />
Stufkens. e. European. Foundation. Joris. Ivens<br />
ORPHELINS DE LA PLAINE<br />
USA, 1912<br />
█. Int.:. George. Gebhardt,. Baby. Violet.. Prod.:.<br />
Amerikan. Kinema. /. Pathé. █. 35mm.. L.:. 225.<br />
m.. D.:. 12’. a. 18. f/s.. Bn.. Didascalie. francesi. e.<br />
inglesi. /. French. and. English. intertitles. █. Da:.<br />
Cinémathèque.Française<br />
LA HANTISE<br />
Francia, 1912 Regia: Louis Feuillade<br />
█.Int.:.Renée.Carl.(Mme.Trévoux),.René.Navarre.<br />
(Jean. Trévoux),. Miss. É<strong>di</strong>th. (la. chiromante),.<br />
Henri. Jullien. (il. padrino. <strong>di</strong>. Mme. Trévoux),. Le.<br />
Petit.Mathier.(Trévoux.figlio)..Prod.:.Gaumont.<br />
█.35mm..L.:.510.m..(incompleto)..D.:.26’.a.18.f/s..<br />
Col..Didascalie.francesi./.French.intertitles. █.Da:.<br />
CNC.–.Archives.Françaises.du.Film<br />
trotipo negativo 16 mm, come nel caso <strong>di</strong><br />
Der Andere (1912-1913)? Cosa si può <strong>di</strong>re<br />
<strong>di</strong> un regista quando il novanta per cento<br />
delle sue opere è andato perduto?<br />
Che era versatile: i tre film del programma<br />
si collocano su registri estetici ed emoti-<br />
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