.

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CARICATURE~ AND
FILM

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DO _. _\ LOC R.\ fT 0 - -
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airle de Pans
La bibliothèque du cinéma
François Truffaut
Forum des Ha les , n eau-3
rue du CInéma - 75001 Pans
~ 19110 '" PrinœIoo [ n _ ! \ ' Preu
" ' . ' dbyPrinœloo tnivenll\ J'rfts ~1 \\illwu 51=!. Prin","!on, ''''' Jor>e\ (~
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L ••"., Of Co"caE S C4TALOGI"e,; 1 PllLie '11o, DAr ...

eneœ. o-ld.
.... Cohl. _ _ e. ond &lm Dooold Craflon.
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1 . o.aIl.œ5ll1-5 ..... _
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JIC1'M6.1'1IIOIM33 11Il1O
811-31015

Nb • eldoio lraaIt lias - . oirIed by • _1 &am the

Paor\ . . . . . . . . elPa UIIiwnily Preu

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LIST 01 ILLI S rR~"O \

lX
Lf\T Of (H~Hn ~ f) DI\GP',u1
nü
pltOl0 C,HAf'ltl< S'JlM ES

p~J.f AC f ~"f) AC J 0\\ J f DC,ME"T5

ni

C.ltAPlf fi {J \ f. A c.ancaturist's Llfe

3
( ItAPT f fi l \\ C)' Art for Two ~Ou\
4.3

P .\H) T\\ (J, The ··Cinématographiste"

C.1I~Pï III J ItHH.: The \Io\ing Image 91

C BAI'T Ut 1 CH· fi Cinema chez Caumont 115
c, H \ PI 1· Il J 1 \ E "Hollywood" in France and \"'" Jerse) 15.3
c, H A J'I Ut ~ 1x The Father of the Animated Film ISS

P AH 1 T It R E E Toward an "Incoherent Cinema"

CIIAf'TI.J\ \1.\ L' Graphie Humorand Early Cinema 221

C IIAPH,H I·,IC,HT "Incoherent Cinema" 25ï
313
341
UIHLIfJ(;H:\"If) 3..
INIlL.\ 39ï
 ILLL'STRATIO 'S
. ----------------------------------------

FrontispuX-e Emile Cohl, ca 1&95.

1 Félix Régamey. "La Rue du Croissant. 1&68.
2. André Gill. "La Déli\'eranœ," L'Edip$e. August 4. 1~'4.
3. André Gil); "Bonjour' - Bonsoir'" La Lune Jlou.w.. D<œmber 24, 1~;6
4. Emile Cohl; "Grand Bazar génois," La .\'ouudle Lune, June .5. 1'>51 Hereafter \\oru for
",hich no artist is cited are by Emile Cohl
5. "Le Baron de San ~falato contre Edouard Philippe: La ,"ou,elle Lune, ~Iarch 6. 1581
6. "Les Poupées de l'infante," La XouœUe Lune, ~Ia\ &, 1'>51
,. "Serment aujourdbui, serrement demain," La Xoucelk Lu"" Jan""" 16. 1'>51
8. "Souille toujours," La :'oucelle Lune, Jul~ 24. 1581.
9. "Que d'or' Que d'or! Que d'or~- La Xoucelle Lu"", SepteMber 3. 1'>52
10. "Rentrée du grand jules," La SouœUe Lune. Februan 2.5 1'>t>3.
Il. "Les Auteurs de Vièrge," La Souœlle Lune. ~lay 31 1'>54
12. "AcluaÜté," La XouGeUe Lune, Augost 15. 1580.
13. "~1. René Langlois," La NouceUe Lune. April 1•. 1'>51.
14. "Vêtement de saison," La SouœUe Lune. August 28, 1581
15. "Vue du ~1 inistère Duclerc, de la lune," La SouceUe Lune, August :!O, 1062.
16. "Les Prétendants du carnaval," La NouGelle Lune. Januat') 21>. 1%3.
17. "Le Député de la bouillabaisse," La XouceUe Lune. \farch 5. 1 •
18. "L'Indépendant," La NouveUe Lune, januat') 20. 1580
19. "La Rédaction du Tarn· Tarn," La XouceUe Lune. ~lay 29. 1&>1
20. 'Tapons dans le tas," La SouceUe Lune. JanuaI') 8. 1b52
21. "Le Ciel et l'enfer en 1851," La Xoucelk Lune December 22, 1 1
22. "Une Dernière Ressource'- Le Carillon October 11. IS79
23 "Alfred Delilia," L'Hydropathe, October :1.8.18.9
U. Cabriol (Georges Lorinl; "L"H}dropatbe Emile Cohl" L'Hydroptllhe, April 5. 1550
25. "DémlSsionnariat d'un an:' Tout·Paris. june Il 1&'>0
26. "Gill et le Luxembourg," Tout·Paris. June 26, 1580.
27 "Les Prix de la Naucelle Lune: La Saucelle Lune, .\u=1 22.
28. " Progrès! " L'Auberf!.c des Adrets, December 26, 15&5
29 "Ah quel nez!!!" Le Bon Bock, April 18. 1&85.
,- CIIon'Mn October 25 ' 1
30. .. Lunes politiques et inca h'erentes, .. Ut:
.31 Un Voyage chez les !nco érents. ù< Chant an • October 25. IS83
" h - ,-
32. An Incoherent outing m 1884
13 "Chez les Incohérents .. Le Charitan October 30. 1 >4 h leu
, tk ( Iwn da art! rnco IreniJ =-<
14. "La Salle Graffard: Catalnf!.ue ,1Iustré "po, .J. r tinn tiR art.
"'5 . Le P Pê h dan l' mL - < ' Catalol: u, ,Ilu trt "" erpon
,> auvre c eur s e UdlICU.
",cuhérent., 1884 La Cancatun" Deœmber 2-, l '>t
36. Albert Robida; "Réveillon des am,les oncohérenu j nt,ment par Emile Cohl.
37 "Julo Lé\), le pere de, Incohérents ..de; on" ,nro .ere
Li, Courrier Fronçai, \tarch 12. 1 ,
:1.. ILLl'STRATIO~

38. Portrait of André Gill at Charenton, January 26. 1883. 1LL (J S T R \ T lOS • XI
39. André GIll "J\oU\ealL\ Croquis"lthree port:raJts of Emile Cohl), La ,\ouvelle LUlle,
79 "Chez le coiffeur" Polichinelle, \Ia) 30. 189i
\I"",h 4, 1883. 80. "Les A\ Irons de Paris," La Catieature, August 13. 1887
40. Charles Studio; Photograph of Cohl and Gill.
81 "Le Rêve de Félix," La LIbre Parole Illustrée, August 28, 189ï
41 ....ndré Gill lor Emile Cohl); "En attendant," La !l'ouvelle Lune, Oecemher 15, 1883. 82. "An Absorbed Reader," Pick Me Up, October 3. 1891
42. Albert Robida; " \ l'exposition de oeU\Tes d'André Gill," La Caricatllre, Oecemher 29, 83. "Schampoing nouveau," L'Illustré Soleil du DImanche, ~Iarch 4, 1900.
1883. 84. "Le Bottier," L'Illustré National, jalluaC) 8, 1899
43. Uzès (A. Lemot): Portrait of Emile Cohl, Le Coumer FrançaiY, September 12, 1885. 85. " Big Bait for Big Fish," Judy , March 18, 1896.
44 "André Gill," La !l'ouvelle Lune, ~Ia\' 15--31, 1885. 86. "Un Remarquable Ronfl eur," L'Illustré 'ational, .'> Iarch 19, 1899.
45. Self.photograpb 1885. 87. Strip containing self-portrait, Judy , j anuar; 15, 1896.
46. Photograph of Edouard Norès, 1885. 88. "The D og-H ater and the Busby," Pick Me Up. !\av ember 28 1891.
4i. Photograph of Jean ~Ioréas , 89. "An Improvised Mortar," Pick Me Up, JallUar; 23. 1892.
46. Photograpb of Emile Goudeau. 90. "L'Ombre," L'Illustré National, September 3, 1899
49. Photograph of Paul Yerlaine 91. "Wringing bis Nase," Pick Me Up, june 6, 1891.
50. Pbotograpb of "Léon Cladel." 92. "Jeux de C lowns," L'Illustré National, january 22, 1899
51. "Edouard Philippe," La Saucelle Lune, Februar; 12, 1881. 93. " La Perruque," La Caricature, .\Iay 21, 1897.
52. Adnen ~Iane: "Souvemrs du bal des Incohérents," Le Monde Illustré, ....pril17, 1886. 94. "Encore une invention américaine," L'Illustré Sational, December 25, 1898.
53. Carte d'exposant. Incoherent Exhibition. 1886. 95. "Syncopation," Judy , February 5, 1896.
54 Anon .. Portrait of Emile Cohl. Catalogue de l'exposition, 1886. 96. " Oe ntjst," Judy , February 5, 1896.
97. " Pe nn y in the Slot," Judy , January 15, 1896.
55. "L'Enterrement de I1ncohérence," La Souvelle Lune, ~larch 13, 1887.
98. " Le Nègre blanc," La Chronique Pa tisICnne, ~Ia) 8, 1867
56. !ules Chéret Coyer for Catalogue illustré de l'exposition des arts incohérents, 1889 .
99. " Le Voleur volé," L'Illustré Na tio .. al, April 9, 1899.
5i .Francisque Sarce; ," Catalogue illustré de l'exposition des arts incohérents, 1889.
100. "Un Vole ur malin ," L'Illustré Natiollal, September 17. 1898.
56. "Quelq~es EmOIS a~ Salon lSection de sculptures)," Le Charivari, April 26, 1886.
101. " La Malheure use .... ve nture du Beau Gontran," L'Illustré Nanolllll, !\'o\ember 26, 1899.
59. La PoeSIe en 1886, Le Charitati, June n , 1886.
102. "U ne Mauvaise Farce," Polichinelle, j anuary 23, 1898.
60. ~Ioloch lB. Colomb): .... u bal costumé," La Chronique Parisienn e January 93 1887
103. "Comme nt sans le faire exprès M. Bonneau arriva dans la lune .:' L'Illustré National,
{detaill. ' ~ ,
J anuary 22, 1899.
61. "Grande Revue des pemtres passée par Gustave Boulanger " La C aticat M 21
1887 1 ure, ay . 104. "Les Suites d'un soupe r," La Chronique Parisienne, Januat) 30. 1&87
105. " No. 999," Judy , March 11, 1896.
62. ::Félicien Champsaur, Les Hommes d'Aujourd'hui no. 32ï.
106. Judy , February 26, 1896.
63. "....Ibert Robida, " Le, Homme, d' Aujourd'hui, ~farch 27, 1897.
107. "Un Beau Coup de ligne," La Caticature, june 16, IBBli.
64. De Toulouse-Lautrec ., Le. Ho d'A ' d'h
' mmes uJour u; no. 460, 1898 108. "Never Satisfied," Judy , Januar) 22, 1896.
65 al Uzès (A. Lemotl "Emile C hl .. Le H ' , .
bl U' A Lem '. o . S Dm mes d Aujourd hui no. 288, 1886. 109. "Une Douche soignée," L'Illustré National , December li, 1899.
zes (. otl OnglOai drawing for above.
UO. " Musique e t litté rature," L'Illustré Natiollal , Februan 19, Ib99.
~ Le. Chambre> Comiques . October 26, 1886. 111. "Comment on fait les jésuites," La Naucelle Lune. \I a) 2. 18&0.
1. Les Chambres Comiques. !\o'ember 16 1886
112. " Distant Lens Enchantment ta the Vie,,"," Judy, FebruaT) 12. 1896
: Les Chambres Conuques. January 11. 1Ii87 .
113. Judy , Februul'Y 29, 1896. "b C .
· Le. Chambres Corrnques. October 12. 1886 114. "Photographie d'uprès nature d'un repré!iC'ntan l du pl"uple Les Cham res onllqucs,
70. Illustration for jules LermlOa L'A b de d
71. Portraits of jules Le' d' u erge s a rets, 1887. November 30, 1886.
72. Caver for Félix Gall rmma an Cohl from L'A b d d 115. "The Tale of a Shirt," Judy , J.nuar)' 22, 1896. 1 f \1 99 1895
u E . u erge es a rets, 1887.
73 Illustration for C pa. x. ncore des Galrpett... 1889. .. " t " l.RJounJa po,u vus,. J} - ,
116. Conseils aux c)'chstes qUI commencen .
74· "Les 0 eux Sai. oquellO cadet, Piruuette,. 1888
.. fro . 117. "Trop d e zèle," page [rom L'JIlustré \l1It/ollal. F cbruaT\ 5. IS99
.. ons,
75· Edouard D r u ' m jules Oudot ' CIlan'ons fin de siècle 1891 118. Scenes from Mademoiselle Fiji , L'JIlustré Théotral. 1896
mont reglant 1. question d P .. ."
September 25, 1897. u anama. La L"'re Parole Illustré 119. Four "Cartophilalé lie" postcard" Lemam', 1905 Augu,t27, 1882
m~b~~ '. ' 120. "U n Conseil ~éncux en riant," La ,\'Olllellt' LUlU
77. "Partage de la gal 0 on Lisle Street, London, 189.5. 121 \lace, Nos Lobirs, Octahcr 15, 1906.
78 Le ette des rois du 1 "
Meilleur Moyen pOur pre cl . b GyC e. LR Vélo Il/ustré, ca 1900 122. Sketches for sh.do\\' puppets, ca 1900
n re eaucoup de p . " 123. " Enveloppt, mystér/eu,.,'· cn 1905
OISSons. Le Grand Illustré, 1906 .
 1 - ILll TR~T'O • XlII
1 1.0 Ln Bntioln artuù:s Cil '>4 19B
1 "1 IL If do rolnqun ca! :! 1 Il
1- ~ La &rand..: <k topnt ca!. 1911
1.3 Cohl in Fnrt Le.- 19l3.
Url" JlDM!' _ , 1 1. l'.! Tric pt. (''<!l3pb ~ lorl.:. 1 13
1.5 Cohl ..itb uz.mn.. and .\ndré m Fort ùee 1 12
G6. eeor.:e \Ic\lan<15 Frendl\erslOll Of --n,.. ~..,cfs- in \ .. Laur.. \pnL 1
f': ..:w:", ... -.mcb~
"1..<, _ ..... t>, 1 1 1;1 George \ldlanu> li·portnit ..,tb --n,.. ""i,.,.ech - 1
C l.,I.rn.liD:c !d3r1"j, 1. bl6 from""The """~'l,eds.- 1913-
~d1 li c,*,- l.r \I.,.;Iœ......-.:~ 1.9 H.: Loc.:. ta Be .... mu.ed ca!. 160 1913
ks Ga.l.~_ 1 He Doem'I Care 10 Be Photcgrapkd caL 1&1 1\1H.
O""....Paàe ll~ 1 1. H.: Poo.:. for Hif. PortraiJ <:>t, 153 1913
œc~ tJ.., -l'abre. 1 li 1 ~ .-\ '-"gaanan • Drmm cal. 1.59 1913.
_ <71 1 . Tbeodore Hui!' and ~Iark Bon!altL G'-t T0InL TIw :!D<y Fi Ln. ca. 1935 frame
enlargement .
IS-I Cob! and Eclarr staf[ Epmay, .\ugust 4. 191~
155. \\'insar ~lcCa.y Littl" .\"emo, \'13g13ph. 1911
156. Raoul Barré "Quatre-'ingt-treize.- Le ifjIn \l2rch 1. 1
15";. Raoul Barré: ""The Ke~ Ki<I". Batbing .-\theuture - in CIU! 1 &.:1. t915.
l . Raoul Barré: ".\ Sand ~Ii<:robe f1irtahon. - in Cart.,.".. lM &.dt. 1~15
1 9. Eclarr id..ntilication canL
190- Gaumont publril) materials lDr -Les Dessins lIDimés de RaoW Barré - bl6
191. Pierre de LéLa B/ag/cml ale snp.-..t bœ. 1916.
19-:!. Benjamin Rabier and "Fla:mbeau.-

1 -
191. Benjamin Rabier: "l'ne Portée mD5icale,- a ...-CêRe. 1 ê4
194- René ~a..arre. 191.
!lJ_~ 1
195. Benjamin Rabier: Am ertisemeot lDr the "Flambeau ..-ne;
Iv.-.. ! 196 Benjamin Rabier at work on a Pathé film usiru< Jn, bomemade ""'""""",,-.d..
Wst,.\ . B • Ekct.ric T'--r Pathé ca. 1~20
Sa:'"fJu l ,'>à=.... t"-- 1 190 Benjamin Rabier: Orawings and mtche. fur La F"~ Je ~
-' -t.-..n=- Ùl .""lt.c~
S..u...r.hstNiiè 4 - .r_. .~ 0 . . _ studios M3} 1909 1 L"'c~nir dicoilé ptJr ln lignn tin rMd> cal. 1.0 191;
199. Filochanl I r distingu. PîftIs sickdis 00. -t cal. m bl
~. lC oidentilied Iilms in the "Pieds ~deIb - ""ne>
:!QI. Cobl as l'. Ann! ..oI.unl...... 191
~~ .\d,erü.semeot Iix Chaplin seri<5 _ e d '" Ottu \1 .....Mr. 1916.
203 ....d,ertisement for Pa.an clh_,..,
204 Projecl fur La C&rnJatiDn du >lm" ~ r~ ca. 1 ;?1
2005 O'GaIop " ariu. IIossilloo "u o;,,!ributeur ~ de s>ede et la piètt
&usse - La CanaJtu1T 00. &1- , 1 <;2.
206 O'GaIop ~Ianu> ilo»illon IL Cl1T1IIt Je rckool. 1 l _
207 I œbcrt Lonnard. caricaltU'e of Larue Roœrt 0lIbn!:
200 . u,rtac tudio La Tubercul ....".,... tout lr lftCIfItIe 1ge
209 .-\Ibo,rt \l ourlan ",itb a, ,!:mt ca. 1 ~I _
tDns!",.= '" ttb..
210. Cobl ""tb u, DuC2 moi Pi<orre Bonn:roo " 31 0 \E studio. 1~
Lr'?- -..,di.... 6 -
_
-.
-' =r.er are- =Il Cohl ..itb ru. crandchiIdren - Pierre .... 19J6.
. ... dia
ua .. df'- '.e.. C3l _ E~ .. Cob! drr...",:: a stiCk 61!Ur<' CL 19.r
. 1
1: Publicil) drr...", t« lA Crn/mlttL.~_om-rwA:i<'{93"'_"9"'''''
'- - ~AdIfOr 1I111tntœ <r: lll Cohl ru:bt n Il1n G~ lEi 1
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• ••ûC.. DltJtre ~ 1. 1
,.,... ...__ Û \M lIi1itare Apn1215, 1 ~ .
- c.-4'1Iëte: _PrioeJ~IrDIs,ou....'U_dustes ÙlÛlnaz re JanWll) ') 1 5 ~..5 " d..s IIOétopltacn...
. . c.-Wllëte: Les B dulie: i. ÙI Canarblrr J 10 1 - Yh. _ du 0"_.'""",
BI. M r , C ' , ~ dt .. opuo_es, ÙJ CIUDiW{~ Pa~ \pnl2l; 1 ~ - C It:ir de lUIte
. : ~I!I _ Re r "'\Oil" "* -. _ a Toalouse ... ÙI c.ma>ture l: oe\, """","3bIe - L ri "-",,,,",0:(
_111118. O"lnDII' f'an lcuure-ûCItm_", '.,...._ o..,..~

--~JItII'.......... "'LÙI:riIIIe li ,... Pttru-l'lrotognzpM 1 1 Jules Chéret eo...... C·.u:,.",... iIl'asl'ri a.,...fn:IoC1
..._ _.'..... Pidc IId p 22. 1 1 \lastheads '" ÙJ """ r.-
Pa_ de dessim Iroon-ée dom b CISe cf
cl!: Les " - _ ~ Le Cluznœn Januan 13 I~ l ,-
- ...... ' e 16 DS dt Blhi 1!195 from the Geonœs Colomb Cbnstopbe
"'ciiIIeIl.
P L" CPari M g ut~ Lm " - ' Fobru:ary 22. 1896.
T,3 -ILs
~... B,;I!DSm F.anb:isie J3p1'!3'S(" - c.. C ,
_ (1 1
!
~ H~P fM Hg Port cat. J5.J
!II. ......., "Le ..... ' g _ '.... ÙJ c.nœturt: J~ 31. l'l!r.. '::-6 "FanlDcbe- poppel> iL ~ un
....... s-: "C! , '81..... 1__ Le lin? F~ 22. 190-2.
2;'; 1... Thiâtre tin fa.JDclon _ P:othé ca. 1

....'
......
l a ..,16 ......................... ca. 1906
. . . . . .. . . . , Ü 1 , W

7
g 1"'" améliorée ou ~ - Le l/jr~.

u.~dt......,;.,.. 18116
27 Louis FewIla<k.md Cohl Ln CIvfi~Ot ..ut3
T,~ CuHk-lampe f i = TOIIt-P.ru 1.
- . Ïata- Emile Cohl- -Eq>Iiotym -
'! 1 J -J
- "o6c_1It
Grand.iIIe from Cmt Proarbs. 1 5
at. *
1
- . . .~Cn +
dt .. --* l'aIhé c:a.1906
Ji- ....t:-...~ 1 r -
.L
- _e , '81'" -
ÙI Cttriazture. Jantlar) 12 1901
...!'-':'1:l..........~. uSD.... Februory8 1908.
-.::
.:: 3
:?b4
l'nidenbJied film in the l'led. ~
"u Rédactioo du T....-T- .- ÙJ \....-dIr lMw
lf-portnJ. Ln Chmnbrn C<'-jGn. OctIo!:a- 1
!'.:~.~~:::::~~
~
' ' rd -Br ~ 13. l907.
oIeCloœ, UC~F-.pâo F~ 6 189ri.
> -
, .
l"nutled dnw",,,, 1... Chmnbrn C;"",_,., J,_..... 1 -
-p"", sans eau. LA , . u....: J JI

...q. .......••.... .C'. . .,st _au-.

. . . .: -... Cn ' • II .... - Le lin? JUDe19 1901. - , ILs Galeté> de rartuolité LI \Gio:__ 0.,......""""
--. u COIIrJ'ier F""'f"'I October 10. 1897.
.. û C~ JanlJar) 9 1897.
.::
2. 9
LHotd du riknœ caL - 1
os Gnnde; InH'D~ lL Ut œ..""...".=
~~:~~ • ...:ufolt Ltt C......... Seplember 1 1900 290 .\clbert Robtcù -la Iloonc à tout (me ,m..::tii\II..
Il
;==.. . . .
- aQge, Ltt c.n.:...,.. Seplember 17. 1898. 291 "~ 0"10>0", or ~ fo< • 8ai:illI:h
p ...,....." "Ea D' ....te.- Lllluotri 'ational ."ugu.t 6. I~

! _rr ~ u .. Le 1In?J"1Jar) 216 1901.

et .......... l908
LtCnt , • J 18 18110
29-~
293.
29-1
2!fj
Ln Jovruz IIICf'Obt, cal:!; 1
Drme.- Jul... Renan! -L~ du """""'"
.-\.Ibert RobKÙ I>éc:oD'_e d
lIenn mm Cha le doct
de .. ",.ne

~~:;;:::::s== III bAae, Le Ceri T'.~

. ÜCIobet 21. 1892
296 Hw" 0 ~st Impœnbl~ Il
29; iL Pnotr.-'-'~
,t.-
ElU..

~~::~:: ..... l!, 1887 -LArt~H ~._""'141

29f,
Paul Bilhaud 1
ûC·""'.-""Wot hi _ _ --
u 'dit F""'f"'IIU.,.,rt 299 nriotr<s.
" An .,....., PourqUOI \1 Duput D amJ<! pas ,.à>t>roIIL ~O'.nzober 1"- 1
l De Epra" e roocIuante LI ri
~~.~I~L~L~t~_~-~T!R~\~T~r~O~,~'~-____________________________~~__~_________~

. d ,-ait foreùle de la Chambre:

1 L \ssemblée étm suspendu Il ses lè\re>
l '>4 IDooherrol5 Exhi!Jjtion
~ ln eénér.d ~ <*Ire 1 Inroherents Exhibition , _ C H \ R T _ .\ ' D DIA C R\ M
303 Pan! Le BouiIImtltrall opaque pom déronl1on de chambre d 3\ eude, . ------------------------------------------------------
1SM Incoherents ExhibitIon
JO.l Drmer Jules Renan! 'ut; iDrobérrUts - IL C/llnirnri, October JO, 1 ~
305 "E..... d unflll"sionnisme Ù Courrrr Fnlnçms \ugust 9 1 -
306. "Fantaisie. - Ù CouTTll.'r FralO{>% , 0; premœr 13. L - . Chart 1. Ad, erfued Cinema ExhihllMm> m Pans ,
:lO7 Ù llRUrprur deorn:cne. 00, 1911 Chart 2. '\umber of ' ew Releases ID Pm. \\ee of\. _ 15 1 1
n La JOIJI!"X M.JCroba Enlargement of35mm -trip showing frame< of a transformation sequence,
309 GhJtnIIion 1pOff_ C4l 36 lW9
DJ3IO"aIJll . hO\'ing H"" \latte Ef!i.ct.s W"rr \bd.. m Cimr tk 1...... apor: l' - ~ T,...,
310 "Portrait = t i ressemblant. l '-1 l0r0herents Exhibition. E-q>OSUtrS 1
311 Em=e ~ Habert Effiots de Oaroberenœ" 1 Incoherents Exhibition.
3i;:! ù~ntmw:r ClIt. 65 1910.
313_ H~ Po= .fer H PortTllÛ cal 153 1 13
314 ù Bmtttasrop<' cat r 1910
315 La Bema:-,-\rts mystmna: cal 63 1910
316 lL Bi1IettOlCOp<" cat r 1910
3r lax and lm.., Fbscber The ,~1C{ul Fly -Out of the Jnl-welr series , ca 19-~0.
31 Jean \ 1. and Boru L anfmaD Zero tk ronduik 193:!.
319 l.IedaIIioo pre>enteè ta CobI h, the Sociéte d'enconragement pour nndustrie nationale, 1936_
320 Page from Caumont < C2I3Iogue' ou\eautés Cin~matographiques_~
321 Emile Cohl, CiL 1~95
 PHOTOGRAPHIC OURCE
. ---------------------------------------------

P ER '''''' 0' to reprint photofifllphs IS gratefully aclrno"ledged to

The Courtet-Cohl famil) (figs . 53. 65b, 76. 77, 78 118. 119. 112 l23, 124, 127, 14., lM 1.5.5, 151>
159, 165, 166, 173, 174, 175, 184. 197. 201, 202 210, 211, 2l2a. 215. 278\.
La Gazette des Beaur-Arts (1,32)
Raymond Maillet (196, 207, 209. 214 1.
The British Museum (82, 85, 8• . 88, 89. 91. 95. 96. 97, 105. 106. If}'; . 112. 113. 115. 126. L!9. 1.j.~ .
221 , 229);
The British Film Institute, "ational Film Al'clme 138. 1.53. 160, 259 ,
Cinémathèque Gaumont-Actualités ,140, 141.156. 162. 163. 25(,. 166. 2 . 292. 309. 312. 314- 315
316),
Library of Congress (26.);
George Eastman House (151, 263);
Cinémathèque Française (16., 307, 308 "
Centre Culturel Américain (31 il;
Centre "ational de la Cinématographie. Seniœ des .>.l'chi",. du Film 165. 169. 170, 171. 189
199, 200, 208. 2821;
/IIew York PubUc Librarv (17., 178, 1.9. ISO. 1 2"
The ~I useum of ~ l odem Art (lBl . 2.5. 313 .
Wisconsin Center for Film and Theater Research 152. 153. lSS. 157. 1 . .!06. 237 256,318.
Bibliothèque /IIationale (ail remaining photos ,.
 l' R E F ACE .\ '\ 0 "C K :\ 0 \\' LED G \( E '\ T ~
. -----------------------------------------------
0, S, Tl RD" morning~ when our "hildren turn on Ùle tele,ision to "ateh the net-
worb two or three hours of eart""ns, or wben they or we) pick up the comk ~ection
in the next day s paper, lt is not likel~ to <>Clur to n~ Ihal the se entertainment\ have a
history. Since the chronological de\'elopment of cartoons and c.1lmICS and the causes
and ramifications of that de\'elopment ha\!, 'el dom been the subject of academic dis-
course--if we bother to think about it at all-lt is eas~ to jump to the conclusion that
these triBing, even ju\enile, distractions and their bistories are not worth studying.
Yet, like ail institutions, these media are the product~ land not necessarily the end
products) of man) years of constant industrial and social forces. \ïsual humor is deepl~
embedded in the thicket of chronolo!Ôcal. social, textual, artistie. psychological. ideo-
logical and technological tangles that make up the unexplored underbrush of modern
culture.
This study seeks to trace one somewhat gnarled strand ofthl' cultural network, trpl-
fied in the life and work of the French artist Emile Cohl, who li,ed from 1857 to 193&.
He was an innovative contributor to one in titution-popular graphie humor-at a crit-
ical moment in its history when it changed from traciltional caricature to narrati\ized
"isual exposition. He was also a progenitor of anoÙler institution-the animated film
In sorne ways this book is a con"entional hiography, lt attempts to assimilate ail Ùle
retrievable pertinent facts about the artis!'s lue into a chronicle and to set them \\,thin
the context of his times. With Emile Cohl we are more rortunate than the academic
protagonist of Robertson Da,ies's nowl Leaœn of'lalice, "ho is fiu.-ed ",th writing the
biography of the obscure playwright Charles Hea,,·sege. "111 make lt appear that httle
Heavysege hopped right into the middle of a ,ery mterestin!! time, which is a lie, but
absolutel) ,ital to an)' scholarl~ biograph~ .'" :\ot onl~ was Cohl OOrn lOto Paris, "the
capital of the nineteenth century," but he Wil.!> an acti"e participant in its popular cul-
ture and "as in turn an in/luence on his milieu. His hle "as amazingly \aried, tillged
with politics, art, i""ention , romance, duels, mirth, and traged,-the stuffthat bio~­
phers and authors of made-for-TY-mo\Îe scripts ~e-arn for. D,1\;es\ "ould-be biogra-
pher continues, "\Vhat happened between 1&16 Jnd 11>53, "hen Hea','sege C'olme to
Canada, 1 don't know, but nI fake up something." "gain "e are luck,·. t' nlike Da, ie "
fiction al biographer, \\ e do not ha' e to I"ke IIp a retmd Fmding our \\<1' is faCllitated
by Coh!', o\\'n notes and clipping fil .. " corrohoratt'cl h~ the paper tr.ul made po,,,ble
by the rise of trade journalism in the "arh h' entll'th t't'ntu~ and the guidant... pro, ided
h\ Cohl" extant !ihm. The~e pro, ide tilt' al matun' f'lr hi, "ft' stor\ &till ther" arl'1!ap',
h;lt the portrait that emerges i, tlut of a t1lmplieat .. d. gt'ntl .. but ,tnhOOrn mdn iclualht
pu"uing "hate, er IJ.nt'lful turn lm ft,rtlle imagIn,ltion hXlk.
 .. Id.... tD ..... die bpljl-••I roIe œthe biographer who defends th"

~.""ItJl_-'"
M...I!iJlI.........
....
-.IItJ....Cialll·...allI, .'eb __ mJlet mastrrful con nbu i(ffllll, fî

-.e... . .e .... ft 8aIber than losm on the artl t slngularit

~~ ~ OAIIII thecootest œhu \110011\ pf(>dIJ(:tl{Jr~
hocl ID l i golden ~" of pr'f:"4"" cmem.. .. ,.,.
t~ ,nd J If ID d uruy
by . . Il' tDt _
the blé lCJJ(" .... f", ... about eJWf:wl_ . . of die
Came B J ID rad the ,ndmtn cA (....Aï" "P'lC "" ~ety al _e c.e
tII a _

»-., •
_ _ _ .. .,.: trilla oIher artiIb and filmmaken of his llroe. n"" tho.. :dl the Jpf:(.1hc hr,.,. "(:rl!' d&refi (J; as •• "!M 1 84 do h
___...,...,C..... JDdill..l ..teIIe:tuaI _lieu are augmente(! hyan..!}ses produœrut I-mptml!lo re';!: Iate 'tif: ~ fI)""'-l: (M'JI lnten,a.wWe, e g
.d J who may or IDa} oot ha\ e in8uenc.td hirn but the Ima: Inn of (fffl.1l(n rmporJfÙ 1be le c.oor. __ ...... :.ho u +j~ g a

!f!IIIfpt l1li1.. 1.... OUIIII. - br a discussion œthe earl) film mdutby c.-han!2:" in a.rtîstK: ;md f:WDIfffOC cr""~JO the _ ~ rd ferJ .. die ....
of produ(;<!'n and alJd~ f'*-'\O onent;ofirJO that 'as al ~_ a die Ol gtll
sound ,.ou!d he .... '.Jurod 1«,J/) 'K the ,.. of 2:1eat f'readl ttwIir. . . die lite
!\Ill.............:PlI![Jhic bumor - cinema, the reader neœssan~
Ml"-r_.... 1hey - dmiug the period between the rnid-I1VJ(IJ
thirti~.

1Ire_'œe dJis . . he i gaded.

UJiDg Robert C Allen's usdul
:\ltholJ~. i IS rommonpl",:e lb ~e cA ".,~ bl':b . . . JC11-5 a earIy or
~primiti\(,~ C1nema, ..ithont national cl lbOf lliddndoped
Mo'.I..... IIaIIdiI... wiIh Emile Cohl as the linl between media.
distiocfu e WnM ri proo iJctjoo a..d erl>i JO eadi l DIâe Iht eall.e.. do.-
-r. œ
,.rdj,.......'
~JI!I~]."'''hr the tmn the twentieth century ta ~
rIopw~tbattaansformed \irtually e\et}
.._ _ _lIIItat the liiDe Mals œIture, tben as DOW, wa.s espedally
inant ,-\meric:ar. ,i""''I1)!2: appalaWs Edùoo 1 ~
aDy ID the peep show and lb aim cA attradm~ dmoes rX
l 'M film wwe.....
Il''" ' * n Y..-d!
dnema from the !tart .."» an r.JU~ rX a u~ h~ rX wdH ....-
First lithographic, then oriented projf:(.ted sped:acle F urthennore the brletOf;t! [ ! J .-\aoerea . . .-

•••.-...IJ,-....0-.
. . . . . .~5 _ _edtbe -macturing

,o • 1 r "'te.
•
capacit) for prodoc-tng
u.ed ".,I.iI-!. J to ply them, made possible
New cameras, projedors, and
ket., F retK-h e:inema ~ ~I aimed id: ..
depictioo rX early Fretl<:n cfuema ..'l!<S ~ a
.dau xvi .... e T1ae"1oofu"'"

br populût and !loc::ialist c::ommentaton Bat french pmd..œG ....de tbeir

up'$en tIJra-.,
""**'._...
......" '. . . . p dale, whiIe reœptive mass audienœs for _ exploiting the crOW.H of limriIies !bat lIochd the t=' &in ....t ...... _ !pa-
_ranlr'~g . . e'Jbepreueun though DOt necessaril, __ed br prmoioc-ial dl!m::h ~:me! il} the leuure ~ rX.m. bow.,.....
.-''' œ...?ilttteded to the tecbooIogjes printing andœ families. lén1ike the lénitt:d States Fr.mœ "'!pet oerxed DO ~ _eull - 0: •
~.tlli..... 'I'IIIIIoIIII. . . . . iDteresb to them in a Wa\ tbat atthetmnoftheœntury atlelstllODf:that pi~_afIed eDf.eTtaiD_dIe
leclrive to tiDIœr while gaining a di-
ÎlllIiIII'.... in domestic audienœ fOr film tIu~lt OH. pelJOd _ . . , b _ lM -

.,... "1 If".

than in America.
strip. lmd he became
_.JI lIpOD bim l3te in IDe b) bis
r• leu Cob)' 5 6Jms ûlustrate Iht indastry '5 deme ID aDDe1 as ~ of tIrà H' tg .....
."
~~.I!ir.tI_·Z
W
Uy iIfPt,rJed to bis de1.e!oping bit>-
dle-<.Jas5 marIœt as pombIe. His piOduœn .... ,'MII .. pl or x Ieatt 'C' ,
tII
Cobr. eKperiments in aniuutioo rdIeds a desR Ille p dt tII. j ' «
audience ofliterate bourgeois spec:.UtDn. T1ae -tœt _ Id,... + P"tpeis . . . . . .
~1""'.1iag Jo these _ tedmoIogies, ID œ
fàmiJy roosumen ~ lu,,·.... "id s. F_ die p'.' S __
~III!J'.- ne œ Ibip, wbicb would eve&- œ
point, the value Cobfs roob in t2ricatWe..:lll obo ..... lIIe~fIIl, » '
~~.~" .......Ie.wuuJd beanne cJomjnaPI gnpbic buDMX' and film ..:III not Dtuitous bu! ~ ?I.e resaIt rX ... , p f fti ...
• 'ldil tuiddy beœme rtudio-m# meutation In the end.. bowe>er COOI"! -t. _.i7:aIJh .. he - - ai j ...
creator. The tiJDI! &ttingcunœ.~..... iDtDanypi, "'8«.,.-or wir' - Le, al. " -AI.
~pnmitive~ « ":'"mihhd.*f' ,,- ~
. 1 .....
'" JIIIE'
bus leb=-ti.., hilt......s. b ..... Ille - . P
........... ----'_
...,
does -~r_ CGW l i

' . . . . . lU
pM 7 q i , ...
r.dallL.1y
,
o
L"
Le . " 1 iII 7 7

... ~ e
J r fil
a:vi-~ iD the "'id'" ....-:: il: u_ i
7 _

_ S j
il W":'"': iJmJIuutary wilbdoawal ' -
•
7
p "'- ,
P 7 •
.u t fIIlûMi ...,..
Cb.ptenOae_Twv,'" pllle ... bC - - , . . ,
. . . .Irl. . . . 'V ..... MC
 - \h re

, . ent
~

l "ûl
the
t
-
h "'"-II
1
\\Ille C iD<!'ma" e Patho;-loo;lfD;l!:
de IK"(lUr.~lme 1indu,
ibli.~'Q'ue de r.~:~
• the Co:::!.=
&oIiitt'ted

-m the-
1 e\ md
\ For their _ - C"e. :"

Wl , 1 J c
P..rn. 1';
_ T.
n--
mJom- R
1

Edé"ft1 the \\
pnn

the

2
...
2 il _ l'be->
\\
\1 • l' H E f ~(l ~

J alTI 'cn graILfullo Ih, ~",ann 1 oundalion for (Am,:a'UH und Ca rit",,, J
' "'IIt)
GoldK.JJmldl pr~ Idel,l (or umlinU/ng upport 0f t lIl proJcd and /0' IIIV III 1 1
1
anlmatioll . "H)~ Or.
Th .. dedlcattou of thl book ta Manil Il traficm " n,,' 1"'1 a "nlnl/('n'"' !Wli
li .gn IIf III~r rcal contnbutlOII durlnlt the dt'C'.ill,· rA "l'pori "'~"ar< h alJd Wri' '''''l'ui
tI,e 11OO~ 1 l!Jlat/et! "'l( II~ "II/I '/ O " L
. ---------
The "Caricaturiste"

\ fa, (n'''', va, carnlU'.,dt',

, ', ,, le diab),', bab r~. lr.de
Dan, lcm ri' \(' (·t s ur P:Mu .
Et par It- mtJndc' d )01\ râmt'
\'lle , haulr', noble, lIIL1m,'
De nOll> mnoccllh e!opnu.~

C,...mdi\. c:.ir (;'I!ht la (:o utumc

Cube ta ridw afflertulOl:',
EUJ:wrc' ~ gaieté
CariCiolturt' aurl-o)c.
J.... grima(:t· ct le· !o)mhole
Dt· notn' ilmph('ltt:

Paul \ 't'rlarnt' f rom

"Pü'rrut Camm," (a J1Y;6
 CIf~I'TER O\f:
. ----------------------------------------------------
A Caricaturist's Life

E \IlLE COHL claimed to be the oldest Parisian. "That Impuae by il>elf inrucates some-
thing about the person, his perception ofhis plaœ m a particular culture, and his desire
to let others kno\\" of it. To substantiate hLS claim he produœd a meticulou;l~ re-
searched geneaJogy shO\"ng !hat. since 1292, his Cami!} had been lhmg in the ,icini!)
of what e"entually hecame the Bourse nei!1;hborhood.' There \\ere sorne lacunae in the
older branches of the Camûy, but the po,t-re\"olution~ descend.mts "",,re "asûy traced
as far back as his paternal grandfàtber. Jean Eustache Françoi> Courtet 1lj"~Ir;'5,
and his grandmother, Rosalie Elisabèthe Clotilde Aubert 1'9,>--1f>30 Their son, Elie
Courtet, was born in 1821 and married Emilie uure Coulon m 1'>5.3. Four year; later
their only chûd was born on January 4. 11>5•. and wa" chn.;tened Emile Eugène Jean
Louis Courtet uter he called himself Emile Cohl. and he would!(JU\\ up to be one of
the best-known Parisian caricaturists ofhis day, one of the pioneers of the comic <trip,
and, e'en later in lue, the creator of the animated cartoon film At the time ofhi, birth
the family uyed at 20. rue Cadet in the ninth armndis.ement DOt farfrnm the pre,ent
site of the Folies-Bergères,.
Emile Courte!"s birthplace would haye telegraphed e .ential inrormation to hi> fel-
low Parisians in the nineteenth centuf\. As inhabitant> of the FauboU11! ~tontmartre.
his famil) would ha"e heen categorized as boUrgeol with up\\"ardl~ mobile aspiration .
Elie Courtet, a stereotyplcal fauboUrien. was a ...ùe,man representing his great-unde
Ale'ùlIJdre Aubert's rubber-manufacturing plJ.llt in GreneUe. \lme. Courtet ,upple-
mented the family income as a lmen seamslress. ThelI" fortune were linked, as were
those of man) other> JO the Indu5trial Reyolution, to the fortune, of the plant and th
Huctuating economy in general Courtet". rising and Wlin!: re'OUIT..,' neœ"itated
man\" mO\es, lirst to rue Umartine, then ba<:k to rue Cadet ID 1'>59. -
As a bahy Emile was frail and o,erproteded b) hi. mnth .. r. He su/fert"d oc"Ca>lonal
<'OI1\I1I,ions and carried a permanent sc.... from an in.1ul") he rt"<C"t'1\ ed during one of
them. uter III hfe, \\ hen he set dO\\11 not", for an autoblO1:raph~. lm ..-arliest memon
were \l, id Image,. th,. ,wallo,,", d"partine: in dutumn. a horse pawine: in the court,an!,
sold"·,, marchmg dO\\11 boule'Md POI"onmere He r..caJl"d attackme: hl> mother-
,ewing table wlth a to\ ,a\\ and ['Quld remt'IIlI)('r hl' older cousin dr""ed up as Pi not
One,' sornt""Olle 1(3' e hirn sorne paJnl>
~ • , 1/ ,1' ri n '" 1 _.----------

l ,,'t' nll ,,·If ,III Ill!: III .1l'h.lI\" [,,'fon'.1 t.lhl,'. h.l' 1Il!( I)t'fort· Illt' il hm. of ('olor, ilnd al '
.:1"" ul Il ,11t'1 ,\lltl ,nw.\lIIl~ drall 1Il1!' (~). 1 mmt ha, l' ht'l'n cl"sIWl"at,' LwcaU'l' 1 )I~
' I,~ l phenomenon , "Y"" and h.. t'an rt'ad and count. ,." 'And can he do l'rac-
".h .1
\."..'llt filllT\' .U!ltiltllll.!.t Il anlUTl d tllt .
lIO"';' Thal do", .. d it. ' :-'-0 . \Ionsleur. not yet." And 1 put my head down on m}
Ht' Il .1' fir,1 "nt to ",111",1 ahout 1~(jl Tlwrt'.1 1ll.II,(iclilll \\ ~~h ,hlll) Coppel" insl d ... ,k
IIIt'nl' f,l'l'U\.Ilt't! hml ,ln tlll' fir,t d.lI. hut tht' partI' ,'ndl'd and 1 bt'!(an Ill\ battl ru· De,pit ... lm Ignorance of frdchom, he "ru. promoled , and Ùle teacher, Vaudran's
.' . . . • e \\lth
tIlt' alph.lht 1 .\t \ t an ,'nd tlwre Il.b a d,\." phil . .Icoholte son , let him draw in c1ru.s '" mueh ru. h~ ",,,hed.
Emile Courlet', earl) education at père Vaudran';, "hlch apparentlv left him 10 his
Il Il.b III a huI" Il''',llt'' ltl\ld,' tht' t 1"lllt'ntan st'holll in tht' rue de la Tour d'A
01111 deliees , helped ta channel his compulsi\ e doodhng mto natural drawin/( talent.
\t'r.,lt' \\, Il t Ct' ail 0\, er tht' ,t.I<:t' .lIld III the hleachers, The set repl'O.sen~ u·
He had even more time ta praetice in 1865 when he \l'as L'Onfined ta his faÙler's apart-
fort',t ur .It 1,.l>t ,,'III,'luh.I<:" \t one pmnt l ,tarted to en E\"(~r\'one C'I a
1 •• , ' tneatme·
• • ment (noll on rue d'Enghien) with a sena us cold, Dra\\inl( was his onl)' distraction until
\\ hat th IllJII, r~ 1 pt't'd. and l'tl1\tmued tll en. . There "ilS \\;ld lall"llt
, " er ele,,·.. the housekeeper gave him all Ùle beautiful stamps from Ùle letters of her relati,es in
"h l't' Il \\';\.' th, onh tll1lt' 1 t'\ t'I" pro'oked lau!(hter in •'1 thealer. L et' go on. ~Iartiniqu e. Little did she know Ùlat she was kindlinl( a stamp-rollectinl( passion that

Thl'rt'~ Ilb ft' fl'II l't'nllll'('h \JI> of his futher. e\œpt, for hi~ G-Irde "'ati ona1e unUOrm
H
·r would bum all his life. His faÙler encouraged Ùlis n"" mtere,t b, contribuhnl( stamps
ft
n l' anu nI:ht hullon, But lit' had lIann Illemories ofhis mOÙler l'nr t l ' From the dail) business mail and taking him ta \ISlt Arthur \Iaul) ,s stamp shop, one of
hd . IOr unate \ she the largest, in the heart of Pariss stamp-trading distmt 3CfO'S from Ùle Théâtre
H ' .
lS" m ..d futher' nt tmlle ta ,ta\ lIiÙI hi, matern,ù grandmOÙler Coul
' ..v
• 0,'\ t'r rt"('O\ ('rt'Ù l'rom a fall dllrint: her pr"<:nane\ and hor ~ndl'ti' o

. ~I
.
n gre\\ \l'orse. Français.3
!relUl-, u,·BoI . tht n ,till a \ IlIal:e out,ide Paris He h"d be . °ln IIl , on· Cured atld returned ta scboal in Pantin, he was alIowed to cira" cancatures on Ùle
Il t ed , . . '. u come e\ces I\'e ) h) and walls, a large map of France, and sorne pietures oflocomoti,,,, He easil) became first
al hool On, hl' Il.Il> pUIll,hed forfalhng into Ùle public dri là r .
llnd ""Ill fur p l I . l ' n ng \QUillain in schoal in drawing and in 1 69 earned Ùle dun of teachml! the "dolors of Ùle alpha-
,.... Ille IInt: 0",,,, , ,prout. he!onltint: ta Ùle l'iI\a bl
\Im~ O\\ft~1 dle-d l ' .' !(e consta e . bet" to )'ounger children.
t'.._ .r ln Elmle , f.IÙler entru ted Ùle i\-year-old ta the Parrottr In 1870, still at Vaudron's, Ùlere were t",o candidates for Ùle honor of singing the
Il'"li''. Ii mallluatlur,'" III Le, Lil R ·.·U) .
&!'t'a nt'ar "hal " n,," tl . '" th omatl1\ 1. e . Thelr ne\t-door neighbor in this .\larseil/aise at the August awards ceremom Emile WOD . 1 The 10 er, Lédart, later he-
le llllwteent arrondi se t P 1 came the director of the Théâtre de ~Iontmartre .) Ho\\e, er, Ùle declaration of war
l';'9.J-l -1 th.. autl f . men, WilS au -Charle de Kock
lor a 'pIC\ romantic no, 1 1 1
cr.mh old man but wbo "ould rt'Ilard Emil ~ I l lOm tle nei!(hbor regarded as a against Prussia dispersed Ùle c1ass, and Ùle cere mon' ne' er took place This lime \,1
u, and LlUgh "hl'D add--.J " '1 e, . tones of the da) at school \\ith hm Courtet sent his son ta li"e lIiÙl Ùle tamih of a cousin who owned a green<!l'OŒl)' on Ùle
L.. "'.-u ,onSleur P '1 d C .. a,enlle des Ternes .
"t'lIlt"l"\ nedonbehalfofÙl . 01 e oq \,\Ir Rooster-Hair). Once
\'Qung pupll wh",n h . Ù He returned to li\ e IIi th his fuÙler alter Ùle falI of Ùle econd Emptre on eptemher
"1th qUlck hand. ...._.- k e "'as un)u' \ punished b\ a teacher
.", "oc "a., frt'<)lIenÙ, th b f' . . 4, 1 70. One Immediate result ofÙle SOCIal turmoil follolling Ùle war \\as brou<:ht borne
m famou -1Jld On .. Daturall d . e litt 0 C-.lncatun t ' -;-.. adar ",1S Ihe
an \ of 1".. L d fI"1n } "on ers whether th .. )OU tl·uU r 1 Il hen l ' nde Ale~andre Aubert was forœd ta !(i\e up h", mtere,t in the rubher-manufac-
Emile lIa e\po ed to
tunng pbnt. lea\"lng an uncertain future fucml! Elie Courtet and his younl! tamil)
ln 1 ourt t U-~ 1
scbooI E'nro "" li' 'on at tht' Ecole .
DIOl? COIiUnonh call ..d the 1 t' profeS\lOnnelle de Pantin. a hoarding
pIaœd 1 th.-I n Ilut \ audron aft, . d'
n owerdl\i IOD bet.'au fh" ,r It Irector :\.t nrst he IId' C _\RI C 'Tl· RF. ~ TIH. hIH. E Of OPPO~ITIO'
nation b t
.... , u n Il,, s reahzed th 1 b
,e 1\ malli lin la n. .
. Pt' orrn dunn<: the initial e'.UlU·
_rd da, h had
mO\ed up 10 th fi. d ,.
".1.\
e slInph- too I d .
Iml atld frightent'd , and b) Ih, Th .. et'Onomie and polihcal uphea\a1 that formt'd Ùle 1 ckdrop of Emile Courte!',
!Jiumph wh.-D t 1" rst l\'l'Ion Til d 1 )lluth colllcided lIith the rise of Il hal Richard Terthman , m hi, ccount ofjournalism in
1" tim .. for d"'."1n" 1 . 0 a, ater Ùlert' \\a' .Ulotl\l'r
The. ,.,e'n. tIlt' nineteenth centu .... , h.", called ~ nell. paper cnlturf' "< Emile' s "'a.> in f3ct Ùle econd
1 beb-e lIlf' a mod 1tak generation tll .,u" up in thl' a~e of litlu,t:raph\-ùlt' proce" Ùlat "nabled lm e
drea of m, da, iIl n fro m Ihe nOle!x)()k f
III 6 " ~'tlgIùze Il Il . a \Ionzocq ail the dlO"lclul· dra\\1l 1" tIlt' arti,t" 0\\11 hand ta h., reproduœd and db,t'minated h) the hundred, or
\
lIITived a b
Bat beb-e L "Plctur of a th 1 1 ed
1.... m t.. r rl'Iurned ft
-
c 1 roof and l ,kdch,'U 1
J t
thou and, onl) ,1 re" hours alter hein.: ,kelched on the pnnting ,tone, \\lul Ùle PfO('-
III1nut Lil r Wbat" h.it ht' kn He dra" ' Go !(t't \1 \ audnm .. Ii .. " h.ullt. utihtd.rian and derorali\t· Il't' , It a1,0 m de po ible the 'pre~ of 0' rth
0" h " la drim?' rou <'Quit! il' tha t
6 •

.• 1 t
opposttion:u po 1 1
callma"e~
- .,
to an e,tent that \\ould ha\e been inl'onl'eiVal~1
ln 1 (- .l
, C" fi 1 ( 'T l RIT' S L 1 FE . ;

tun Jt \\ Enllle Courtet\ fortune to!!ft)\\ up m the midst of an "i!"

pre\lOU' cen .. erupb
lt
-.. ' -·"00010" \\ hIle lUlportmt f i lb 0\\11 nc:ht-Cohl would ha\ e \\'a
of sa "'"........ ~ . . .
on
fTanted
""",oh, a, a caricatun t e",'n had he not found the clnema-hls 100'oh l'me
a bI~_'-r ' . '. -nt \\ith
canOlture. "1Ùt It ronnotation of marc:malll\ \nll herome e,peclall) pertinent du .
nn~
hl later carrer ID film
saon as he muId .uford It Ehe Courtet enrolled Emile in another ;chool
Ecole Turgot There the hO\ qUlcld, excelled 10 d~'l\\ing. but he WOlS still too distr~~:
h~ e\ents m the .treets to he IOtere ted IR anythmg el se Dunng the Siege he picked
op hl aIlotted plcee ofhorse meat and ,tra\\ bread His father could not stand the
meat
sa he 1!llve lus hare to Emu and ln tead ate the bread. which had to be soaked 10 oil
rubbed \\ltb I!llrh and fned to make it palatable. \\ith no heat, Emile suffered fTe:
quentl from mIels and dlilblain, Wben hl' was ....ell. he played \\ith his frienels in the
streets and \\atched the soldier al the barricades Once he sa\\' Rochefort make an
inSpection of the IlDC5 \\ hde be \\as beadquartered on rue Cadet. According to a bi<J. 1 Félix Régame) 'La Rue du Crotssant,' l~,
I:r2pblC41 sketch \\nttt'n ln 1 , It \\'3> during the Commune (~Iarch-~Iay 1871 tha!
he "'as first exposed to political caricatures. piUorying the regime. During the Franco-Pru;"an \\'ar. thfO lt"!!e and peaking dunng
the Commune, there was an enormous oulpouring of \ iclOus and hateful imagfOn dl-
On larch 17 th stripes of the Commune officers and the parades of soldiers held rected toward \'arious rapidly changing t'nemies ~ These were not the e,tablished mu;-
a disturbm:: fasaoatJflo for him and distracted Ium From his school work. He took trated papers, ail of which had ceased publication dunng the turmoil, but crudely
~\Jnta!!e of these troubled bmes wben the teacbers had other cats to skm besides printedfeuilles GOlantes. These broadsheets. Iiterally ·fI~iO!! lean·s,· "ere often Hlu>-
elr
undiSClplined pupils. Uke a real Paris urclun, he spent his days hanging out iD trated bl' anonl'mous hacks who "ished to communieat.. th .. ,r in8ammatol') me,sage,
1he tree ppmg for a Ion:: lime ln fro t f th books . .
infantûe n 0 e tore ",ndows where so manr directly to the public. 9 Albums of anti-Commune caricature circulated fTee!) and re·
cancaturf"i \\ere sbown off dUring these fevernh davs 5 placed the bitter anti-Prussian broadsheets. lo It "m thi> type of imagen· that fir>t
He.. heromlDl! a"are through th h· ' . caught the eye of the street urchin Emile Courtet
f'D\1nlIIm t that L ' he . l'se anarc le dra\\'ings, of an aspect of the \isual After the boy finished his school"ork at the Ecole Turr:ot pr(',umabh around 1'>71.
T",o ûct IlaG
far en mcreastnt;h',e\n ide t smce
· th e fi rst third of the ceotun·
ors ID partlCU sbmulated lu ' ' his fàther obtained a three-year apprenticeship for him \nth a J!'weler Emile tried to
The lir .. L". s mterest in the art of caricature, relieve the monotony oftlte job b\ joining a magician', act but, .,,:,-'Ordin!! to an 3Ct.'Ount
lU> ph) lcal proumlt\· to ru d C . ~
lure The edltOriai ..lIo___ f . e u r01ssant the Fleet Street of carica· apparentIy "Titten br Cohl himself in 1&90. "He onl) dft'amed of dr.ming. or mther.
u'="> 0 most of the sabn 1 1li d
ÙtIS narrO\\ tre J t bo ca pU) caltons \\'ere centered arOUD of caricature. and sketched e\·en thmg he sa\\ "II Ile continued to caricatur.. pas,ion-
u acro ule\ard p . Fr
\tonbnartr Th.. elect . atm h Ollisonnlert' oro the Courtets Faobour!! atell' after he had nnished the dull apprentice l11p and enli,t..d for \oluntary ,enice
JI_. ne 0 pere of tI,e street S· d .
UI i L C/JQnwn L Eel' d on atur ays when the latest Issues \\ith a Cherbourg regim,'nt.
- 'P c an Le jourllll[ -\ .
prmt h\ ~~ fig. 1 . mu~ant \\ ere hawked was captured 10 a Then the phiIateh.t \laur) hired him to \\orIc in hb ,hop and de,ir:n his album. a
The second facto th sidelme that would continue until J8~9 \\h"n th,-) JIgu .. d OH'r \\"gfO,.L His fatller ,till
and r ":15 e hefOr quantity 'lf (-an - al . ail hopt'd that lm ,on would ,eek a comm"rclalcan-"r and round him a fifty.franc-a-lI1onth
saturated the treets and :af.- . catur 'mages that c()\t'red the '" ,
talors such c es ID defiant't' of ail tt po,illon "ith a manllme in,ur"'IC" hrokt·r. But th;, . too. w,,-, mtolt'rablt'
. as Durant} mentlOned "th a empts al control .\fan)' t'OmmeP"
Paru dunDg tIus epoch ~ Th gh e mnumerable comie' paper> that abounded 10 Ali of a ,udd"n, olle fine clay. abando",n\! ln appollllm,>nt >our caritaturist made a
attempted to suppre ail POh7~ out most of the Second Empire 'apol"'m III "ad dean hreak "ith hr. papa and dedar.. d that h('lIleforth he \\ould h, l' offl", penal---
.... OVe ..L --- _ 1 cancature by e fi 1
'uuuwn ID 18,0. the t n orcmg ~tnct t't'nsor lur, \\'hen 1 .111 ultnllatulII tbat unll\t'diateh mlroduced 1111\1 to 1" "'C,,~ enrul!é,' 1
reeu .. rupted \\ h h
lt listt'ring )lOS ter and hroad~ht'f'ts
 acton Ilmn-, a.d au Il ~.-\%it>~ Cbot;~adt:
cadet JUDlor me! ~rx

i\dd.~..,e \\ and ~ ln=

&;.ü.W" 1DO\.and -t .~r1 p'::JDI~rtr:

. .':>1 a:~œ- e:::rJti!Jm muid he read

;:nctiœ ~ ~1mPI~
1·· 1 ~'j bad dr......"",,_4\ taaed _ IL Jforn'Bl1!
H:nd 1V>3 b. ~ w<...r.:~!:O<l1S p:::!>!i~ J'.t.eob L.!::s=~
satux:aJ ÙI ùmr ..... &e.~~':r
Ieoo III
'Y.)'J, ((YJ br

•
bbcI:. 1 ..... """..dI _ 0..:.~~
Sof'Dd p - t mt:lRl tl~

iIIJ1_:tic1D bac! ioo,..-è.

Œa ~ sU:l:tZ!'
cx.:Jtbae
10 • ( Il \ l' Till (" f
,< CAR1CAT RIST ' , llFf. • II
, d th'lt n't'~" ed e,tem,,'l' pre" cOIl'ragl' Th<> ob,~ >
d hOllter"u' tna! ,>nlue ' , , ' (1111)
,1Il , l , d .1', l' Il elf~d"eh argut'd that ohSl'(,\lIt\ Wils '", the eYe of h
1 \\JI droppe ,uttr . 1 , . 1 t (, .. • •H ,.
e larl(e , f i n ,d n<,,\erthele>s, Onet' <1g<1111, t 1<' empIre was held
beh"luer, but ùJe P,IPl'1 \\.LI' " , ' ,', up
, 1 \Itl h seizurl's of LEe/lps, eont111ued loutInel} , the gro . " '-
tll puhhl' n cl \l'U e IOUg, , I\'n~
'lt a!ltl\\ed le" stnngent enforcement of the censorship la -_._~

\\eaknes!:i 0 f t1le gm t'mlTIt 1 . ~ . r" . . \\'~.

E\t>ntuaII ,. Le] (Junu."\,1 ',nl/\<lnt
. ~
Le Pelltjot/mal pour RIre,
.' La, Il' Pansl("lIle ) and 1...c
Clwnran ail beeaml' hold~r Gill lIas genera!ly credlted \\~th the ne\V frl'edo rn of
,
e.\pre~slOn.
and hl\. nanle wal t;uniliar to those Parisians
, of Repllblican sentiment Il'h0
hrowled through ùw journal, 111 the street- and cafes,
Dunng the FrJ./ll'O-Pru'S1an \\'ar of l~,(}"'lbil, Gill ceased drawing in order tu jOin
Ù.e defen", agamst the Prus"J./l Siege. ' On April li, 1811, he \Vas elected to the
Commune-endorsed Fedératlon des \rtistes de Paris, chaired by Gustave Courbet,
and" , ..."igned the dull of protl'cting and organizing Ùle Luxembourg ~llIseum One
month later he 'l'a., named it, "pro\isional administrator"!!O After the blood)' suppres_
,IOn of the Commune, Gill narrowh a\'oided the eondemnation meted out ta Courbet
J.ud other; as,OCIJ.ted "1th il.
L'Eclip c re,umed in June 1&,1. \\ïth the retum of peace, the satiric press, despite
eemorship. mntinued the expansion that had begun in the final months of the Second
EmpIre \mong the man) Ilt'II politlcal papers was La LUlle Rousse founded bl' Gill in
Deœmber 1~76, ln which 'ome of his best work appeared. When Emile Cou;tet met
him in 1 7~, Gill had bl'come an a1most legenda~ figure. Although not weil knoll'n 2 ...ndré Gill -La Délherance, L'Eclipse,
" Augusl 4 . 1874
toda, ouhldeofFranœ. to his contemporaries and to later historians he was the heritor
of DaumIer, talent and ,ocial position of a generatlon earlier. Other artists respected
(.û1 for h" polihe" lus courage, and his art. When Camille Pissarro, for e"ample, vicariously) and toward an increasing awareness of still' and composition, At a time
p.u~ted hlS Portrait of Paul Cé:a Il Ile he pICtured his mend haloed b, a Iittle caricature when Gill felt abandoned by his old fiiends he became strongly attached to hi, ne\\
orC0U;bet and a drawIDg by Gill from L'EclIpse 'fig, 2\ 21 ' generation of admirers. of whom Cohl was b~ fur the most ardent. It was around 1&,9
.,. Grdûl' cart'er LI exemplar, of the practlœ of "srmboBc resistance .. as discussed III that the apprentice caricaturist adopted his foreign-soundlllg p,eudonym. \\'h~ he
le Iman - Like Daum 1 f h' G'II ' choloe "Cohl" has nel'er been e'plained. Perhaps it had somethinl! to do \\ith the pig-
1er Je Ore lm,' 1 was profoundly committed to caricature as
al
oppoSItion ,not)ust lu ,'fi' d 'd al b ment kohl, but more likely it was a pun that signaled hlS intention to stick to his mas ter
f h r 'Pel 1 cm 1\ 1 U s ut to what the, stood for-the domination
o OClet) \ conlOnnlSt bourgeoi al C' - like glue ("colle"). 25
\\t'apon not m 1 hi 1 SI ues, ancature then was primarih an ideolog ical
, ere \ a \ e c .. lor the rt - l' ' , Not surprisingly. Coh!'s nrst caricatures were c1osel~ pattem .. d on Gil),s stl'le, Sinee
nmeteenth cent ' dl a !St s s~ e Or \\lt. As Terdiman argue" The
UI) IS no OU)I the counte -cl' , . cl the 1860s, Gill had mastered the portrait-char/!,(', the pradICe of dra\\ing a large carica-
lirulent anger fel! h tl ' 'bo , r ISCOurse S c1asSlc moment The open an
) 'e .ub urgeOls for th h ', , tural head on il squat comic lorso,:!fi But he had lramfnrmed the ,tilT repetltious forros
e\ ident or more focu d"'3) e ourgeOls l'an rarel} hale heen mort
S~ et at the time 'h C hl . Ù of man)' of hi, predecessors into a highly renned mode uf representation marked hy
Opposihon "as bemnnlO" t l ' \\ en 0 \Vas entering the studIO. le indilidualit, ilfe and motion (ng, 3 ), Cohl learned lm techniques firsthand in the
hl urred, and fonner e ~ 0 'he1 Its unified fron t - Th e old issues \l'ere h,,('OlnI'O",
atelier where he wa> probabh assigned the l'Ompll'tlun of tl1l' hac-kl(rounds and other
dt'Dt ofF-ran,'f' in Ib-9neml~ .ue. a.-, Patrice d e.\1 ac\lahon forced tu resian as pre ll '
. ' \\ert'notasmenacm G-n . , . " fil11lll1ng touches hefore the dra\\ing, wl're ru,hed off tn tht' t'ug,," er Lefman "n ..
penmless, La LUllI' ROll g 1 Il as freljuentlv depress(.d and nearh of the dra\\ing, ,ignl'd b, Gill ma) hal e h"l'n ,'U'cute<l ,'ntlrel) h) l'zè> lA, 1..'ln .. '
Cohl s fir t Wor'" m bl'\\entulitolh', -
u me s m Decemher 11,i9 u
from th ~ ,,\ <' se<'n as t} plcal of the od ' ' , Gl'orl!t's Lonn , BJlailll', or Cohl.
e eTOc1I~ ,,1 old-Sh le He Il' pen -translllonal, III 01 ml! a\\a\ An lllk1 ('anallun' of statesman Léon Gambdta 1" Cohl sho\\, that he Il ' " not
pu 'ICdnlSm \\ Inch 1 t
le CQuid not ha\(> knolln .. ,,, p
---
•

--
CH\Pr~O__E__ _ -

4 Emile Ccbt c..r-I Ba= "'._"""" .

La, -:Jk u.- J-,1 J Hu",.........
"" DO cd>tt Il citcd are bv
Cob!.
5 Le B dt .... .... coutre Edouan!
~ ,~ndré GlU "Bonjour' - 13".. ""," La Lu,,,, &s. PbWppe La """ulk u.- 1Mth 6 J 1
D=~",r 24 1~76. 6 Ù'S Paapées dt r""""* - La _ ouulIe ~
"} - L - l
ntraordmarih prIX'OC'Q"S, but that GIIJ's lessons were leamed weil (fig. 4 ,. The Iar~e
head upon th"
1 toc"'>
duproportionat"ly small body, modeled br qlJjck (1'~
""'clnng 'rok The ngurfc fi npatly intQ the space on th" page, and the (;()mposltIOD • --~

1 rncJOsed bv a rectan~ular frame But C"hl's dra",ng Ja,:ks the balance and disciplint
, bl.. In c..:; slx'st work. nier,. IS a tf'nd"nty t"ward c1ulter in the (;()mposition. and
(.dl s lm.,..,. dan } II !'!lISSIn!!:. •"'ertb"less Cohl'5 caricature projects a \trong 'l'ose ri
Garr.:;ctu persona"!) (.astmg hlm as th" proprif'tor o[ a boutique was ingeniou, and.
on th, .. holt' I! drawmg coOlJ.lares fa\tJfably W1th those by oth"r artisto. of Gill s

J)
Q

'Che...) 5uch as Pfpln Ldouard (,uillaumm or Alfred Le J'elit.

tmn~
pIle Cd!'. 0Jhll",~1)
",Buen! ", to show ("rtain maH"rick tendendes thA
-.
iden!lned fil PprSOnalltyle C\en ln h" "arli"!t works . His figures "ften oventepped
the 1Jflurubies
l of theu frame, fJf th" hair 'Jf a limh WQuid extend past the marJ(ln.
llU:illy th WoC d,m, to IfItrodute the Id"a of a hg"rf' 1rJ motion (fig ..51 :\ll"ther

PU~""t ()~asi'JTJally
unu ual thariiLtenstl(" "as that m'Jfe than any other carkaturist, Cohl wa, attrat ted to
as in • vs Poup?". de l'infante" The
/!UZ~JII':on'waphy ot~""
Il... sUI;t' f'Jf ln plratl<JCi
Inf:.<nt" !J{Jlh. hg. Q tf,e is eXpht1t . In worh, suth:S
S"rOient auJfJurd1n" oer •d "( 1 fjd ,
II, Implll,! m tl,,· doll·hhrem",.. n.. • Il)"tt 1 Toda) Hand lzah- TOfflorrow, ~.
.. /igur "'nam
L
'-<"4 Y ne "rg"ant

- - - ...... --
 7 .. emlent ilujourdllUi. ~errement demain, . .. ouBle toujoun:" La .\'outell~ Lunt'.
_-
-. .. - .
.... _ ...
9. - Qu. d'orl Que d or' Que d'or'" La \'OUt •
th

La Sou n'Ile L,me, Janullry 16, 1 1. Jul, 2~ . 1881. • ..

LUnt'. epl<mb.,r 3, 1 .,~

~t fi"t,' ",,,d a though Cohl \\ere tr\;ng to 611 up the impli6ed backgrounds
Ihat had marked th .. bt-\I of G,II', work. " otillIe toujours" (Keep BIO\\;ng, fig, 81 has a •
- LA NDII~l(r t UN[
hold b1ark-and·\\h'le patteml'd barkt:round made /Tom Ùle arrangement of lantems
Qu d or Qu" d'or' Qu d'or'" Cid' Gold! Gold~, fig. 91 also shows his readinesl 10
-
611 backl!round \\lth decoratl\" dt'lail. HI' later re\ l'r.ed thi tendl'nC\ b\ l'liminatJng
~
th barkgr;>lInd ait Ùlt'r \\ell,l' the 'frame" fig IO-Ill. Thi, style t~'Pifit's
lome
of Cohl lx- t grapluc work but Lnlme"'''' 'orne of hi\ ll'ast ill\pired III tenm of "i!ti-
nl' 01 haractenzatlUn,

( oh! \\a attemptm!( to mtroduce som orhis 0\\'11 mnm atlOns in lhl' /lVI-t,-ait-c/Wrr:"
definl'd h\ G,U 111er an' s)lontan..aU\ and sUhtll' hUflIlIroU\ touehl" th,ll one Rnd,
lIIfrequl ntll ln th .. old"r can atun t'. more ''areful, rt"tr,'irll'd \\ ork, 011(,(' Cohl rl'pre .
..."tcd (; lmllttta b, dra\\' 1 1 f' 'II 1 1tn" I~
lng un \ 11\ ,101OUS '1 lOu .. tt., aud il llt'ckOllillg HUI' ,~'
It'''l'I''~
L,titI. tourl", ulh 01 tilt' fa<'t on tIlt'
b '",a,d Pluhppt fi" - d II d'
m",b ln .. L" Baron d" S,m ~1.L1.lto <,lnt~
TI" a'
" ) n IL' 1\" s t:lnroltllrt, in Ih"profil" of Ihl' G, lIIua\t'
ter li' \t Il''1\ l.anglol ' fig Il dd 1 " ' l "h"
1 1 10 t Il'
'!>trd 'hn): from th 0\ rail C(1UJPII Ihorul'mpact ' mgen'"h of th dl, \\;ng, , lhollg Il''''
TI, r \\ .1'0 a markPC! fi .,n
.1~lI"that to b ' d h ProIX n'III or grot,' que phI I~ Il d"torlton {)\l'r Ir
f 1 f. lOf'
W "'"" 0 1 l{' hm, FI"n~.Itl'd no C \\l'II • ,1
t IOUI1 11\ t l'r n t
Juk fig 14 dnd th
ln \\ .. l \ t roll d, tort,-d ballooll men Ilg l'il te • .M

~nd Jul,
10 Ikn!l' u'u ~_, U. \ ,..y.. lAI~ Il Ln \ul un d " n:, La \ou,dl lAIn
rcbruan - 1 3 \1 .. JI 1'>'>t
 LI F F • 1-

Cohl', Il,,,,t ul1",uill",!lt'nmenh \\ ~n' ,orne h,lI'palt" faCial portr... ts ID "luch th ..

.. &Dt ~.LCMa. ~ a...J .... ~
13, "\1 René Lan~I01': La Saul'ell. Lune,
\pnll7 1 1.
Iw,I<h \\,' Il' '" larlt" that the' "",II .. ù o,,'r tilt' ma.r!:m' of the fuho-"zed pa!!~ 6g
16-171 TIlt' portrait of ' Plon' Plon tran form' th .. ,,,bJt'd, dlln mto buttocb and h,
,ho"ld .. r into a ~h,lJllb"r pot Tlw portrait of <';"1'. liiend Clo\" Hugue , ... ,pectall}
"ff...ch\!.' Iwca,,' .. th .. open mouth anù perth },alloon sUIt!!,,,t the \1ar-e,lIaJ 1!Mhc-
laù"ll brt'ath , HI> pockmarks 1(1\ t' the '1<'\\er tht' ,mpr .. "ion of ullcomforublt' prOXlm,
Il) to tht' hugt' f.lce
ohl', v;roup caricature., .,ho\\ the ,ame mnO\dtl\ e approach, In,tead of arran!!Îllg
the ,taR of L'Indépendant in a proce"JOn-'.tandard ,mCl' :\"adar'., Pantltéon--he plC-
tured Ùlem a, Ch e puppet. on a ,tage again,t il backdrop emhl.uoned \\lth ketch" of
the other contrihutor, ,fig 1 J, "La Rédacbon du Tarn, Ta'" taIT of ilie Tarn,Tam fig
19 caricatures sorne of the staff ao, puppets and othe", as l hlldi,h ,ketch" ' ln ï apon
dans le tas" t6g, 20) at a cami, al boutique a hand off..... the r"ader a bail to iliro\\ at ilie
"doll .. represenbngjoumah ts or pape" , Coh!', mo t amhitiou group cancature \\a.>
"Le Ciel et J'enfer en 18S1" Hea, en and Hell m i l , 6<: 21, ID "h,ch he a.>,iglled
o\'er 6fty pohtical6gure. to hea\'ell pre ,ded o\er by Jule Cre,') or to hell mled 0\ er
by the de\Îl Henri de Rochefort The two-page 'upplement to La Sou l'l'Il, Lune \\ as
il1tended to be old separately for ten centime,
In only a fe\\ year Cohl had become part of the l'Ounter-d"course" of caric-oIturai
representation His contributions to ilie e Repubh :an penodicah mdicate iliat he

-.-_----
15 \ e d u M'QI lere Duel rC dl' la 1un
La 'ou
Ile Ume Au!tu 1 20 1'> Z
 -
-<
LANDùt(l~1 LUNE :::-.-:.\

21, :1
"
-~ sharecl GiI)'s political orientation but Coh),s clmwings aho re\eal indi\idual,stic ten-
17 1.. Dé"Ul d la boutllabousc lA \O"ICI/I' LUlli', "
\tuth., 1~2 deneies 10 lm work that testil)' to hi, maturin,. crl'ati, e mdepenclenee and his mtere,t
~ - Indép....da fIA ~ outel/r I.unl' J.nUM}' 20 in fonn and st} le above ideology \Iore pragmat,ca.ll) , thé, al,"
refleet the faet that
W, Gill who,,, health was failm,. and "hose mmmitmt'nt to the 'cause" "a; b"mg
19 J.I~l" d rQfflwlllm l.a\omtll,/ww ,trainecl, l'ven quesUoned b} former colleagu .. " "as no long"r Coh)" ",clusi,E' artistte
~ 1 1 influence
20 rotpon da le 116 OIndJ loU'"
) nu ~ 181!2
Tlfl Il '1 1> ItOI' 0\1 III \
li I~( udctl f, Il~1 [Ill \1JU{tll, Llmc
Il fmlH722 IIVlI Il wa, tl1rClu,.h Cilr, (',rcll' lhat Emile Cohl \\a, IIltrocluc,'cl to the band of BohenlJ.m
Iilc'rar) "ncl th('.ltrical p"rsonaht,,·, km",n as th .. Ihdropath"" \\'hile the group for-
nH'rly ha, I)t'"" ...·g"rcl,·cl il' hllle 1ll0r(' lhan a lootnnlt· 10 htt-rarv hi,toT}. for CohL and
h" graphie aud ('JI]('rnatie \York the, W{'rt· cru",.llly lJnport.lIll Th", praùded .1 lI(.t-
work 01 f,wnd, .lIlcl acq"ainlanœs lhal "ould ""clun' throughoul hi, lifeUm,' and the,r
id,·", .,houl arl ancl Ihe IIld" ,d".,l, n·I.llIon 10 SI"'I('I\ would mlurm his later "ork,
11" Il >dropallw, had ll\l'ir fir,l nwl'lllll( III (ktoj,,'r Il)il), ju,t a, Cohl "a, pre,ent-
Ill!! hUIl,,·lf 10 e,ll TI""r nXI1, gn'\\ lrulll llll' "Id C,'n"d,' d,·, \ '"ant,. a I!rollp l'Olll-
".if,'
pfIS,·d Illilu,l} 01 ("lll"ll()\wr, "ho h.ld 1Ill'! .11 llll' B.t! Bullll'r .lIld al a "all.-d the

,.
 R 0 ' F _______
10 • rH~PTE " , '"
, spo
The falonte , ts ftother .l'ounger H ydropatlwsl "'ere the C"r.
"le d A CAR 1 C ,~ T l' RIS T S L! r E • 21
bbl
hern'-Co er. , h 1 d the Café \'oltaire, near t le Odéon Theate '
, " h Plaœ st. \hc e a n ' 'b d 1 d r l'he
1A\emr on te . 'E '1 Goudeau, descn e ))" An ré al mOn as "
f th group \\as ml e aIl',
gUlding spmt a l ' d l rrar of the Iiteran banquets hecause h e obstinatel ' d .
, 1\ moustached an t le te '! d . "27 Th . l ,.
,orne
'd . 1 f h
or anot 1er 0 IS m ' asterpieces unti essert. e new group quole kII'
c1rumeFromone
gre\\ just a fe\\' " dSOI
men t oer three hundred de\"Otees , One ofthem, Jules Lé \)'.'
LIN orr' ft t~[ [.$OUAC

described their soirees '

Contran to belle , f', manl, of the participants drank 1er} little

'1 at the HydrOpath e
, '0 ne steepe do lloself
sorree,. , in poetn'.
, music and total art. \\ lat unforgettabl e eve.
nings'
From ni ne to mldnight, poets and singers followed one another. Il was not mutua!
admiration though . Quite frankly for each ofthese performers it was a curative of art,
gaieh and \\it. One felt better when one left, thanks to the beauty of the sOvereign
mistress [i,e. Art] to whom one had submitted for the preceding three hours. 2Is

Although the meetings took place in the Latin Quarter, the group \Vas not dominated
bl students , ft was what we would now cali young profession al types-bureaucrats and
funetionanes in their hventies-who seem to ha\'e been attracted. Anyone who pero
fonned or \\ho regularly attended had the right to call himself a Hydropathe. Aceording
to Goudeau, this audience was intentionally courted as a market for the performers'
publIcations'" \Iost Frequent!} recitals IVere gi\'en by François Coppée, Monselel,
Paul Arène, and br Gill, who read From his poem La Muse à Bibi in his rich theatrical
22 . "Une D e rniè re Ressourcel" Le Carillon .
..... - ~ --
voice, JO Félix Galipaux recalled that "André Gill, the master caricaturist, would sit
among us and bring his enthusiastic disciple, Emile Coll [sic]."3! The shy Cohl nerfr
October 11 , 1879,
L'HYDROPATHE
performed On the stage. but his contiibution \Vas nevertheless important because on
October 28, 1579, he became the editor of their publication , L'Hydropathe. Paul Yi.
lien and Georges Larin had brought out the nrst issue On January 22 of that year.32
23. "Alfred Delilia," L'flyd ropa thc,
October 28. 1879
24 Cabrio l (Georges Lorio): "L'Hydropathe
Em ile Cohl," L'Hydropathc. April 5, 1880.
_.._

.-.---_.-
_~--
_

_
- .. --
"n~ _

.
-.
... _ _ . _

-.-
·"-_.a
Cohl came to the periodical from the staff of Le Carillon , which had rivaled La Lune
ROUlst in It fenent Republicanism A front-page drawing by Cohl, for example, had
ShO\\l1tunSldera~le
g rd
dan ng when it cast '.lac'.IMon as a fake blind beggar with the
punn,m pla:a Aleugle par-\c-Sedan" luntranslatable pun on "Accidentally Blind
and Sedan, fig 2)1 1 18-3 \1 '1 h . _
' ' - , n i " ae" a On had imposed severe penalties for canCJI
tunng lum and after th 1 t' fJ 1 8-9
' . e e ec Ion 0 u es Grévy as presidenl of France in January 1 ( ,
censorshlp continued t . t " Th 1
' 'al 0 l1l ensU}
\\ere On tn for unauthOri cl l" e
1 publisher of Le Carillon and its regular artls
11
. 'h le po ItIca caricatures. Ten days after Cohl' s drawing, t le,
\\ ere eae sentenced to ten da 's 111 • 1 )ed
that the~ Wo Id }' pnson and nned 100 francs . Cohl publicll 101
. u appeal thelr Conviction. 33
Cohl and Paul \'1\ il'n launched a s ' , , , cl (;1
Presse satirique" 'l ''h l , enes of portraits III L Hydropathe calle
d ' \\ lie t II'I mtended ta bl h Il nt an
e Itor or contribut t 1 " pu IS as an album . In each insta me
or 0 t le satInl' pr",s.. ' '1 d ln a
prose POrtrait hs' \ l" "eu Ing,~ 23, was cancatured bl' Cohl and descn)e
~.~~~------~~-=~~~~
li Y E •
-red œ m ber the (2riC2ture
:\pnl '; 1 Cab! catl:l': ..,th authonl\ die! IlOt a mom=t undentand !hat one hould he able ta
poitrail sllml,"S a hirsute \OUU _ man la cll. Th"re .. ere rahble-rousen up ta theu 00Ie1") oext ta catholic e\ezgcs
p r and the hrolœr ID eri!ll! bVllIos ta the \ ~ _·atunIh there..-eTe la.. media! and pharmacy
..,.,.,di-,-_mm lorin prm,ded dents, as "eU as students from the Iklun-.\rts and from the ConsenafDr} llv-re
-ere mmlStI") and CI!) emplo,.ees enl!lneen and ~rzes 5ODS. There ~ aho
a f..... ImpIe drunks ...ho bad rom .. ta mal:e a f(JIO It ..-as bke a miniature Chounber
[ IL[(OHL of Depulle' Ideal and ....aI dhe=l) rubbed each other m this mKTocosm. -
De'pite the '-anel\ of the" occupations the H dropathes ,.ere more or Jess U!ll~
in their 10, e of poem. The m.2JOril\ of the oIder pattJdpmtS had heen associated ..,th
the \'nanls: Cill. Paul.\rène Félicien Champsaur Je311 fucbepin Cil me Rnd. and
.\Iauriœ Rollinat
There "'-ere aIso the remuants of\"erIame's Paroas5WlS F'r.mçois UJppée thé ,.,.::0\-
bond m}stic Germain :'\0U\eaD. Léon \'a!ade and Emile Blémoot m.llldéT of I.o Ren-
aW<inct" UttérDiœ et _~ rtJStiq~ and publisher of Rimbaud WIarmé and Cros
The - modernisls Condeau referred ta ....re the fut e Decaden and
Hirsutes The critic Casta..e Kahn a.tteoded the l!et- ~etben :ber.. hE- nrst mrl Jales
W' .-gue. He aIso met Jean "<>réas, ,..bo bad J11S1 ann-ed in l'MIS and .... makin _
hiJrueif knmm in literai")' cùcles The.........re th" d.nd .... Laurent Taùhade Ernest
Raynaud Josepb C~da. and Fernand kT....
From the theatrical..-orld Coquelin cadet Ernest Crene -Dmco'1r. Pan! ~foune
and Félix Calipaux dlDpped by fur- impromptu mooolo-rues. M2h Bernhardt .. :os can-
catured on a H ydropal he OO\er Iry Lorin, but hE-r membership.. parei} haoonn
The painlers Jnies Baslien-Lepaze and l..ulZI Lnir ..,th ..nom Gill had stud..ed al th<-
pà~~, 50meIImt reahst in st)le, and he IS 50 Ecole des Beaux-Arts .. ere~. Be-sJde. the c:mc:atunsts (".obi and Lorin, there
pK!me tu the ~~ E\"I") \....,. he puts - ..-ere apede, \\ illette. and Henn Somm. The proIilic _n ..,. tJpboose .-\ll:us ..-as li
memhE-r. as ,.ere CaIjl.t and the remarbble Charles Cros. ~ th<-1!JOUP"üh
J..-.... hE- uWœ op lus mind We are
rus bizarre psendoscienlific stone5 -
TIll. bod.:<"po,he - hoheOl.Wl liu&trteun, some ,e!J ImooIn and othen dlSbocth
fneud li a, mar.tinaI types consIituted the first IDlporUnt in8 on Cohf s intdIectuaI de\eIop-
ment ThrouclJ them he.-..s mjeded m themaiIlstremJmodern.de2S ..illle the\
..-ne still in thcir I?U1tiD!r embf\""'" bu.. 'erbme oC the portel
dit did DOt ul:e place until l 1 and Moréas did pabIisb rus _mbolist manUesto
until l ID tœ pa!! oC L'Hydropalhe al the rea d _ the mnumrnble
an!Umeots ID the cafk and studios Cobl m ha. e he<ou. 2re oC the leadin1! 000-
lnJ\enln bIS W) mer -aturalism Impress and the naoœnt aesthetics oC
roDIZ'.' )mholisllL
UlU"-I1:>n moooIogue \ 1n 1!>80 there ..... II schism ID the - and Gond..." • Il1O\ ed the rlt
aud r a rea' tJ Thf1l' pubbc:won ,. f"!l.mrd r. ,. P, TU and ad -nused drnrc:, _ b.
p iwga eOS UJ u,1' Demarre Cabnol. Saped:, Erm1e :obi.. CobJ rontl"lbuted d:l"!:d".
mxI ..nom he \.OlU<1in cade and André c.m. ..no Ie:n,,,,, bis ( ,,00
.. otbers
- • ~-
t ___-----------------------------------------
--....... --------- --------------------------------- ~ (~RI( ~Tl1l15T LI FE • ;,;j

=;- TOUT-PARlS ~ ",,, tlu' ,,,l,, ,un ''''' Emil,' IIlh rltt'CI a mod ·,t I,'cae> that ... nabled hlm ta marry a
TOUT-PARIS --
---
-
-- ---- -- -- nIlH·t'·"II-~"," .. ,ltI "'III.... ' \lar,,'-LolII !>('n~t on :\O\('mbt'r l~. 11iS1
1111' p' n'KI".l\ ,.ho 1lI.lr~l'd h) III m(1" mg d,,\ ntion to \ndr Gill, canDI!: for him
--.:- --
..
~_
~
t1unng llll' """'" nI' th .. uld,'r l-anC'"tun>t s d''1!p'lt'roltl\ l' IlIn",' C<lhl alsa .. as becom,
inc ~no" n ln hl> 0" Il ri!:ht, al fi"l thmuld. the pa!!" of a ""'\ illuslrated paper lA
\'<lUl .. lI.. Lu,u'
TIlt' fin",p.IC" ,,,,,,kh ",}> found,.d h, !>. 1/,,>manD 1/1 F!'hruJ.l) 1'>1>0 as th <.'OnllOu-
.lhon of lA Lun .. and CEci,,, c, Ob, IOml\ tlll·r.. \\ ere do " lie, "ith Gill and hl ctrde
Te,tlnJ: th" ".lt"" of c.. mor,hip aftt'r \lac\l8foon' " Icnation the tenor of th .. paper
W.lS àntlcleric.ù and Iiberal. In ,\pnllS,J,O. fo, "urnple Il dan-cl to print LI.' Pmctlrror

a nHKk trade papl'r for plmps that perfff·t1~ IlIu,trale theoutland"b H, dropaù,e sen"-
hilil\ that Goudeau had called fUllli~tcril',
Cohl', earhe,t contribution \l'as a lheatrical rubric >lOted ~Em.JIO,w but <oon hl fin
anticlencal dra,,;nJ:' appeared "Comment on fait 1.., Jé wt How 11le\ \lak .. J"'lJ'
Ih. \Ia, 2, 1&50, fig lllland"Dlplômedeparfa.tjé'U1te- DiplomaofaPerfed]e,uit,
\Ia\ 13, 1 0
'ot surpnsingh. the Journal \l'as ,oon ln troublt' ,,;th tilt' censo.... Dra"ine, harl to
be apprO\ ed hy an office in the \Ilni,t~ of th" Intenor before pubbcation, although
wrilten material \l'as generall~ e\empt from œ",or,hip tO The Cobl dra",ng of Au!!;U t
~''. 15 O. " Les Pm de LA :'l'ou l'clic Lune" fig 27, w:c, pnnted partiall}' œmored.
:?6 'Cill et le L\Uembou~.- Tout·Paris.
June ~6 1 >O.

emoo.m: ~.::5 - \1- t of the memhers !!I1ldually drifted to other attractions on

the B;,tl(> .lontmanre includ;:,..- An.l~~
Gill h becam
.w 0
.
e associated \\ith a club oril(1-
Gilled tœ C.abaret d.. - \s.a. 'ms
. ' Gill pam. ted a S1gIJ
. d eplcting
'" a Jumping ra bb'·It.
w!uch m.de a nsual pun th .,
bobe on e artist s prominent signature agile = A GilL and the
_ _ • ..1 patrons beon callin!! the ... stabhshment the Lapin A. Gill .• In 1 6 it was
.r.....,..,.. the lapm \cle and \\ uld heco
lontmanre ~LL.
fa' h
me a \'onte angout of Picasso and other
UUI"lJ1Un m the earh' rnentieth centun'
1 C: Jiormer H"dropathes hecam _.'-. .
••L.L L e rq,war. at the \arger Cabaret du Chat '\oir.
~wœ e ex'memuers RodaI Phe ails d . '
Cohl \\ent the Chat· nl an Jule, Jou~ opened in Deœmber 1881 a
COIIlpe . .' O\\ing'm part to h'IS opinion of the club as Gi U' S
and also d • OU'" 'rarE'h-
ue to sorne pe=nal dilferences \\ith Jouy_

LA V'll CL:.E L
E .. :> OTH" PERJOt.lC n,
E'en befo..., the Iast ue of LHyd athe C .
Pans"", papers The Ott fi rop, ohl s "gnature \\-as appeanng in other
cancatuns e H2rs l '>0-1'> 5" Id L h'
1 -9
l He" ... PTT....;
.-......encmgman) chang hou "" "most prolific l><,rioo as a
~ \\ l ut becomiD!! recon ed h' es ln IS personallife, HIS fath,'r had dIeu
.~

to 15 SOn 5 ap parent pro fi'1!!at1', hut l>e<':1u,e l1t'

27 " l..t·~ Pn, dt. la \uuttllf" Lunr
1.0 \(Jul-dlt'l.unt. -\'U1l\1 .. t 22.
1~,")
...._._... _-
 A CHIIC~TlIIIST LIYE . r
PTERO\E h
• Cft' . àI -\ néd"e Rihourt \\it a me~aphone .. ,perit-nc.. , fl'\ ~rs of sueh intl'n ih Ihat ail the firemen on the rue de l'An(.1.-m>e-
el, ,hO\l ed .\dmu. 1
naII one of the fi,e pan.. • t tl • . - 1k
. ted ,tateownt agalm le ( t mOr nO\\l1
Ortj!l l lare Cohll-,ued a pnn Cum(·dIP mnn"t put tl.em ouI. _ .
.and paper boal ln Its p \I ..an\\hil~, Cuhl, "ho. th ..nks to hlS stearo readm!! machine ...as able 00. m the
Dame .\nastasie complete ~ledl""..J En~dopedia, shCMed B,:;'oms a Ireatise ou the experunen of
as dY awarded to the o,erly celebrated
th t \le iD OUf genero. 1 . ' h . Dr \ 'aI \ 'igor, which demon.trated that 10 a case orh) steria lilœ thu heart~­
nŒPlllZI:fl.lBC SllŒ\Œ a . . th . nt of our old ""T"IE T e mmister
.~_._I did not ri'Ct'l\e e ""e sia l'an only he produced b) a {DCU
Cberbou~ lIllU.U-.u
,.."nls band, oIfhis men.-.\men • o~.. ,aid Bil!:homs.
be - another Cohl dra\\ing "as rejected, but "50. put the case to l'our comin."
loeg'tuabon ere\l \\ rse. On ~eptem . .r"
..... Il onlr took Bil!:hom. lIfteen mmutes 10 reach him, thanks 10 EdlSOll' Pun-o-
the editors published ib (-omplete de,cnpbon e phone.<z
. efu'-~ -,. '\ewrtheless It showed w. the ~enùe ~Iarcerou. "'ho was Ihe author, "Dr _\sinus~- Perbaps he ...as Edouard "orè-s. Cohl', friend
"'other dr'awme r seu toua' . d .h
. Iamb ..L ou,), un,eiled b\' Llntransigeant, seate \\lt the and fello\\" practical joker on the staK or humorist :\Jpbonse .\Jlais. Pe~ Charles
Man:erou the su mlSUlle' ' . ' h b
famouscanem
. bis b' d' th 'tness chair transformed for him into a c am er pot.
an ID e " ' , . .. " . Cros was responsible for this piece, ",th il; pseudœcientific- Jar::'In and bizarre team
....2itingfor the beanne. &10\\, thi, capbon. "He11 finalh fal) m .\fter ~OlOg 10 'alD reading machine. Or Cohl may ha,e ",;tlen It himself
.
su times to the ct"nsor~ on t be se, enth the,. told our Cohl to put lm dra\\ln~S back 10 -\nother si!!:n ofCohl's becomin!!: known in Panscan CIrcle'5 ...as bis inItiation in the
their boles and ga'e bim threateninc looks. Cohl, who lS timid. stammered a fe\\ o\erly popuJar custom of dueling. He foul!:ht Jules JOU\ al the ,.iss border on ~ece~­
objections ri!!htly pointing out tbat the censor is authorizing pomo!(I1lphic slop in a ber 12, 1&80, "foIlO\,in!!: a ,iolenl cUscussion prmo'ed ln pure!) artJstic. momes
pi\e ~ disgustinl!: parers but fOrbldding political dr'3\\ings which are scarcely dan- Jouy , the poet and .ong>,';ter wbo \\ith ahs "ould open the Chat _00 a }ear 1ater
gerons. but nothing came of il. 'lbey showed bim the door. <. was tyl'icalh- ecœntric. He \\TOte a song ('\en da" kned ta.utend capital punish-
ments, and still had time to imenl gaclget .« The artistic 1ll<Jtne. probabh in,ohed
Despite ils problems \\ith D.une Anastasie. wbich diminished after the Press Free·
some sort of sluT against Gill. \\ith whom JOU} once bad beeo close Cohl ouched
dom Law of Juil 29 1 1 La ";ouceUe Lune quickly became an important Paris paper.
Jouy's \\,;sl on the fi~t pass. but, since it djd nol dm" blood. the 6cllt continued. Theo
and Emile Cohl \\-as clearly ib dri\ing force. He publisbed his 0\\1) poetry, theater and
JoU\ put Cohl hors de combat \\ith a minor \\ound on the .houlder lt would n he hi
booIr. rev;.,.. and anecdotes about contempor",,' Parisians. ~Iany former H ydropathes
last duel.
~represented. ln 1 l\\enty-fheofCohl's fu\\-page dr'3\\ines were published. He
Cohl' interests extended to are", other than caricature. ln JanU3I) 1 _ 1 for eum-
illustnted the paper almost inde-handedly in 1551, \\ith fort}-one dra,';ngs. and in
pIe, La Xou ...,l/e Lune reported thal he \\ as de,i!!Din!! the C05tuJne> ror Tillier s opere-tta
1 with thiftl·6,e He became editor-in-chief on ~o\"emher 30, 1 1)3. This promo-
La Ca{:.a at the Fantaisies-Parisienne' "n Cohl" rollabontin!! \l<ith . ore. and
tion rdieved bim ~ most ofhis dr'3\\ing dubes, 50 he could tend to Gill. Accordingly his
Arthur Caben on his own pla,. Plu, de tH•• chaut: .' :\"0 \lore Ba1d Head". whicb
shore dea sec! ln thirteen caricatures in 1~ and "'ent\ in 18&-!. opened on June 13. 1!>S1." The tiÙe i from an ad, ertJ., in~ -1 that appeared ID LD
He ... ODe ~the most illustrions membe~ of the staff and \\ideh appreciated as a
XOIll"cl/e Lune and other papers for Eau ~Ialleron. a palent-medicme bair re. torero
poatiatljoker. "Dr. Cohl" for esample, 00<.., g'l\e a strange presentation.
The plot i complicated and full of "itty lOnuendo Elè.more laments that ber r..ther
n... iIhutrious doctor and artist E. Cohl presented a r~markable stud, of heart ane'- the eœentric 100entor Yalcomblé, spend., more lime on hi, won. than in tJ)ID to
thesia tbat he produœd f i · . arrange a match for her The doctor insil; that an~ fi.mœ mu,t he bald and therefOre
ln 'e )oung ladies sIm pl, b,' makillg them Frequent tlte
..-...le ~the Folies-Bergères for a month.
n:..,:"",
elip;jble for his e\periment>. This disquali6e, her .mIent 10\ er, Raoul, who bas a u_

the bail berome 50 completely desensitiZt-<l that tlwy experien<..,d not nifieent mane Rather than follo\\ the doctnr, ad,ire to come back ID th~ 'ean
Md ",-,---~12üon al the rearuog of a burnin!( sonnet declaimed b, the !!:real
Raoul in,tead retum' dlsl!:Uised ..... an -\m .. rican Indian The doctor tale> him int
'tI a.awmbe ~ the \ ariétés [Theat"r1 - "'" ice upon l.. amlDl!; about hl, Went a ,,-alPl t \'aJcomblé trie> to el a bald m m-
At .......,' .. Bidtoms~h· If' , her of th" .kadem, of clence mt .. re,ted 10 El an re by !!l''lI1!( him a ~ twatmeot
6ï.pr ~""--~wbo IDlSe al Cobl, feet and beg,ged 11tI1lIo appl~
• Eau d·HIf\u,." Raoul ch ......... the academldan a""". then return, dressed in lm ~
- ou 1ID - " " IS 50 se
oSIli 'e that. h e S\\oon. at the sight of a ca.,kel an cl
• - - - -~--~ ----- ---- .........

chour: '

~DrmaDO~ a r3iliM" medxx:re nm C

-:ad • Auteur par
a SIDI!M" ln a C'lJl'
de ber suitoT Gontran bE,-
lhf, ad\~ Gontran
œœ,.... bun and ;ens w the pla) he as
a ca: de \ e faJls frOID bis poe- .
~..... rcr V:mtran "'. ~ th" stol' of the
Je mayor JDaJT) them.
>Ot 011 a pIav bu. on the Luteci! affair in tributed draoo"lllz\ to "'0 oDusuaI publJ<2bom LAubcr: AtIrrt. and IL
1::; a oamedMJ f'ar.Jk pTOtes t:d The formtt re"\7\d th.. characten 1 and Bertnud
_~__~·De;;2:~ penOOl!~l.uUce lt bad been founded ID bours:ems corn" theater Cohr. \enJOIlS dtm..,d
a ......, !Or ) oun~ l..eft BaL voeu cn-a!ed h} DaumJeT /:T the Lemaitre ID IL C Iuu'ir:trri
""..""". 1:iülhade al and he ,.OIS blld paptT .. 1eft""DI! and an IL 80ft B Echo
ufIe LulU! orn,IHI a tOkmn ob. uaJ1 br -as another pu ..7th an ax umd 1
of lt {~!id l'.uale\ and Cnman œtT b) EDOOUr.IgI the COIlSU ptJOD of Fr
hall as ~ The .. ~ orj\aD of the du Bock. Ounded ln E
IIlUSt.aro Tht, :ntunate p. hall by Edouard t • portr... edti ed ID
pal< 2 .... part the masthead of tJ, n:ll1VT

and dn... a trange ptcture of a

!DW !l.t 1
~ alti... Frene unan fig. _~ The lmgoUl <
"edoo ,
p;ud mm anott.~
Tam-Tam 1 THE 1 ('HEU T

Hnlr~~
Llrpru f..au1,Jt lA LhrurnqlU Po al'
papt 1 1/)1)5 he
 • (~I' T r R II \ f ----....... ~ C~1I1("TLllr~T'S tlPE • 31
" 1 t the elldence that wC han' indieatl'~ that he w'
t
l' kne11111 ""bout tht' lnl'o11t'rt'1l s. ,
lU
, f h r
as
, t the pnnll' mOIl'r' \Il the lorn).lllon 0 t e group
Ont () Il l 'J 1 [kl" l'oint'd the phrase les OIis Hlcohércnts as an antagonhtic foi!
Th, PU) l' WI U e, - , ù dl '
' / ' \ ari~ déroratif~, He ,uccmc y expresle t le pllliosophi
d
tll tht' e\ en .1\ e\pre",slon l, . . . " b F h "5." . , . -
.1 l , t' l
c.u la'l" 0 t le group.
' "Gaiell . -
"1)rOperh'..
French. 50 let \ e renc,
. '..
Accordlllgi c
] 1

't dl' li' Id· tll 111ake ,orne "incoherent works of art to exh1blt 111 IlIS office in
he 1lI\l e 11' nel .;J _

l~~~ Cohl, "Lune, polItique, et incohérentes" (PolItic,ù and Incoherent Moon5, fig,
30) \\ ,probabh mdudt'd III thi' fir,t exhibition,
The Joke (',lUght on. '0 Lé,) organized a mou th-long exhibition in September 1883
at the \ï'lenne Galler\', which ",as open ta the public, It was advertised as "an exhibi_
tiOll of dralnnl!> b, people \\ ho do not 1--now ho\\ ta dra\\," According ta the published
"nùe',· ail l'orb submitted ",ould he shawn except those considered obscene Or seri-
ou Cohl documented ,orne of the en tries in a coler for Le Cha,-ivan (fig, 31), ln

- LU ES POLIT'QUES ET
~

31 ln \ oyag(~ cbez les Inroh(-rcDu,"

Le Charil-an Q<-tt"the-r:'!5 l~

addition to his own "Portrait garanti ressemblant" IPortrnit-Re,emblance Guaran-

teed), there were strange drawings by ~!esplès , Paul Bilhaud, Ban",. and Langlois
Coquelin cadet's "Souvenir d'Etretat" captured the spmt of the ,ho\\; his parody of
Monet's 1883 Impressionist seascapes \l'as nothlllg more than a horizontal sCJuiggle,
The suceess of the exhibition surprised el eryone; 6.700 francs "ere rnised from pald
admissions and donated to public assistance,
~I In 1884 the group met regularly and \Vas photographE'd on a ~!al outing jfig, 321. 56
(In the photograph Lé,y is the one crowned \\'Ith a hom, Cohl" at thE' upper right.
thumbing his nose.) Their f'lll show was eagerh a\\aited To adll,rt"e it. Cohl ag.un
drew covers for La NOl/velle Lune (NOIemher 1 1~Ij.j and u. C/wrilari fig 331. \
typical exhihit was the tra\(~sty of John Slll~er S.lrgent, ' ~!adame X in the tradition
of Salon caricatures hy Cham (Amédée de "lot' and Bertall jCholfle,-Alhert d'.\moml.
Cohl's entrie, included "La Salle Graffard," il parc,,], of il pal/lhng h) hi, fflt'Ild Jl'an
Béraud, "La Nlul de noces du brave l'harhonnit'r IGrandl' t'Ol/lpo\1tion traglCo-coml-
que)" (The Coall\!an '; Weddin~ I~htl and " ,,(, 1'1111\ n' Pl·d1l'lIr dam l'embar"" '( Thl'
Poor Fi,herman II a\lng a Lot of Trouhl,'). il sahre of PU\lS d .. Chalanne", "PailHe
Pt'cl1I'ur," whleh had Iwen ,hown at lhl' '>,ùon or Ik~' (fig' .1-1. 35\. Th .. entr.mt- \It",
gl\,'n mnck Salon cataloglle enlm', Cuhl', d"" nbl'd 111111 ..., ·Canc.ttllri,t, ,U\l.ul/l~-
 A (~~I(.ATl JlI~T ~ LIFE • TI

-----

35, "u' PaU' r~ P<cbeur dan. 1embarns • Calalcr:ur ilI...trf

de /'npo ,Iwn dl> art ,ncohIrrnt. 1~

when he blows his nose . Li"es in the main section of Pe,,'-Ladw e [cemeter)') third
tomb on the right .... you enter "57
ù, Vou~elle Lune praised Coh!', work in tongue-lIl-<:heek Baudelauim terms.

The most fan tas tic mnvases, the most bizarre stiU lues. the zani."t pum, you'U find
•
.
.~.__ /
",\ t " " . f" •
4 . ..
~
loj. ~
~
,
ÊMILB COHL
themall a"embled and catalogued here, For hlS part, our oollaborator Em Cohl
expo;ed m.... terpieces of humor and gaie~' capable of eradlcatin!! the stron!!est
spleen. 51>

The 188-1 show w .... popular enough to contribute 9,000 franc> to the. (){1e~ for Public
Education . A cartoon by Albert Robida mptured the Dlon"tan public image of the
group (fig. 36) lt also reported the Incoherent invasIOn of the Ecole de Beaux-Art;.

-
,
,
_,i

~,
-.!7'~
.".',
'."
{

LA SALLE GRAFFARD
14
1 L.. S
. .. II" (;ril. Il .u-d < C.(Jill
' 1(Jj!IW iIl"dn (c
1
rtpf)~lh(m dl" nrt 1
, Irlco '(>""lIh, ll:ffl'
•
--
JUfTE.JI 0 E -- - -------------~-.....
LIFE •
On \1 II 1 S5 a m:l!~,(\ ... bfld lJll'e:uJ an annwl xhlbl Ion '-01. r - Ld
THE DUTH or ~ D t CIL ..
aiff1l&~ dreued as an arùœc:J:e B) IJO'\ 1 h r ... re :umm to ail fun-lrlVlD
ParUWlS E!\ .. Le Courrvr Fn1I1Ç/UI de-oted lU enllreis ue of lanh J ~ 00 October 6 1fVll the edzton VJ ouuUe Lune anoounœd that Gill ..'OU1d
~p ODe ~ ml! drz....W2 Julc~ lh"} Fath 'r of tht' contnbutme rl'11uLuly to th .. papt'r Br only t..-o .. ee - blet th..,. said that he &ad be=
drll'"'D ln E lie Cohl h 1. lh)' lauclllDe f.l(; 15 S r burt iii an a('udpnl and could seruI no more drz,.~Dp 'IDe -.ac:uder.' "'aS a menu!
and-.. 1 m throueh ....lnch a headl S J ter <:an lit' bre.ù:down Ihal (,III had mffered ..-hil.. Ir,ne Z m Belzjum He had be= arrffied
dnœmed. 'h iOIlrtt'j:ii!l:1CU1h OU.''fCOOfs bad...... ard SI\!TllUuTe ai the ho tom IS Ihr'i and rl'tumed tn Charenton fOT tre-.ùmf'll for halJucioaIlOD.S
Brothen \e \Iust Laueh ln the te>.t LéV} pro- Coh!', despair was f'\~dl'nt whl'n hl' reported hod:inz e\eot
Fre< n
ft ed bis dlSCtpIM .. the anarc that academK palOter Jean-Léon Cf Onl} Ihe mpmory of what U5<:d ta he \Ddré CUl remams to us \\1le1l .. e ..uuld"
r hadaœused bu Dt"\\ a complement and a supp1empnt ta iu th .. studio, the boss as ...... liIcPd ta WI h.m ,,-ou)d h:n e a biz s Ile for us and ,.ould
d ruleJ of art ,.. rwe us "ith realmendship. H.. tooIc ure of us ..-as mterffied ID our httle strul!-
( , ""._.ont Inco did 00 end 10 IIY).5 But in('Tea5tncly his e1es, amazed at our pr~ess. !!:a\ e bis precious .ad..."" ~ .adnurm e pabeDœ, .\h'
,.orne1 ahou Andr C w n<n";n2 on hl otheT lK1hities. Now hlS friend and ESP"C-ially those of us who lhed nen ta blm ID the c:ommwnt) of our thouzh .. e
.,.IIr_.. <~ and Deal' ae<nn m the no nous asylum of Charenton know .... bat a loss ta art it is ",ith bis disappearanœ
He is mad. Poor and lifeat arful, in )OU", .. seedisappearmore!han a mas'..r mot.-
than a m..nd: we lose a broth..r, a wod and !!eOtie okkr brother"
Cohl "'as shocked and infuriated wh ..n, in the JOUrnal Rtœil Gill s former Commun-
ard ,taIwart and founder of Le Temps, Jules \'alJk ""rote 110'0 articles that hnked Gill',
madness "ith ",hat he perceived ... Gill', poliue:al ","f'rm!!
A5 Gill laneuished Cohl proposed a SubsrnptiOll and orzaruzed a benelit perform-
ance at the Bouffe -Parisiens ta pro,"id.. rum ..~th a pri\'3.te room. But as suddenl} as
il came, his umadnes," unexpectedly went ioto r.. miSSlon and he '"'25 released on Janu-
ar)' 2fJ. 1M2
Gill now de\oted his hme to painhng and completed an ambittow entn fOT the .don
of 1M2 .• Le Fou" (The ~Iadman ,'" for,. hteb b .. m.-od the actar CiI- :ua posed Hf'
had played the iosane Coupeau in the Idee, emon of L'A ornotr Gill ba.ed the pic-
ture on ac:lual conditions at Charenton. Bul the publIC z;l't' the païoU!!za blasé TK~p­
tion 10 part I>.-ca",e th .. pictur.. was hadJ) huo!! ID part bt:cause of the unpleasant
sllbjeet.
0" May 9 Gill rel"p~l-d 1010 ronfm.on and ... and<red ..bout the e:ountr}side r four
clays, temf) ing th .. farmers of B.-n!f>res Ix-fore he" s arrested and pennaneoù, r..-
C;o',mmittf'd to th,· as) lum nf Samt-\launœ JO Charenton ..
n ... m'xt di~teT happened in Januar, 1'>')3 The adm'D1strallon of Charenton ob-
tolim·d an "rd~r perm.ttJne them 10 Sl'UP (, , propert) to setÙe the" bill, and the)
""'!tly arTanj(,·d a al" al the Hi,t .. 1 de, \enll.'\ for Januan 17 Promin .. nl Joumalist
Jul.,s Clan'tie \\ appall~d b) the la<.k ofJu bce and merc') hIMn the former en JO,
of the j(o"'m,rlf,,,t and b) the fatt that ('\l'n Gzll mast penonaI memeDtas ...eTe
aUt'lton ..d off
!:t'tches œramics p~ph ~th
• - -- ~-
, ( 'R 1 t 'T l R J ' T ' J. 1 r E • Jo

t III 1 l, \.. 1 Ill'rm.11 hIHlllrr"l\~-nul

,
Dol 1 lit tlt • nllt • ,h.Ut. nlll .1 \ olu Ille:'
mt'tllOf'l hl l " l "t:\ \nd th, dllllUll'l ot hi, hnl,

/.nn'''' 14 d Il n .• d,', .11h'nd tilt' ,.11 ... Tho,~

10
'0"" "rth .IU,lwH""l'. Ih .. !.tek of a
Parti Eudd n'I ,rt",l
ul to Iht t"lld \\11 1, an irnl.ltin~ t.lrt>I ..". ,\ Ptlrtnut l,f -\ndn.' GlU at Chan·nlon.
).mud.f\ 2.h. l ~
" ru,turW. th. ,,,np.ltllt'bc l!rOup
J9. "-ndn~ Gill '\OU\t."3U'\ CroqUl';; thre-e
portr.uh (li Emill' (..,hl La \ OUU'lIt" LutU".
\1.lf'Ch~ l'

Dm.,.,.,.!' \ rt' ( uotffl, th" .•11 .. bmm:hl onh ~O. Ch..n", >tud,o. PhotOWolph of Cohl
,kt~lt'd li portr.ul [lf Gill al Clurt'nlon. wbo and Gill

",r,,·.,~_ th turi-I. \i. ibm: him d.til~ and

, :nt ln Ùlrt>t' portraib h, Gill "hich h.. -<

meJGU ==... Cohl al.o fflitffl som .. ,.- LANDUv'ilt.~ lU N [

p1.1l!ilishn:1 as \ d Pa ri in tht" hope of r.tisill~ ~ '::
prdiàcr \lpoo~ ru,ma\ t Gill, t'Olldition.- '\:OU\'''E.U::X CR~~I~ d....... GlLL

\k=.+-,'!., 0'" hado\\ ffl h, the"" m.,· ,

1 He Il lIffl !ter \1.U'Ct'lIe \o.
•
1
fn ru E ptr du. ,mali t'ude.
ID.."in"rat La \ lU dt Pari' chidro
Nf,,1 and maD'
t wh
the poor man \\ • Il
hon6!e mabd\ Th \ liruùh abandonro
spart'd lh t \\
· (II'PT[~O"E
'aIl Th hD" ,,,th sntl pamting, SI,t)' draWlIIl!$, and 2.',(
-.......... .... _--_ .._---
th al th~ \ 1\1~nne (, e~ ' ' 1 d J
moo ~ced Cohl unrelentml! ent'Tm in arrangtng (>.lm an to tlu- g"lIe .
(2T1C:Ilurl'S te uu
, ~.
I!> S
~. he had eH'n arrange to
d hoW .. Le Fou, " whkh L t ,
asm of G,U' fnenu.> orne 0\\ • ' h ''4Q
"ll hman at th .. Januarv ,ale \a\\ , \\ It pathC'ltc IrOn)'
ken sold to an anonymou' En '" ' , " '
bliot\ the painting hecamf' the exllll"t!an ~ macahr
thmks to ail th t' sensatJ0 na! pu •" " f'
bit - Cohlmtended to <aise moner for GIll C'duse pnmanll throul(h the \"Ie of the
C2ri0tures Il 15 almast celUio that he had boul!ht most of the". him,elf at the January
s.ale. -, Th"r.. »ere publications dt.OSlgned ta stimulate interest in the show, mdudin~
• -\n<iré Gill et son oeUHe" bl Cohl. 03 and ID La Sou relie Lune a poster showin~ the
artist shadded to a srmbolic bail and cham fig. 41 .'6 The exhibition " "as sketched b,
Robula fil! 42 and ~"U attended but sales "ere <0 poor that Cohl had to bu}' ha<k
most of the works and !iD had ta par the gallerr Ils commission. The financial strain Was
50 ueat that three leatS later it " .... reported that ·Cohl is stiJl todal paymg to liquldate
thlSbaddeal-
Gill', cond,tion deteriorated into complete paralySlS and loss of speech He d,ed "ith
Cohl b. lus suie in the early bouTS of ~Iay Day, 1~&5.;' An 18&.5 portrait of Cohl in·
duded a symbohc \lmette shomog bim follo"ing the hearse as it departed From Char·
~=- -
enton fi!!.43 C1mis Hugues !!a'e the eulOl!;)' at the funeral on ~Iar 4 . The de,otion " b._ _ _ _~ __ -~~-=.--.-

of Cohl. who led the cortel!e, was noted in se,eral obituaries, including one ln La
Chroruque Paristenne-

,Gill] 'e!!'etated dreamed and .ulfered. Few careers have been as lamentable as tbis ~I André G,II lor Emile Cobl . "En attend..nt,-
La Soutelle Lu"" , De<-ember 15, IJVl.3
one in ils declme, Ho-.", er, Gill had mends until the final houT. \1, Emile Cohl was
amonz thl51ittle Dumber :\ talented caricaturist and devoted student ofhi, master, 42 .'''-Ibert Robida. ".0\ l't'tpOSition de!. oeU\T~
d'André GIll, ' La Cancatur< December 19,
Cohl went to se" him regularly at Charenton lt was he who arranged the funeral 1883
rites. This alfatioD was the caricaturist's Iast consolation."'
~3 , L' œ. A Lemo!/. Portrall of Emile Cohl,
Ebeone Carjat, whose letter had brou~t the two together in 18;8, also applauded Le Courrier Fronçais , September 1:2. 1tsS5.
Cohl al the dedicalion of GiI!', tomb at Père-Lachaise,

~ would Wœ to admowledge the Doble and touching conduet of another modest

,JUng artist wb" could not mIS, this k.t meeting. The name of Emile Cohl i5 on ail
::;~IP~ becau.'e vou dre awar.. of the affeetionate, fratemal care that he admiOl'
t duno g thblS long and lamentable malady. Cohl' 5 falthfulness will be a consola·
100 agamst th e ta7.en mgrahtude of th 'h h ' h
ear\y dayS 'if) ose \Ii om e pushed and o,erpraised '" t e

Throughout CiIl's iDn ... s, (,,,hl had railed' , "

ment and the nckle p1Jblie Like Co 'at' ag;un,t the uncanng attitude of the go\ern'
talent and bis œ t ua] ~__ aIJ ,he I*heved that failure to reeognire GIll s
JO ID '!MaUOI"nl had fi li
not ha,e to!>eard ~ tl na y cru,hed him Lat ... r Cohl wrote • You do
- , or ,e <:au", 1,[ hl\ m a d . ."
d..fermmed II. It was cl' ne5S, It was the 5adn .. ,\ (Jf h" situatwn tha t
IOgratJtu e, IOjushce and' d'a t
ln luerene,' swallowed in silenN' hu
 ~ C' JI 1 c; ~ T l JI 1 ~ T' ~ 1. 1 ~~. • Il

\\ 'hen' did the d .. ath of G,lIlt'aH' CohP Cl'rtalllly after WH'n year~ of inhmacy there
\\<1.> .1 prolilllnd lwr,onal and spIritual \.lcuum. Ile had hecome "l'II known h~ !fsf).'j,
hut IIIS reputahon Wa!> linked to lm mast .. r s. In addition to h,s loss, his mama~e ta
'.Iarie Senat Wa!> not /(Otn!( weIl , an tndirect rt~sult of his attentions to Cill.

.\t some point dunn/( cnrs Ilnal days, '.Iane left Emile Cohl and moved in ,,;tl1 Henri
Gauthier-Villars (1859-1931 ), the son of an established publisher ofliterary and scien-
tillc books, who, around 188ï, would adopt th .. pseudonym\\'illy" and become a
fin'orite popular writer of the belle époque
Cohl undoubtedly had Ilrst met Willy as a Hydropathe and had worked "ith him and
photographed him while be was writing a musical rene" column under the name Cas-
ton "illaTs for Lutèce in 1885. The strained relationship finall} reached a crisis when
Cohl and Willy fought a duel on October 25, 1886, Stnce It Wa!> considered less !(entle-
manly to Ilght over a woman than o\'er "artistic" diH'erences , tlle ostensible insult was
in regard to Cill. "'üly's notes , cited by his biographer, Caradec, recorded (not neces-
sarily objectivel}') the tragicomic incident:

1-1 ndn( One day 1 declared to this fen'ent disciple that the best poems of La JJu~e à Bibi were
\1.\ 1.. 1 1 - owed to the signature of Louis de Cramont, not to \ndré Cill Cohl was indi!(nant.
1 held my ground. 1 should al 0 say that a woman 's im'olvement turned the atmos-
chrunk.lll phere sour. The seconds on my opponent's side included the hi!(h priest of the Inco-
, k (, . t Charenton disma~ing, the original large group
1 Equally
herents, the facetious Jules Lé\')' and 1 don't !mo" ho" man~ other joumalists, Thel'
pl eh t!;s;<ppeared b~ 1'>'>5, For Cohl. the desertion b)' CiII's inteniewed m~ seconds, Beau\'ais·De\'au\ . c:elebrated duelist, and Lucien :\or-
i.alh \ail " palOful. Beine; alone with Cill ",hen he died mand, militant royalist and a practicing Catholic who dreaded bemg implicated 10 a
" ne\er r.uhcated He "TOte m 192ï mortal sin , \\'1' left for the Island of La Grande Jatte It "as a Ile;ht "ithout interest,
III t r::êmone~ that 1 cr..e th comfortine; mi,anthropy that has taken o\'er but "hile Plcking up Cohrs sword, 1 stuck m) eye ,,;th Ils point and was bathed in
It 110 !luestiO!: m bu Il sort of ullennes" a protest d,rected at Cilrs con. blood Doctor De\illers, renowned swordsman and my colleae;ue at the Salle '.limin-
rted rum and left hlm ail a10ne wh .. n he "as floored br tllat que, shouted Halt," "alked o\er to me and pronouneed e;r.i\dy, "That's it" 1 wa>
astonished, "Co on and you'lI /(et just "hat you d"sen" How man) times ha\ l' 1 told
)OU to keep your head up ,

lml 'n ut to G,ll nor dld he make aIl\' funeraT\ ,peeches . Cohl intl'rnoptt'd , rather concemed, " Doctnr, 1 hop" th"t hi> eye isn't !(ashed "
d m.bed ' ,
1 - POrtrait that La ,\ooLelle Lune publislted 011 'la) 15, Aft .. r a qUI.l ('\,lInination the doetor r .. plit'd , ":-'0, Just the .. )ebrow is eut." Then
nul Il!' (1lt1hnut'd hh I.,.'tun' on the nnportanc,' 01 ke"plnll: one' I,,'ad up \\ hen cro"In!:
dra appe-.ir thtre until June 20, 11)1)6, Perhap he
1n)l: l'l '\word,
1 Il th un \ mpathetic defectors and withdr.. \\ hl ' 1 retunwd to Pan, ,,;th nt} '''('(Ind, dnd L"c"'n :-;onnand ran off tu ('(Inle Ion
1 ~
- le "er onl elgbteen ont:mal Cohl dra\\1ngs
11J1" pro(', ,,,·rb•• I" Ie;rwd J,y th,· fimr \\ltn,' e Ind"dlng Cohl ~ set.~",d C,on::e
r nnt d bis old "orlu LIng lu Igrtature \\'ithout
Du\ ail td" a Mnn,'" hat d,fft'n'nt ,toI') . On the fint .. ngae;!·rfll·n! tht'( "f."n· no
. th E'r H. molnn ln 1 ~ 6 La OUt lu wound . On tilt' "('(Ind enl!agt'"wflt ~1 r Gauth ... r-\·Ill.lr was struck ahO\ l th" rigltt
 , Il ~ 1 1 1 1 1 Il ,)

l,tt ~ t\ 1 •

PthnPI U, 1 "'

1 11111. ( .1 " .. iTi •• alpl"'h'~, '1'1" , "" tlll 1 ~ Ill' ,1", nts 11.,11 It"., h"
.,hl h.hl " 1\ •

rll \\, ,( ",tC'lc,t lIId lu,,, fhHl'III" .h,mt 1'\11 11111 H h~ull ('Il ,!l'nlll ,II \ le ull"

'p.H, lU \\ IUt h (tl in,t.,11 n I~H Ir If '11lclltl \ .. hllt' tin ft \\ rrm IInlu t \lHHpl .... 01 th.
"", ~ 1,,· d"t th,,, .\1, th. 111'1" .1 III ~1'l'h,J.:' 'ph th ,t ,II" Il.11 Il'' '' ,t'"I" 1,.M.k
••• 11,'" rflf,d~,,,,,, III " 1. (; \I<"tl Ill., th. l'''I"I'l111ml1il,.",fo:' H.• lllI"ll. )
l',. "'m,l Ih.· ,·.ht<ll ",,1 l'lIblt,h. , III LilI • 1 Il,, !Iii •• 'U III' timmllllllll ,k .. h 1" ' ..
,lIId tilt' ,dlHlm "tl"tc·d 1"'"'' 1\(ll tI.ul, nf th, 1. ,,,h'I ~ III \ III Hill IIh 1 t1 \ I1h)\ III' oh
1

F;h.'h l'C'I\nu.,hh \\.\\ d't) 1l'pit 'l'Uft .11" dlll "I ( Ilhl" phUhl).;.1 ,t'lu l'lit th. '(1 lU '.
tI\ln~ " th.lt \fu,ll ,ull. ,\ nlmllH nl.llh' ,\, Il ,II IlIrll h <Ir IUJt,\hu\ ( \pp.Hlllth
th •.lIt dl th, h,Hlh.md, d (,(lmpl1l1lt nt \\ " 1H \ogtll l llhl bllHs,1I \\,,, tHlt III Il,,
1 (·"·hlllh"

lMI,l"1t1

"""" "' 'l" 11111, Il\,"1. \ •• 11, pllpll 1\ hll" 10.)U 1•• 1.. Il 1Io.1t h. I,~ '11, •• "",Ih
('t.p .. 1 bill Il.,t 1", d, "qll~ .\11, III ." Il ,tlll " l, t< Il.d Il .. ,, "<I\lI t 1.. I.,t.
( nnllo" l" tl.. \""1\111)1 " \\ 1\ •• f ( Imn. '111 Il,.t \\ 1" 1" 1"",.1,,·,, lAt '.11/, Il.
1dlfl 1,,", ,., '(\1/1 Il h.,' 10.,'
1".. cl'Il "1,, Il l, h.ld Il,,tl,,,, ,1. III d" IlIIt ro ). ,,1 IInli. III Ih. \., ' . Il. 1
11111111. If th. t hr \11111 t ,1. nI . Cllllillot 1" • ,. Il, 111 .. 1., hkhl Il,, """ ...1 tl",
11111., Il,,II,.ll'1\\' 1 t 1h.II. 1,l.u1II"Io 110, l" il l'U lu r Il .. 1 • ,,""1. t (1" 10...
''lUI Il f \1) 0111" hi imrl tlu \ ... , Ih,lt 1 tlIf"l1f "op lun, IlIl,le the III III 1 \nlnult
,,1 ""l1pl li lIIk 1 Io~ "III<" ~.H 1I11" lu .. 11 ll"'11 '"Io"h'l(l '1'1" \\111. Il tl" .111
Il,nrllii 1IU11011) u,/i'IIII1I'"tll1llt'"lIlIthl l"II .1.,,,1,, 1'101111' \"dl .. .!<lll)
Il"1 Il ( 10 \. hl III< n. l rllllu" Il,,1 hl "11"' JI'" 11\ "" 1" "'" • "',,'
hui ht "Io"ln ') ph 1 • n Il. lit 1111,1 hardi 1 III.! III Il,lln fi Il,, "II tl" ".111. l
>II ni Il rt "d Ill< 1 1 ri JI kil" \ 1"", 1"I'''t hl, Il) 1" l,hutu \\ 1111 lu
l 110 III " • ,1 10' td, Il .. , ,,,,hl,,,, (01,1 h, Il) '" "1' tl .. l" 11,,110) tl"
 ~RT FOR T\\O • 45

tured ID Ù' } rntJl.-\mu nt, th .. t hE' \\ Qot

t hE' roold not he n'p h..d if hl mou Iat'he
\\'hich n'. r:: bl..d 'an O'e
.• ete But h~
b . pl .:raph, ,tudio";il domg \\ en

VI Plvot",,,,,,,I,,· . rue .li ,t-Ulurent and 1- boule_

r are the..., der- ') " j artbbe Pan,. In fuet 1
''lK~_ Iite~ !l~. the .-\nelents and the l' n-

ln .......srtl·'e '"Oun!! man oftweQty-ei!:ht. He

. urpruin'" >t'noue. The other photO!!raph;
of the . . The, are re\a..,..d and intimate
inIde the mIen 11\ of the ~ oun!! \mbo\i;t
Condeau. fuunder -the H\dropathe fi!! .. 46-!
pa:1:raIt IS . he >Cm>is drre.:-th at the leQ li!! 49 . UlU-
+ T.a.ade ad Leon Cl.Jdel ref.L~ · po"" 0 Cohl sub,tituted pietures of a ro l'
46. Pbotoo;raph of Edouanl :-'oTès. 1&1>5
- • Tt.'.1
III" 'U'.uu"" book. lS a !!ood example of the
~,n

4 Photc=opb ci Paul \ nbioe

- Pbatograpb of Léon c!ltld
 ,10<1111 h h"oIlK" Id
Ion 1 tht' n" Il Il of
( th ft>atull'" Ill'r'unality-tlll' char-
:t ,
mbl nœ----(l t'.I,'h un,' '7
"hl c nwlurt' , t"I>t'dalh some of hi, earh
of Edouard Phihpp,,," I(lr ,',ample, is pre-
t d on a \ mm tncal bod, (fie , SIl. Because it upproaches
- \ H T l' tl R 1 \\ ()
pht1hl<:I"phll' 1i~"I1"" , ("hl !t ,lt ,t \\", 'h''''",\I, tn 1I)('ludc' "mhollt' ",Itlrihut.. ,"
,(l l', • ~7
hl .11", t th" 1 H'\\ ,' r t" tlll' ,uhit'l'l, \Igll1li' ,I1I"C', 11l'1I('<' tilt' "'plodine lin'crilck"rs,
\\ 11I,h Ii>nll ,1 ~lIld ot r,I(Io,I1I'" ,Ihout 11lt' Pllhlo,h .. r\ Iw.,,1 and ,d,'ntif) th .. hll,', of his
1'" hli ...11 Hill' ,
Cnhlm"'l h.I\" qu,lnc' I,'d \\ Ilh .\lId,,' {;ill cm IIIl' suh", .. t 01 phntnp:n1pln h,'cause tll('
olcl,'r "ill'l''.lll11'i,1 held il (~lIl'el"\ aln " 1 Il'\\ ,mnlt'd 11lt' ust' of photos, and 111,i'I"d 011
,~ .. tdUllJ.( trom lit,· or li'()Ill Il!t'Illon 00l' .. 11<' ('\pl,un .. d in a nlonulo~e wl1\ 1",lalon'd
lt,ltlitltlnal t'i\l'l,';ltU"" tt'l'hlllques ,
1 hm " il Ihousand n' a'oll\ for pn,f,'rrlllJ( ,II",\(, ,III olh"r, Ihh l\ll) [carimlurl'] of
r .. prndut·lIlg tlH' human fact' Photograpln ha, n('lth('1 '~1Il\l,1t'11(') nor st',;ou, \alut' .
It will pa,, , il\\,11 and p:et lo,t. In shorl , ,1", notlllll~ hui p.lp,'r'
Though hi, social \i,''''
wt're prop:r.. "i\ " , G1II's J,·,th,·tic, \\ ,' re quite tnlditional wl1<'r ..
pholop:nlpl1\ \\ il' ('onct'rned Hi, ,dea.' \\ .. n· (~ln,i,tpnl \\llh Ihost· of acadt'mi('"m Char-
I", Blanc, "ho in Ib6; wrote in his mAu,'nhill Crammll11'l deI art, du ,ks,lin: ""'ho
do .. , nOI kno\\ ho\\ decept1\ e i, the lrulh of Ih,' pholugr,lplnc Image. "h,ch prt·tends
to he infalhhle? The paint ... r, endow .. d \l'ilh il 111md. can C·IOkt· Iht' mind orins model.
hui 11()\\ can a 11Iach111t' el ok .. a 'oul"· ...
\ fe\\ mOlllh. after Gill\ death . Cohh p:uiltl t""line, "m"r~t'd Il h .. n Ilt' ancl tilt'
p:host of Gill engaged in an imilgin'try c1i,ùog11l' un phutogr,lpl1\
TIlt' had .. , You Ili1\ e \l'orked 't'arc,,' 11 Il' n l'par, and no\\ 1011 hal t> het'n t~lpying and
l't't'op)'ing me for six month, at UI '"",cli. L"" .., \\"\I,lt p:oocl wa, Ill} ad-
1 ie,'? Look "hal il made \'ou-I hMdll dan>10 ',II it. a phOIOj('",lphl'r Yl" , that's
11lt' dirll "ord Il mak .. , m .. p:ag, 1 ~noll \\11.11 jOllll 'as , thal "e ('(luld ,Ign'(' on
'Ont" of ils l'ollndione,qu .. <!u.ùihe, . hui Il hal du," th,ll prol l'? Th,11 1 our "<juip-
mt'nt 1\ ~Olld
\l," \h! C1\" me il "han",'. 1111 not IIIt' unll ,lrh,1 \\ IlIl h.l' ,hpp,·d ln, pt'ndl m "II l'r
mirait" 'adar c,lrj.Il, 13,·rl.llI""
\\I\t'th"r '1 Il il' 1>l't'a11\(' CH!', ghu'l 6n"lI) lion oui III 1"'CoIII\(' phnlograpll\' was nut
,1\ 111, .... II\t· .1,1", h,ld hop"d, euh!', t'iu,'l'r ,1\ ,1 p.... h.11h't \\,1\ ,hort-lin'd .... u turther
111t'nhun uf Il " m,Id,· .If\ .. r 1 .~ .S5 , h111 i11 IIIt' l""11 st' ut Il,,, ,"p,'nt'1\l'l' h .. "l'quirl'd
1,lluill>l,· h ', hUIt.11 ~nU\d,·dg,· Ihat 1", \\u11ld p11t lu gelU" "'" nltl/,· tJmn thir!\ l','ars
1.11t·, ,\1 Ih,· '.Iml Illn,· , lit' ('.In '11mll'" Ihal Cohl IItl11ld l1111111\11" lu bronu o~l'-r the
clou hl ot (,111\ ~ho,t nl1H" ' nl1ng Il,,, 1,1111" ,,1 photc,gr.opl1\ ." ,1 n'pr .. ,,'utation,ù art
tOI III
Onll ft 1 (0111 h> T \ ( l '''Ill
JOUIl ( 01.1" u dm mg turn • tl,,' 11I<'Oh "'1I1s ""'h11l1t·c1 Ih"lr publil" UM nt. Ii)
1 ,th) "ad 1...·mlll1· ,d(' nt,1i d" ,th Ihe d, c,,,I"nt Imo'l 111",":1<111 pllnllit uf galt't)
, . ~
• 4. Frf Il T \\ (
- -
___ - - - - - -
Th
-
Ir[
~
pul.lI1t, t',tl'nd,-" Llr h,·, "lit! th,· OIl!!1 ---------------------------------~~~~~~~~----
ART rOR T~O

not f Ùl' If 1'1'\1\ .,.,.Itl\' . dl\ Ih, ,

-~ " \11 ,,l' \lUlU!! nll'rn Pan, " "'nt"n,'t'(j
-' lu
, Ul' ... li-' 'r''" :,ull"u<,
. t" tht' ln,,<,h"ft nh. th,'r... \\a, ...n
' LN t4':.~~
A OUvuûtUN
[
1 1.:a. . •, , d" ID,'Oh, rt"nt- ,ln rue Font.lilw 1- and ,', en
M ..... L~"LD:C cœ
=tbe:rent n \ 1h\ t bar! 'J h l, win h \\a., 11Ill,tr.lted 1" . kmll'n.' \[an,·I'·ad.
ubr PT' ,\\ ft' rt"l n" nted at th,- f.ùl ",h.l'lllOn .lt th" Eden.
()d:oo':'r 1; lM mha 1 \mo ~ th'Dl ,\t'rt" Henri omm Ciran d',\ch ..,
.. lit n de Toulon't'·Lautr....' ,ho\\ ,-d.ln "lnro-
"t cr'lt'I:. \Ionlmartre HUI1I~.lT1.\I1 :'I' The cal.!.
no' 'I~ Il' dm~ lXl.tl'r artbt fi!! ::!70l, .\I1d the l'"
M.ro" n"-,,,., \\ ft'. ~ " b\ Cohl fil: -, HI, catalo~ue ent~ l'Ontained an
nc..:.œre-nt p.»tralt ~ 10 PIE'("<' that m\ e,be. th" ~ellrt' of, rih,'3.1 alun tou,.".
de . ••\ , . J..d tbroucll the evublbon h, Cohl. for \\ hom tht' e't'rtion
53 Carte d'E1j>O"'-Dt, Incoherent Exlublbon, 1!>b6
1 adruirinl: hL 0\\1) portratt macl .. in 6, l'
Id cream and collodion \\ithout twing able to
\\ lule a\\,;ubn ~ Ùlli ,tupeJ\in~ image. tht' hkable artist

55. -L l:"œuE_nt de I1ucobè.E ....... -

LaS",,~~ ~13.1 _~

<H .\non Portr.ut of Emûe Cohl

r
Ca,aIocu d~ erpcmlit:m. 1

pa>,t'd out and fell to the Hoor Hi, landJord bad lOund him there b~ chance an<l
ha'in!: just been paid, was ghing mm carin~ attention. 1 ,lipped inln the next
- ...
-t
nx>m for ~ome air 15

Lé" and Cohl announœd tbat the 1 ; bal! would he the \a,t - L Enterrement de
I1ncohérence'· The Buria! ofIncoherence . howed the ma" oftheorramZPI"S hun!!OD
a c10thesline 6g 55 . The danCing clowns, leltenul! and cun-.hnear;Tap1uc . hie .hou
the m8uence of Chéret
The Inl'oherent mo, l'ment \ \ b not uni\ er-.ill~ .t'd. ODe Its chieî enemle, "
John Grand·Carteret, aUthor of Ihe fi",t lmlXlrunt !rem e 00 late nine eenth-<en un
C'aril-ature, 16 He recrettt'd that the older::e ntion cancaturul!.,uch lb.\lfred Gre-
\in \\erehem!:neglectt'dmf.l\orof !hi,n"" proœ ,tbat .. eare~m ~ !hi.lncobe.-
enCt' ., He equated th crote,quene., of the ln herenL dr:min::, ",th the Iit,"r.J.JC'\·
Decadent. \\hom h,> a10 ddikt'd. The ldin ~ rontinued
R a!h. ",hat 1 an lncoherent~ \\'hat I.[n hen.'D('t'· G" :: il partr.llt of
.. (HArTr~~ _ _
- -
- --------
1 1 ·ntl .. lu Ilt' foun cl·ln.\1 on tmartw the Rel ut' II/u.trrt' ~ald.
"nif'" ( 1 1 <..
........... AIT FOI 1WO • 5

d.Jrll< Je'r" JO •h'r ur Il h()o~tun

1 . . , ,1 k a "'Id or a bllrNu('rat or a \UI ptor. Bllt' JI
( er. 11< lE:
hl "ni" • l'am . 1 . . h. rodll(,~' lm JJ1coh('f('r)('(' Ill" wO\lld Iikc to P'
l i t ~lIi~ht" 11101 lO\\eHT t P Catalo~ué
,..,
-
ct S
111l1~' " m " TI • derk Iw('Om('s a lt-nor, th(' paintt'r wntt·, "·r\,.. the
[clr sOllldhmlt Iw I.,n tH. . ,." cJe
'hilt'tt d,·hak' frN·lo\!', ail wlth gf('at e,"bcranel'" .
. tl . . It of a "K:lal .tal(· such as ollrs JO "Iuch pt·opl(· who should
MC
Jnt'ohl'rt'nn' I~ 11 r( 'u ..
lu",,, bt'Uer are onh ,dTirmin~ thl'ir Impott'nce . l,

Hi, 1)00·k 1WCJ.me a standard

-
ref~renee work • as" result _of .which Grand-Carteret's
•
'1 nco heren t bl·a· had a di,astrous l'lfect on the appreclahon of Cohl s career Hp
J.nh- ''J

m',cr ml'ntion, LI',) nor Cohl by name, but It IS c1ear whom hfl meam wh en he refen
to ûle "CIII school "
CIII--scant sabsfuction for him-has pupils and continuators, There arC' at I('ast SCl-
l'rai who Iike to cali themsel"es thusl)', boys with restricted talent who know mOre or
less how to dra" but are possessed with the comic idea and, perhaps \lnconsciou;I)',
the mtuition of the grotesque, 1&

Il l' S1gni6cant that Crand-Carteret used the phrase "kno" ho" to draw" becau;e
It was weil known that Lévy had described the Incoherents as "people who don't kno"
how ta draw."
A1though the movement had been "buried" in 1887, it \Vas resurrected in full \Jl(or
m 1889, The exhibItion catalogue featured another cover b)' Chéret (Ill(, 56), Lautrec
42. Boul~ Bonf\e Nouvel e
& 2, FP.U80U~ POISSONJllr~ •
mocked the Salon favonte PU\'is de Chal'annes by declaring hlmself a student of "PubIS
de Che,'a1," Coh!'; nine contributions were "normal" (ûlat i" non-Incoherent ) canca-
tures such as "Francisque Sarcey" (fig. 57) His catalogue notice chided him for recentl~ 56. Jule~ Chéret. Cover for Catalol!u~ Jlustri r. F l'2DClSQUf! _.ITCt"\ 9

straying From the Incoherent path de f'expo5ltlon de!) artJ inco/lércnts. 1&89 C aIIJk!:w ilhatrt tk rn;pomlOft
da aru mœIwb dm l '
Cohl Emile-Ernest) [el'el')'one was clted as "Ernest," another blague] . "'as del'oted
ta Incoherence but for a while has dropped out with shocking offhandedness, but
ha\log no les. talent because ofhal'ing done so. Does caricature and lives at 20, rue
Cadet, m the house he was born in, Looking back at the Incoherents. "e seme a certain de. peration ID theic p=m as
stated b} Lé\'y The mm l'ment was both de6ant-as""u1hn.:: the decorum perpetuated
Perhaps as a result ofCoh!', te ' 1 k' .
" ' mpOrary s ac enmg of mterest, there were no Incoher- b)' the Salons and the Academ\-and escaplst. dem;n.:: the probkms of French SOClen
ent maouestatJoos agam unti! the b Il d h'b'
' no catalogue
(Th ere \Vas ak an ex 1 It at the Folies-Bergères in 1891 during the "banquet l'ear," b, drowning them 10 forced muth Imilar .::enerat" e
l '
back with eighty-s' ' so 1 IS not nown if Cohl participated.) But by 1893 he \Val mechanisms would produce the Dadai5t , and Sun-.,a1"t. 10 the nert centun ln addi-
even entnes at the Olympia Music Hall exhibition. tion to their antagonism to "seriousness." there \\'3.> a1,0 an uDderl~im: fear ofboredom
Cohl (Emile), Ta properly credit thi. na implied in their frenetic acti\ities, "Boredom:' "'rote Un, there i the enem\ of
e\er, know that he lives at 92 l i m e would take a quarter of the poster, Ho"'- Incoherence. ":!l
boulevard and the ~I 1 R' )ou evard de Chchy, On the sixth Aoor Balcon y on tbe
, ou ln- ouge; 'Nater and gas on every Aoor, 19 As Emile Cohl "as a major force bel"nd the Incoherent mo\ ... ment from 1 l ' )
One last Incal B1 1893, one would .'pect ils ,Iesthetic prop-am to ha\ e profoundh alfected lu:. .uti.
lerent a 1 was celebrated in A '
Stemlen. '" pnl 1895, with m\ltatlOns de,il(ned b~ .ndeavors, Tlus is, in f.ICt, Ille case But to ,ee ib uillmat.. tlo\\erin.::. It l' ne<:'<' san
wait for hi~ career in the cinemJ
 ~RT fOR T\\O SOUS • .'>3
\.: • ( li!!. ~H -------------------------------~~~~~~-----
- -
t" (1 _ - - - -

1 dl'" an d ,anCll Me \Il tlll' Ia.,t d,''.ld,', "I" tilt' nint'tt't'nth

ohl <onhnll l cl to 1,\ aI __ J .. ~f tilt' 1Il,,,t nlll'0rt.\Ilt l't'ri"dit".lh and r
'l [t"U lU 'l)1ll \' f-
ntlln ~ Iii, dnl lllg, 1 ch
ll
th art of t.U1l,ltUtt'. Il,, l'"ntrihutio", to th
t ml\l,ran n~ 'Ill t . , e-
H ted mam ,~1Il r' di b d .utt'r tht' dt'.lth 01 Gill hut.1 f"11 ofh" major
1. bed 1 01 r nla~n(" mm l' .. " .1 . .
, tanl!' lU h rit'6" '(luelqut', Em "" au S.lon \ "l'hon d~
, l<:lfro III th l're,l1~ou' - d '
Il ' " ail r. ' '\lliltun' ~t'di,'n 1. fi.: ." P"'t' '.Inou, public
,,,,l,tu' ' ,'Olt alon ntne, t . i r" . . l .
1 r lli
fi n: . . n ttutht\r 10 ('.. ..a nt...\ t ndlt '" ,turt' ht' mdudt'e
, ~ l t .lIle Lonn 'I1nOI1"
.11.1.
. .. ..
J1U d buli,t and D, ..dt'nt po..!. III La PO"'lt' t'n 1 "~6 (Poetn in
the ~..Ilen 011 ln " m
1 "' fl ~ ~
~I loch lOci ded l'mil .ohl ID hl, la t' l ' • croup caril'ature of tht' ,t,ur of La
but ID bct "nh a ft'II Cohl dralllng, .Ippt'ilrt'd \Il that
Il"
Th ,La Caricllturr, bel:tnning III \L" 1 ~7.
h more impor-
t.:nt dr ,d l'arm ..... dt'. l'<'lIlttt', t.ur of the Paintt'r' -\rm,

- - -- --
60 \l oloch B C.olomb \u bal ro,tum~. -
La Ch ro",q,,~ Pan nn"", J.ll1uaT' 2.3, 1 S7 ,detatl .

and "Gn\lld Revue des peintres pass~e par Gustal t' B"ulang"r- Painlers Rel iew"d h~
Gu t(ll" Boulanger, fig. 6ll pre "nted a' er fiih C'ancatur", of contempor.lr} alon
painters (noll masth fore;otten e' ''''pt for Carolu,-Duran , Cabanel PUli de Cha,an-
nes. and.1 f,," other"- ln ail. th"re lIere ten dralling in La Caricature in 1 -;-, eight
in l , then no more
Cohl" most tr.tdition.ù wMk lia> for Ln Homm,. a .4.ujourtfhul , the periooical th.!t
Gill ,1Ild tl", ei!!htl"t'n-'e.Ir-old pradi!!, Félieien Champ,aur had lounde<! in 1 .6. Fol-
IOl,ing tht' n10dt'1 "f Carj,lt", Le DIO!:,' ",. (1'>56 , tht'~ had puh" he<! a cancature and a
prose Jlortr.tll of a l,<,lebrit... t'aeh Il l'el. . F"lloll1ng h" fi"t .!Itad, miL Gtll ,,~
unablt' to ''<lntinut' lIorkmg on the mag.tzin" • .liter ha, mg illustr.lIt'd the fint 142 num-
11<'[\. Ch.lfl,>, \".llllt'r .1l'<luir,·,i it ml '>5 .lIld f:U1n,-d out dr.iII1Uga"sigumenb to numer-
1"" .lrt"r. IIll'ludmg Cohl , ,dlo,e fi"t canlahlre .Ipp,!\tt'd in 1 -.:' Th" thi~ -one
i, u,' , ht>Illmtr.llt d oth'n l'\lIltalllt'd mm",ture of "Id tri"llli, lrum tb" Gill ,turuo and
trum tll<' d.lI, ni th" Ihdropatlw' IIldudlllg Champ'ol'zr hg h~ ~ He al,o drI"ll peo_
JlI"lik t, l'nlt',t H"IMn no 2.';01, "hom ht· .Idnun...:l hut d,l not kn"" [1t'"onalh Th"r
II~" I, ...hngl.lm.lturi't , ,"("h.h Ruhula fi.::: tl3 HI,I'" drallingof Lautrt'<', 19uifi.
Clnth dt'PIlI, d tilt' ,Irt"t a a carll"atun,t rath r than ol' a palOt .. r or po,kr de iguer
fil:).l '11", drall lng on tll<' t'a"'1 llca" dt>n\t..! trom n "dual Clf-cu'il tun.' b, Lau-
U Cha"n," JUIl .. trt'<: th t l hlmu,t ha, < ,< en t an [nt'Oh,-rt'nt < h.billon .::-
,4 • ( Il A. l' 1_ 1 H '1 \\ (~_ - --- ,•., , .. '" I:.oHI 1. 1 •
•
F tH.ICIEN CH"MPSAUR

b2 Vt·lkh-II (,harnp\i.llli .. I.A'IJ IIm"",I'~

dAl/jmll ,//"" 110 327

en AIIU'rl ItIl!JI(I.t. Ln IIm""u'!, d'AuJourdJ",;

'h",'" 27 1Hf)7
h·' 1A',lImmn,.,.

.
1)" TOlilolI\4' .Lalltn·(,
,rAI//ol/lfll",'"" IbO. IHIJH
,

~ _. ...
/..

.t...
Il1h
-- ..
... ,

_
..
-
DE TOU!.OUSE !.AUTFlEC
"--.
AtJBEoJ'jT J'jOBIDA

( ohllll",\·11 '"'' tl .. /""",,11' '{'W)lIIml'/wl , '"a" (Jf tlll' h(Ju, ) III '"l1nlwr 2HH (laI<'
I~~hl. l ". a Idlow p"p,I,,1 CiII , dll'w a carical,lCf' 1,"\('0 'JI! Il,,, IHH5 M,,,lntilll"
pl,otOl(r.,,1r hg b.; . 11", t"xl , s'I(II,·d " l'i"rn' d l'"ul." ha~ provld,.d '" wilh 11I1l,.h ('arl)
IHoJq a lJl'llül luhJflllatlol1

[- S ""1/11/11" ,f,\"),,,,,.d /"" ,dl'·(I,·o tl,,· pr"v"'''tr~ av.Ull'l(a,d,. a",IIII'I"". wlwll ... r
~yl"I.,I"t ul"IIJ,·,.uJ,."t III tl ... 11j~(h (lI'pn-"'IIIt'rI by th,· ('(JlllllllllliolI' of Vl'rJaIlII·.
J'III,·Karlll ll y 'lia,,,. 1",,1 JIII,·~ 1 .rI""(III') or SYIIllrl'\hl .11111 !\i"'I.IIfIP"'S'IOllhl III tl,,'
'.lIly IIi'X), I\;II,"I",r :l71 l,,, ,·~.III1"I,· 1'111,11,111'<1 C"orj(l" S"II,.,I\ potllail of l'ail 1
~IKlla,', wllh t"'1 l,y 1'(·1 .. 1'('11('011 II/j'lO). ~1l(lIac, porhalt llf Maxitlldll'II 1.11('" al'
",m'u III """,1,,, ~ih III J"'J2 1 1 Il J I !) d
"n'art, fI'W b",I, Sd",n""",k,., (~fj ) .11'
Va" Co"h (~'XJI '11 C) Il
" .1111'
\ IlIlI'IIt 1 1
~ 1 1 ~. l" "011 H,·, 0" (.1/jf») allrl l'alll <;alll(1I Il 1 (~ .10) '"II''' Ih"
, 1111","" k"1 d','WIII~ Il,,1 t, 1 1 (1 l ' Il'
" III x l 'Y . '.Ir ,. \1,,,,,, .. l'I',b"I" Il,, 111,,\1 "'I1,,"~a"
" d JCJfdtloli w~ IJllIlllwr ~"S7 d, fi' 1
( ,allli Il l' 1'l'SMIIJ, wlth ail 1 ~fly l,y H,onl,ud
V'I ,,' to J .,"1 C(.'.IIIIII· wl. .. ", p'JlII ail WII' »
, •

,,
-- - -
r _-----

--,--:--'-".
- ..
~RT FOIi T\\O ~Ol ~ • ~~

fi) IL. Chambres Comiq_

Octob< r 21; l '>'>6
6"; u C hambrrs Corruqld.,
",ember Ir, I~'

6'! IL Chambr... CorruqlU'S

.. Jan"",,, Il l~",

J b l..... .-\ Lemot

(;e(]",,_,.-. pu hsbed LeI; Chmn-

Dm
IX~. F.u1t'm€1rlttl":n The Co c enate mn-
i f'liIdGlIDf':i!zr\ Dif'ho<!.... cancatuTt'S

UIl"tCmporanes aod
~ ..... " as publIC Ùlat DU\ a11w to ru.
credit and the aotecede-nt.
ÙU5 grotesque suppo Ihon ID ad\"lIl1< -
EnuIe Cob! do DOt quash

Cobl tm-sold, r <:an UTe GpDf'ra1 G«>n! Boubn~er

COUrtml!; .ws faction œrwDh seem to b.. de 'Old dO'ootnis1
(.0 aIso tned IWo band Il> a boO H.
lemuna l , canca-
de and
d
 0\ •

-- -~

t Pl
mad.. an ln h ......nt ".aI pun b, hl '1 ft , 111
t 'plutt r ht ...Jh t , .. nd out tl lrt
ln' ,ember 1 -;- \ amer pubh,hed th • ph on l ••lI. \"d, l.ill ' I l
lnbll JlJl'h d ,onllrt'pllr~nn ndl..c>ds t\. \,.\ \\",ddnnhh l'Iml,
hl 11w" tentofh,'collab..,roihononth. ft tl un).n \\ 'lit th. h"''::I.,p\\\ <1r,,\\'
on c.ohl' feuilleton b.oc:raph~ th.\t had l,,'('n pub), ,hui Il 1 \. III' U. Il/1u' lit, l '"
Charenton portr.ùt of Gill and the d",\thl,,'Ci portnut \\t n •. n h'l't'd
Bv 1 90 Cohl' repuloillon \\,' 'ull"'l.. nth ",t ,hh,), 1 tn \\ .," ,mt ., h"''::rlph,,, ,\
,\.etch in Le Gralld Dict",""arn Lam.. " , TI", rt,d. emph, 'lll'<.lln, 1l1.,1I •• n '" 1.,11
and dedared hi, iIIustrahon, for DU\;IJ Li, CI.alll/IIT' CmnlquI , h' h. hi, m" , I1nl""
tant \\ ork >3
In 1 91 h.. illustrated Chan,all' fill cl. \II cl.. 1" luit" (l"tln, W 0,,,, l'" tu Il' ,htl\\'
Erne,1 '.Ieissonier pursuing \\'ilham Boul!llPft",U "n ., ho!>!>, hM,,' .11"\.1\1'::' d." t'I\,.
to the artist's well-publicized preoccupal",n '\1lh \1", hnd.::." pht.lt''::I.'ph, h.:: ,l),
CharLsoIIs a la blague. a book in a similar \ t'Ill, \\." ,1I",tr.l",d 1" t t.hl m 1\\}'1 ~'" ," ,II
c
c-
J :J" b. '
Ci ... Il .... 1\.- jlJ .... t ... !J .~'".•~;. ... {Ç:
w ..

l4 ..... ,... E'''~";~,, ~#:t

r"~ 7:2 (;O\t'( tor ft l1\ l.ahp.I\I\. 1 Ut ,Ir 1 tin (.""pd" ,
l~~q
- III tratiordor Jules Lermina, LAuberge de.
adr", 108;

1
f , .
'.o
....
...

114)llrnil PARle 71 11111 Ir,111I1II for CU'llH·ltll (,ukl. '·""'H H, '.

_1 • .'ICI'" f ....... MIII li 1 .. 1t;1jIj
Il. d. 1 1 If
• ...... ., •••• L ••
•
-- Ill:lht
ART rOll r

du Ju" d' prt> t.. m thode de Gall ]e\\ish \ utues \œonk to [pr.renolostist
• 6

G...U, \"·thOO r"pr n the tandard J.,.. h ereot\'plcal Irai as uomc ~

ut< nlll \ "nerntlon" 1 Illustrated ln a man ..'OrshlpID:! a oant oom, -- shows
)<'\\1 h ho UPC'" 1 ml! two 1 horen and Poltnofum - depscts a busmessman z
nu 10 d Pru lm .\11 th t> \ eUes art> supenmposed on .. cancatnral head ,.
<\'!.. <'rat, j ~ - he f, ture ,\nother dra.. _ Cohl S portrait Drumonl
tht' Panar, Cm da! fil! -;5 . wdJcat the artJs! S respt'ct or Drumon 1be
Iu,tonc-al rt' erence 1 ta the bankrup~ of the p Canal Compm m 1 2 La
Ubœ Forol;. pit.ilizt>d on the >eandal ID\W Z N J.,.. - rs f the ~
\\ hilt' not 0\ "rth anti- emitic, Cohl s <Ira.. _ deam de l':S the dt-sire shart>d

J ln ma", t tum ta dr..,uc me <ure, and e • heroes hke Drumont

tht> - n _ .Us
Drumont p.q>er. _IDCh h3d tiIrolabon of 0\ 5CllOpt:Ù the estabhsbed
Pl'" when 1 \\ the nnt to pubbh the nt'" ~ lIiITfSl m October 1$St
\\'lule Drt'\fu. \\.., exiIed on De-\if 1 the far:c ~mde...-
deoœ militan _ed pardoned ~ rem-
tt>d untill DCln5t..."'P diôi::r~ =mm J....-s
m the mwtan in DaI»-:;, indeed in r -.JLr. La LIbre
• (".\1 ri Il 1\\cI
, Il '>. 1111111 1"1 1111 Il.1 J)lIlI lIonl \\[11 l'IJll1
, l'" 1/111 Il Il Il. 1,," Il,, 1"11,,"11111; III '1" l4t
a
Ih IIJh. ",.1"
"fl""\III1I~II,, \J,,~III ).,110
L ' III Il W,I \\111. p" ad 011.1 '"' jill/lIl1l1hfll.
AItt./I"JjI Il. ... r I t ri'" MI
t tlt~flltllr~Ultl _"J.11I 1 k, /, ,. r 1lIt! dlll Il. 1 n {.
l '1 nlllr III 1 41 \1 1II1j:11I§ " •.,,' Il. 1. Il will' ( a ..
1, l[fI.1
1 1 (i 1 uull t'tIlIOlllh lUI 11111 ,1111 t lu (, Il
<la 1"'1
t III \\t Il .Ulllllt)!..,," 1 U
Il 11111' 111111 J, 111011 , ,, 1 111,,11111"") (10111 1111"( 1 1\1 1 1 all •
1(1 "m r' ISII I \ tll . ~.,,,III"11I lIa 1111 11''''11 1111 III III) 1,1 Il .. III .. , 1 Ild
UII tl. J'II 1. ~)"e Il,,,, ' 1 1
f
oclll!>! I\'U~ Il 1 ft' , 1 I ~LtI It 1\ IIl1h' 111'(' n Il) III .' ,1111111' 1 II" 1." (11)'(11 III Il nu
1 1 Il
' 1 , ' II " 1'1111-\/1 '( h.: 211) 10 .'. 1 .. Il III"" '0 1d/llt tI
raptt.,h t t ntlloll 'Ill 1 .IS Il 1 1 ,. 11
."
;;;{)Clll,lIH1 ,'C\IIUUlltt lll'* ut Cri
1 Il.1 11/1"/11. III 111\111 ,,1 JI '\\I\ • 1I11~I" 1,1 • .. mUml m
''',hJel \l'''TlI\ 1.,,, d.,,,·,,I)I'd 11111'''' Il JlII~ III l "'Ill h .II,1t 'II Iliiti III 1111
Bou1.m~ht 1.1'1IOn 1III Il ' '\111111" "'"
III 111,ll 1111'1, 1~lIh 1/, . 111 l, IInll"l h ItgUft
1Jn~t'I \\ hIl unlllllt Il t' d 'lIludl' III 1~IJl , «111'1 IVUIlII' (,Ihllill for IIIlm Il t J....
\l1pl1 1.lU 1l'[1 Il tt- \111))1\
•, .l';Il,,,nll,INl'''')'t'! J, ,lIld Il,,· Il,IIIIIn,,Ii 1 011 Il .. l'IOlolll~" 1
"\1('111' \1 Ilhm ' dlld "lIlpallll'lll' lu Ih, \\ '111111-\ ni \1 ,nlrH (' Il JI , • 111 tlUI 1
\1,1 11ll' 1II1l' III \\ hidl Fnllll' Cuhl ftl \\ 1IIIl'''"Ij.\ Il,, , "t'II11"ull7llll! • Ild 1 /Id ( rru
lion ni tilt' l ~'>!h uud 1~()()" <.ohl ,uIIIIHmdt"" ,,1 11."" ",1 nf olh r rIlII' d
Orulllunl\ ('t) "f"Fraut flll' Il,,, F,,'udl " IIU" pul lit.· 1.1 mt (lit IIlIt III 1 tI. ~I
m,u". tI", Pru"',I,lIlh, ,lOti tII( n ,.\1111(\) 1111' J.,,, lu III 111 h 1 .f Ih d. m,ogr&fILt<:l
ofFrt'nch.IllIt-S,'ulIlt\1ll SIt'(llwu \\'il"", 1""l1d 11t,11 t.11It 1011 "urk. r
Ihe Ill.htan con,lilul"U tlll' 1I100)lIl1ls 111.11111 , D"',f,,, 5\ tnf1JII,Ilt, • ( "hl
nallonalhl alld promihlJt\ , H,' "'\Il,.iu"tJ ,1 snlultlt ... , 1. "1\1 1 unltl h
oui ht'Causl' nf hi, ,II~" • .lUU he pro"'" ,'J dit alh"llI .11" ft tllI' 1111' III 1 n
mllrt.m ro;tum~\ ,
Wb~n Emtl,· Zola\ open Id"'r "J a,'l:""'" ,Ippt'J,,'d 111/. \lI ro, on J \1 ri 1
Il'''posl'd Ihe injmlire of Dn')i"" ("n""UlIl.Ifttlll , 51'hl Il,,· rounlrl IlIln hUI r. p
Iton, dIId rL.tJ~fin,.tJ Irad.IIOlldl p..!tltt 1.lhguu1t'lIh
Cohl \las hardi) nlouc u",on~ hl\ roll ,'~IP III \upp<lr\m lhu m nI 1 0\ III C.
former cu'Cle of old Heput.hlan mlllloJ 10 Ihe!:du " , .Illd m.lIl1 Il 111' Cx: , le<! .. 1
the popular press e J1<'C.alh Ihe CI,a! \utr I:rollp ,p\X'ar,'(lm Ih pa (1,(1 Ubrt
ParolI? lI/" !r~" mdlldtnl: \dolph" \\ 1111'1"', ,\lpI>OIl' \11ai Job J lU Ollf s dt- bou th" ()rn"1in tct:7
Br 111" Chari,,, Huard <lnd JlIl .. JOII\' \monl: tilt' mrul promlllelli :lult-))re, U.ard an of th pcriod nar
humon \let{' J<an-LoUIS (- oram, \\ 11I,'lle \\ho ran fur at III the ( h:tmber ci 10 TAI T.&br€' ~ ml lU
D puttL'S .sthe candida" of Ih" duh- SI'mih,," parti ln 1 9 nd \\ Cohl' fn ud un actJl1!J .. .Id
hl dealh ln 19~6 , and Car.,.. d' -\l'lte, "ho loundtod Ihe Journ,ll r! ' \II 1 •
r pon 10 Zou Siephen \\ Il un 3('kno\\ l''d,,,od the mfluen of thl ( rontnbulJOOl
o. ER 'r ( <TI () ...
~ pltlonal rcpr .. 'ni lion of J....." h sh'rent 1lC b, If Qralll \\.11 Il .\IId :a,.n
d ch.. and ulh ... ôlTIl ts nt 1 hl,' bctn one 01 th .. mo 1 po" ,f,l and dIe .'
"'~ of anU emlltc propapnda. nd 10 Judg. bl Ih pc lin of III h 1
Into 1 .. mld-I",l'U 1 tI, nlu') Ih 1 \1 r n ulh .. nt. refl 11011 of pop 1121' anll
ml m 1 th proli und t 1 sel 41
6~ • Cil' r1 f R n\ 0 ~ \ItIIOHI\\OSnl a h

' 1 th n known u' GermalOe \ ilIar', wa, pn'!!;nant hl Ca

t COllrtet \\ h0 \\.1'1 1\ t' 1 l ' • u- (.ull1l1,' (,urol and Ch.lrl,', [).Iuhl~ll\ .Ind. ,inl'l' th .. ~.llntln[ I~h') h.ul ,·nJIlI,·d 1I111lld
~en a . d' i l ' official on \[01' 13. am on ~,eptem )er 19 IV\9
1 \ il1ar. Th.. I\orc,' 't'l'an l ' - 1 • ' , er~ltd~ *\uCc.,t.'"ful (.Ul'l')".t\ tilt "dut'! (onlmll.ttcH' 01 (}lmhil.(U\ "t\ If ' ... On :\u\t'1I1ht'1
! U('r-' J ' Henri wOl.' hom' "'hen t lelr son "'h on" h.
,,"Il '1l1el!itimat, ,on. acqut' . \0. S. 11>99. ellhl , "'mnd dllld Il.'' horn .1 "HI 11.1111,·<1 \1111,,', J,·.1II
1\ _ 'd' d D ", .. mhel 31 1~9J. Cohl recarded the elent in his diah
\fane (,ermalllf? 1t~ on l . . . .. ., The penod lIilS 111.lrk"d III a pmlar'·I-.'llllll ur ",ntn!>utu"" III dlll"" pnhlu ,ltlllll\
.. d \[ Lima dl\ orree 'lUi 01 emp01sonnee \lthough the death
thmh t e ml' .,en a , . lits al'lid," and <,.uwillul'''' aplwan·d 111 1){'llndlt',II, d"\(>I<'d tll tht n,·" 'pmt 01 bu •
, d t laie a c lU" of death \!ache! Legros and Jacques Gauthler-\'ilIars
cf'rttflcate l)t''1 no " ... _. . , . ding; Allio-l'élo antl LI! 1','10 II/II.l ln' lfi1/: ïïl. !-.lIl1lh '<H u'ntl'cl nl;l~",n", ,",·h .lS r,
• Il "Illahn
in rel'on~tnl(;tlO~ th ur ~ .......
famih hi,lon. detennmed from thelr SU 1'\ 1\ 111g rela_
Magasin Pit/on'Mlllc , U 'c lllrc.\ flOU' Tuu, /,1I1I"Ir, Sol"11 rllI /)111111""/11' lAI l'". '/II
til e' Ihat \[an .. did dIt' hl pO"llnm~ heN'lf " Grl/lld Ai,. L'AI"llll/arh HI/ch~ttc Llllu,',aIIOII l ,'",illl/ .Illd L, C;/I/IItf 11I,,,Ir,' ",.,. '
\kan\l hil .. ( "h!', daUl:htt:r. "-ndrée Il ho had been Ii,'ing wilh him. WOls sent 10 liw frequentl) inlercsted 111 h" dra\\ ing' and ln lm .. rlld,·, lin Il,,, ImlOl y 01 l',,, " . ,I.llnl"
\lllh rdatilt·, Jal<)ue' Gal1lh1C~r-\'IUar, wlluld he rai,ed b, \\il\y and his ne\l 101'e. and fishin~ (f1~ . ili). Sinee Ihe 11i80, puhlacatlOIl\ c1,·,il(n,·d 1111 111I' ""Id"·,, , n .." k"1 h.ul
Gabnelle-'IJ01l1e Colt,ttt' l 73-195-t \\hom he married in lS93 , Colette', fame as a been e,pandin~. and this type ofwork atlr.lch·tI Cohl'" Il,, )""·,,,1,,
,·nl'·ltol""n,·"t,
popular wnkr \1 ould muh later eclip, .. that of her iU",trious husband . appeared in UI Jeunesse A/Illl5ollle. Lllllll/!,C pOlir 1l1T" P"lirllllll'/I,' dij(. ifJ). ane! ,II""
De,plte th~'e per onal dl,turhanct'" Cohr, \\ork in ,arious media \l'as to be found 1906--Nos Loisirs and Le Pelll JOl/nlal
ln numerOll' FreDch nd Bnti,h ooumal throughout the 1 90s In 1891 he began sub, In July 1898 L'11Il/stré Natiollol, a d1l'ap ,en,aholl .. 1 \l1·I·kil, IlI'gan puhla,lllll1/: lm
mlttmt: plcture ,tone, to the London humor magaztne Pick .\1 e l'p. which specialized drawings 500n (perhaps under Cohl's 1l10uentt") Il,,, papl'r ht'1/:all to n·pla('t· ,1; 1."Hlr)
III Frc·nch artl ln D ~r 1 95 he 1ll0' ed to London 10 work there full-time . A journalism (featuring, for e,ample. l'halo, of il.\-ll1l1rÙ(·r \lch,,"1" Ilh hUll1orou .. ,h""·'
'mali. partm nt t 21 La le ~trt't'I hec.lme hi ne" studio d1g. ï6). His IVork began and carloons. Cohl launched a series call('d L",(,al/'II', d, 1',(( tualatt<" Ihal "0'11'
.ppc nng rt' .: arh III Judy. The London cno-Comic Journal. Scraps , Cassel/'s Satur- menled upon the week's news el'ents B) Odolwr h. ) hW Cohl' ""rK donll11JII'cl tht·
da~ Jounw1 • nd Dau'I1 of Day paper, and he began iIlustrating the t'Over each wt',l III tilt' Iml hall ul l'XXI .llnlll
\I ..an"hll .. h rontmuerl to 't'nt' as a resen'ist and \l'as promoted to lieutenant in
1 92 Llkt nlliltun oflu countn men, 1", "as caught in the bic"de mania and made a
tn)llrom Pan, to TouloL>e 111 1~9~ . Jusl before going to England. 77 P.trtil,l.!<: Ut'Ia ~lll'1h cl, rUI"

H" London .la\ "<1> bnt·f Hl' r.. tumerl to Paris in June 1896 and married Suzanne Cd 1IHXI
Deipl b< """ tbe daul:bt r of Hlppoh le-Camille Delp) (1842-1910), an engraler 71j Le: \1t'llIl'ur 'lm 1 ri pour prf udrl bt.';HII'III1J1 flf pui MIll'

ilnd landscape poun! r "barn Cobl had first mel al GUrs atelier, He had studied \Vith u· Grand lIIu "rI, 11H16

1t Mf Il.t ,., " ~(J\'t,.,

roc" ,.1Itt ""'mu
81.A\ 'OU" Ut. ,"cJI"bW'oi'

; \ lev. fi m t!w studiO on LI le

Lonckm 1 -
 ft:
r" rd .cA
00.. dl Co >l cancatur~ pr-esicieDt
amp\ications Faurt: lS
e had been r~lD~ lifL-
dommoes and pat! '10 .DOlO he l> ret
p1duresque elemen sucb as ilit- open PQI-rhole
zoot) tue add bumorous touches
n.., teodenc- lIDP" a ru<immtar. narratî\ e ""'~ r Cohf ...
the p.cture and the tru" lIWdtln rouuc C.oh! s comic.stnp
art bas DOt MD discussed ID 3D' ai bis bi mapilOC:oil ruotd.... boearu.e 11 W2S bis
tmporUnt artJstJc actnl ID' t: ~'=<IrS JUS bd......
see Ia1er .1 "'"aS ln. tnps mort: tban e:.rliercancatur_
be sou!!ht.<kas ln th.. seDse f") cons te a can-er
~uenoes of iInazes "ere hem::: nsed t!:.D stD!rlH _ bebre Cob! bt-cam.- :eT.
ested ID the medium.' The 5""15' artlS fu>doIpbe ~- and =
Get:wan \\ lm
Busch bad both de- eloped ~ncraoc and - eotiaI fonnnlati:lru earh mue-

-- -- .- -
c.é.twi:=~
~ appeared There "~f" ma rebu~s and a5Mlrtoo puzzles - La Caricature
,.f;D5O'ma:"Jn~' c~:n1:::tiom f're da zenrf" kt .. as rebth el.
ClOJID(; stnp.
Of"'" Co\;;
----
-

oL. drift ID bis "urie 2'10"3. from

dJffi fuIJ~ 1l3IT'".ù:J ,. \"!Sua! orlllS
deoWI:lt:. 'D popuIan . the older ~ure
. e as li e moth-atwo ta ct'lebratt
P~oubtK.:::::mo bad !uR. 1 allure and the moT'-S of f reodJ

er modifica1JOD of
81 Ir Wlltrast ta th pU'
•
~,---
•
---
f l\ f\\ l __

, \\.' ,'mllh'III'1.l, III l., 'm.III hll ll ,

Ornll
--.......
r Ullhl.t" '1:1\' Il a 111 'ft ,h,tlll' th rIt .",h "d,
.
1
h th t 1
\\ t" ln
th th 1 \li. th IX \\.1' ".II:th .1 h"'hh,
. • • • Url\t
'""t'"llon
ha III t , nnwnt, d ",Ih th, , 1111 ,tl1l' n'Ill",t l, \, Il ," h pllhll,.III'>II' .h ~ •
" lllUu' 1 h d bt- ID' nnlll ,tnl" III th"11 1'.1\:.",
n\ >r" \\lth .111.1 \\ .tl","t \.lpt"'I1'. 1I\1I.llh 1\'.
lu, 1" 1 1"1,, Th, \ '.111 h, d.",,!I,·t! III '1\ ,hA.t.
lli t,· h\ t ,tnà .1If\

.tnl' \\ ,th, ,,~hl ~Il~ ..1' 111 .. \11 \1""l'b," H'·.I''''r'' ,fi~
- 1 ... dl .. , lpotn;,t nou\ li

,~ Th ,Iru hm, Ih" ,tnp' \ 'm"l md, t" th, "·rI,,,1 .1""''. \\ .th .1 p',·m",· \ ".t 1 ici' ' ''nl du
"l' bu 1111' Id l't'' ,Iutlnn 'plllleh Il1w") Il,,, pfl'hlllll1.11 \ 1),11,,'1, "" " Il 1 Ill.!
are .." Ul\lorou,.lI1d 1 r i ' th ft'.dt'I f\'1 th'l~'lItl.l,tlll~t"l'h"i\,' bur,t "1 l , th.. r lUunrt
11\11\ III th, l ,t '''''' \ 'I~ht ~a~ l'.111 h.I\<' .\' tl'\\ .h thfl't' \ ahtuirti ',\hU r\ 1
>\·haJtIl~'(lm n \1\ u f~ < ~. but thl' 't't'Pb to ht\ tht"' tll11llmUIll num, ~ Il, Il ut "ri 1 1· h
n ft IIr r \ f nd . ft th, rul,. ,,\0 ·Lt, Both," " TIll' Boot \ t.I",'r . JI 'IIht'l

R. r BI fl,h and ln H m.\I't]1l hl, R()nllt'ur" -\ H"Ill.lr",lhl ... Ill',,'r) ,hl:\ l lnH.m uab!t
Rontl ur L1Uu trt
th " " 'e tra rolll,ln ht't-all''-' Il tt'.ltul't'd Cohl hilll,dL" th .. plot.l\!ll· ' ot",MI " ~h 1 1
111,1. - ln ,tril ' '1 t t'I ht 1 .It'''- th .. lon~t'r I.. ncth mu,ùh r.. sult .. d l'rom th.
"1"""_'
"

...
'\2 \n \h"lrl~'tl Hl'.\dc'I,"
l'h'k "t lli. C.khlhll 1"91
----'

- trip C'OntoUllltl{l: ... df-port

/.dV 1 "\Ill.... 15 l'
-;0 • (1I~1'IIH 1\10

" f
add IllOn 0 e,pO" '..
"Io~ dl'laih m the central ,,,dion of the narratiw "The 1) ---.....
('g- II .I. ..........
~RT FOfl T"-O (J l ~ • ...

.. lfi'" b~ l hellefit, From the added pancl , hl'cau,t' Il allo"" tlit' ' '1
an d t h(' BU' b\ " . Int('r t "
· f two ,ep lrat~ narrati\ e,-the ,ton· of the dog-hatlJl g man and that of the ~
tIon 0 ~ . '.. 'd" rornan.
· . "uard Cohl u>ed the e\lra length of An ImprOVISe \l ortar lfig. 89) to el al.
ttt" œ%
a cmUle eha>~ ,equenee.
Coh!'s pantomirrll'l an' strips that illustrate a humorou> ,tory without the final l'huai
mrprise that IS found m the "ght gags. The aco?,n ,mlRht b~ ~h~uJ1;ht of as a ret1Jrd of a
theatrical perfor~anct' The events deplCted 10 L,Ombre. \\ n nglilg his ~ose " and
'·Jeux. de Clowns lfigs. 90-92\ are stag). m conceptIOn. l\evcrthele,s, the stnps re maJn .
--
."

highly \isual. with an apparent attempt ta analyze phase; of the movements. lllis l<Jn-
cepoon of the strip as a performance is especlally evident in those cases in which the
protagonists address the "audience" direct/y in c1assic pantomime gestures (fig;. 9~
941. Others resemble vaudeùlle stage acts ,figs . 95-96). " Penny in the Slot" (fig. 9;
---- ------ -- - - -----
- - - -

1 A r- 4

'A~', 1(
1 •

1 ...j
l~---'
-
----

90 ·'COmbr.: L'Illustré \ atronal. Sept<mbcr 3. 1'99

91 Wnn j\lIl j\ 1", '\ 0'. Pick If, l." , June 6 1 91
92 Jou, d. CIO\m,," Lïll"'In' Satwnol J""""" ~ l '

'li! The DOI\- Ildter and th" Ilu,by •

Pld; .\If' l'1J, 'O\l'IlIhf'f 2J:i, 1"91 • k9 . An hnpfO\ I..,(·cl \1ortJ.f,'· l'tek .\Ir l'p. JJT1Uilf' ;lI
__
.,:
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T~~O~_____________________________________________

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- - - d un ,Oup<"r" \fterdfect uf a Lat .. Unn"-r, fil! 104 There are no zraphlC du

ulte ddto(\~1fi r nhatt' the dream unager} Irom" efuln ft " onh_ "hen th
pro"" 3\\akp ut the hnal panel that the r('ader kn~ for cert.ùn that a dream bas been
,leeperted 1 Th e motif of the O\erindulg.. nt dr amer and the de\1ce of the las panel
sen
pre otoh"p€, of the \ mencan cartOODlst \\ insor ~kCa) O"'ams 0 tbe
ak in!!: are pr .
a\\ -en d" bel!;Un in 1904 There "'ert' also \1suallLlhons of ballucmatlOIlS
Rareblt F\t'n . co
h a pamhng me~
to IIfe and assault. a galler) \1 Itor fig 10.5 , and cl drunken-
"en . the case of an elastic lamppcl>t 6g 106
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ART FOftT\\O
mto il pear had made tll(> ilk'a l"Olllnl() ~I
là CI'O( Lo u1> Philippe gradualh' change
.. h .... nl1""~1
the fint half of the œntu~, and It \I-ru. Ùll> Joke t at \\.1> rI." "ed III Comml'nt On [ "
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Je; Jé,uite,," one of Cohl, earhest pubhshed worh lfig 1 J1, Hl' lat('r Il'l'd the t~r~t
nique (or irrational e/fect" chanl(lng the outhne of an elephant mto that of a photo
pher \\;ÙlOut am apparent IOgic.u connection e,cept their formai resemblanre ~111'
J~:A
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1121 Ali untitled 1&96 <tnp med the de\Îce to give thesubJecti\'e" 'iewpoint Of~~
men who think the,. sel' a dock tower 111 the distance lfig. 113). Wh en thel, a])]) m~hO U-LJ'--s>-l
It become, a strange monklike pe"on, -\noÙler variant demonstrated the prO"r .
h esslve 112. "Distan l Lens Fnchanlrncnllo the \,e", Judy Fcb~ 12 18!J6
J

changes in a political candidate 111 a series of pseudoanthropological photographs and

probably "as inlluenced b, \\ïlliam Hogarth s "Analvsis of Beauty" lfig. 114). Cohl
dre" himself again 111 one l'special l, ingeOlous application of the technique (fig. IISI
H,s e''PresslOn become. mcreasingl) miserable as his shirt becomes dirtier O\er a
"eek.
The humor in Cohr, comic strip is primarily ,'isual It arises from the irrational
unexpected magnification of an e"eT)'da~ mcident into an unreal, often oneiric, event: 1"
"ben occasionall~ a dra\\;ng does rel~ on a caption for its joke, at the heart of the
humor there is frequenth an iromc mterpla) between word and image, rellecting
• 1.., •

113. Judy , February 29, 1896.

1 l,

115. ihe Tale of a hirt," Judy , Januan 22. Ib96.

the influence of the Incoherent , ln general, though, tht' capuo", art' ,uperlluous
This i; typical of the French comic .trip. \\ hich ne' er IIlt'Orpor.ted ".ption, or dialogue
inta t1le Image
. .
lIntilthe influence of the AmenCiln L ...
'Inp'''''-,lIn t' , tronl! Th" """ un·
qu t' b . pal''' l'
es lona Iy il vestige of the European imagenc ail', \\ hich ngorou," egr.... .
gat cl 1 1 h .t.. Jpparl'nlnot on" III
,e Ile captio", from the httle bo\hke picture, T", en aet " . . d
IVO k · 1
r S ) Cohl (fig. 116) but 11\ France', leading t~lIllIC·,tnJl .utl ,b. hmtophe an
loUis Forton .
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I----________-LI_________ _____ - - - 01 employed graphie techniques that 110\\ ,1.','111 J 'JIICI t 1
6
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111 "Comment on tut le!) Jé~ulh.'!i .. f...JJ \'out( lit u heca ln€' \tandard l'omlC-~trip coT1\"t:"ntloll\ One of ' tlW't~ \\~t, ' ]xlthnl! - t le. Tep..at t'<
LurI(' ~hy 2, 1880. 114 'PIJotograp1IIC d· apn- .. n.llun.' d.un rt-pn.';tJl'
, lUlld
l;h6 Inkin f . . ,ihon l"f't.'Jtt' J.n mten" 10
pcuplt" , [J'.f Chambrt,~ Comiqll{'s, NO\('IIII)I'r .JO, 1 1( 0 One local pOint III ""ch panel to ulllf, tht' l~llll]JO. ,
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116 • Con':ll'ih ilUX c)dt'ite~ qUI t'OIllOll'lln'nt, 1...(' }mlnlal pOlir TOlls. \Iay 29 1095.
(.-n, from Fi LlIlustri
117 Trop dt' /Nt',' p.l~t' from Lllustré .\ollUna' , Il', ),I.a. _ _" 1
hlmull'\ S, 1·~W Th QtroL 1'%

ab,tract pattern, ,md a1low Ihe liewer ta IO('ilte 11le centra1,., Il gu r,' TI" Je '1 lIt
( ". 1lI1'
' Il<' OTtll" \, TI' 1111 , b \lade-
a black.lft'a ln the decor dlg 1>3\ or an arudt' of dOlhing (Ilg, 92, 93, 110) Cohl ",\,lN'
ln I~!l(i Cohl ,md O"',lr \It'tl'nll'r Ct) Il a)()
1 raI l -cl un a produltion 1 upi<>
l'nl'!' te<! rontro'l'''''
\1.lpSti('k humor \\ Ith lb emp 1l.hi\ on 1)ur1t"sque \10
. 1ence, 11 1\0 an r' ~ . hl,'r
I( IlnI", ~ \1I1<'n- Fiji at tlll' Gr,lJl cl rutllgno
IlWI.\('l/r
· 1 (Ilg . Il The pert rman t _\\~D uth nz:a D r
can comit',. t'tl ' aud t'On\ld,'rahl, publiclt, \1 1"'" Ih t' Producers \\ent to court
1
H"('Olillc,lnp,oft"1I ,uffer,'( UlIt'prod lIcllon H ewa,e,pet'Ia)
. II a 1 11ll' merc''0. "1 ':Iome of the ,l('ton to Wt"".lr ( ',erman mihlan ,,,,tume
. t red From 1901
.'(hlur, of Llllu,',,'
' \'alivllal who t'rowded a, ma", d ra'\Ing'
. ,1\ po,,, Ill t, OlltU ,',le 1 ,. l
III Ihe Illt'allllml' Cohl, ùl
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11 no hû" U>m.aJ.re a de-
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. - II l('1 96JII<lI'
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10 1906 he work,'d for 11ll' pub" l Ilcr an d , talllpl'Oll. cturmb ,t'Op n 1 J 1 d Ph1_
tr." Bi), ln 11." 1,lter 1.11/1/"1'1' \ "'iO/JaI \('r\lon tl", printlllg wa, pOOl', ,,"('1',1 1 .
gnp
' III,
"~ner of hi, album, ,lIld t'lhtor 0 fiAI '"
1
C-I R .. I/. d" TI • •
lu", of national t>"pt',
. '\t'r,' ""t, alld tilt' \lœ of tilt' "nllre composition lVas n'ducre1 to 1,." thall 011'
d"t,ul,
IIIt<liHI'S), Son", CIIIlOll, po,tcanI,Ill.l e ,rd fo, U'Ill.l!rt \Il ",<.ml, th... propnah,' portrait
P'tOt'! uf th,· EII~"\h onginal (fig, 117), Il 1
• 1" I""tm - 1IlU~''''ner 1 \Ibert Co,ett e
1
\\ \kh 11ll' roll"l'Ior '\Ill ,uppo,,' cl III "'IllP l,t,'
Il Cohl wa, l"'rt,lIl1l) "\\.lrl' Ihal Ill' Wa\ workiul( III an "plH'Illl'r,d Ill" cl 111111,'1Il( l' I.U1.' It,lIll11 (Il~, 119), Whllt' ,lt L"Ill,tir.. ' " C 0'III""("\!lit' 11'1111, teb " .-'
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the' de",ed a ,,,tem of
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l • ( "A 1 1 1 U T \\ 0

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\l.uclll~, 1900 Jm""" ~, 1\96

LES TETES DE PIPE

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,IIIpp,'d , 1111 tlt'd p,tI .. , lunl(,d n' d 1 was funolJ \, S"'TIl'on(' had ~tolen m)' ideat r I"ft.
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Il,, ,11'1111, 1'.• 11" III III h',I,,1'I 01 '""'''''' , "tl·Jlkd Cohl Il ,lh lh .. 11I\"lIlion of Ih ..
.l1l1l1lukd <Ill l "n" 1111" '''\r~III~ .11 Ih,· ,htldl\\\ 'JlIIPII"1 llwalt'I of' Ill\' Caban'l du Chal
\"11 .. ~ 11111" ( ohl ''"', d.1\ 1\.1(1 Ih,' "k.. 10 l'inl·malo!!:I.lphwlIlly anllilalt' lllt' ,l>lI<IO\\
(lul'I\I'II '"\1 ni Il ... , .• h.lld -- PIII\t"Il.l1 ,ltlra!'lI,m, '" Cohl km'II nHlI\l of 1Il<' llllhl, and
11·..111111'1.10 \11\1, "'" ~"tI ,Il Ih" ('h.11 !l"mr hui 111' dld 1101 pm'l'cipall· \11 an) pl'l's~llla,
III Ihl' SC"t'etL /l " also proposed a ~'()nlracl a> il ~JI\d of ellll'menl What 10 do"
'l'II I1\llkt' films! 1 always had a ctnemalographic lum of m'nd 1 Itked the idea,
1\('('1'1'11'<1. si!(lIt'd on lhe spol and lhe doors of lhe lemple 5wung open before the
'll'ophyll',
1 wrol", 1 shol. 1 dll't'cled. 1 learned my lrad., t%
\\'hl'n Hl'nl' Jeanne qlloled part of the àbove inler»e" \erhatim in Cinéma 1900. he
inexplieubly chun!(cd lhe plagiarized ,ubJecl frOI11 a po~ler to an ac:tual 61m that Cohl
1,IIV "on,' 'v('ning in a little Montmartre theater '11

Ilnll' Il,,,It' l'hl' eur'iiesi phySlclIl evidence we have lhal doc'ument> Cohr~ " posure 10 motion
III Ih,' I\JJ(h (:"hl hllll\l'il 1\\1,1".ldlll!(h lold \l\11'rlll'w",rs lhal Ill' WolS alrt'ad)' workill~ plctUt'l'S i~ a simp le t'nlr)' in his note book for \Iarch 1907 "Cm .. 1I1th \larc'('l [a mend
',,1 1.. lullI'"1 III l'Hll Or l'lOS \111<'11 11\1' Id.·" [or lht' animat .. d cur loon CIHn", lu him or l'l'Ialive J in Orléans," Ailhou!(h we ma, never kno" the ab'olute truth it i~ \ery
doublflll lhal Cohl worked for Caumonl before 190 HI chronollll!'> \1 1/ and a
\1"\1111111'11 1<'1111 Il~O l ",1\ lurt·d h, Caumonl al à/ml/I/I'I/" (lrick pholo!(rllplll'r), \ul'llnng Hccounl book (Carnet J)l' both pro\ ide a preche dalt' of\la~ 1 for Le lIoulon
th. n.III\I' t111'11 lOI Ih"" .IIIUIl, II\UU' p""lldl!(il,llor, who IlIlrigul'd sC) 11\1ln\ of Iho,e l'lIragt'. " l'" ,cl'nario Caumont." The film wa; directt'd b, E\tenne Arnaud and rI".
klluh ut 1"'''1'1. \lh" 1,\\, knuIIlI\~ hO\l \lh;lllh.,\ Il'e \\ "('t'omph,lll'd,h ' 1"Il,t'd in jul, 1908. t~ Thu, Cohl', career in the cinema did ~Ol be~n ~ a dtreclor, trick
11\1 hl>lonan uf 1I1I1ll.llrnn, LIIIII'PI)\' Lo DUN, dult'd 11ll' ('0111 1\1"" 11('(' n\l' Il 1 o[Cohl'> pholo/,'t'apl\l'r, or cameraman. bUI-like lhal of '0 mam other..-b\ >ubmitting a 'ce-
'Inll'ns . ,lrl111 ',,, .. fillllll\ll~l" "'''11 1')(l6.' J.'an \111r, 'Igr(.t'd lhal Coh l t' Il 11·,..·<1 Ihl' nllrio (li one-p.l!(e slor) outlme). for which he 1Ial, pàid h\"l1h-6",' franc> , The date of
(;II'1I110Ilt .11111\1\ lI\ I\IIH1, ;llnn!( Il\lh II" ,ltn'('lor, ElI;'ntH"\mlllld. jac<jlll" 1\01111<'1 \l"l' 1 prolmbl, l't'present> lhe paYlnent of the author\ fl'e , \n entn Ill , \maud', carnet
PI, ~S1S, ",ml HOIIU'o BO't'th '" fa, jallllllr) 18 l'l'ad, "Le moulon ~nr.l~é (?), "lb TI", mdicate, lhat .\maud was ronsider-
"rdlIIg to kan ("'<HW" '\uno l lllnd lhu\\' who l'l'P'''ll,'d Imll, G"orgl" Sudoulll"d tn~ shoOting lhl' ohl 'Ct'mlno at that lime and" lhu the t'arli .. sl prolE'n date for anl'
~llIrlt -ll\1',~,,· l'on,,·t) • ( .l II l l' , l'n\ 1l'utttJ.d Wlt. 11 (,aumont
• . 9(J~ '1
\\'~" . dllring: thl' \ tlal' l, ( l'rt'Illil " rell\lionship with lhe Caumon l ,lud\tll. Ell'n Ill , ohl', on" actinties "ere
Il ~'\lS IIhu :\unol "hu fifll 1"ld Il ... ,lofl ni a pl.lg"II"'11\ lhal d\'Ol (' IIIt' l'nra!(,.cll,,"'I',I· Pl'obably lValchlng ot't'll\lonul sltool\l1!!: and hllking \lith lhl' emploll'e" He lia> Ilot
lunsl 10 d"u\lllld ".In, hum Illt IllId\(J, fo',nnl!,
• "
hi 'l(
' , l ,\\
' ;1 "llarll'd
, dlrt'l'tor
. unlll Januan 1~ . 1909 \'Il!1ll ' fi c,lnt,.
, 1 l',ae Ùy onl'
" a, tl'Olll II\(' dUIt' of li", Arnaud canll'l enlrl. ,u/(gt.,tmg lh.ll he h,ld pa>sed a proha·
Enul" Cohl l" IIt\l'd Ir ( h'
, , • "1\\ film 1hui had h""11 m,II
,t .. 1111110111 1""II'r al\llul il ' .' 1) 17 lInlil lht'n he "," p,ud l'lr' e,lch \lnrk 11<' ,u b null ed at th l' ra t l' 0 f
Itonllr" l''"0(,
In"n mit'. . 01 "" dru\l '"" 11\ MI 1.
'" " Il Il' , \ \\Ur kc.'t put!'! an l'llonIIOU~ s('n'\\ t l' HUtl).!,,h ,R, ' l'
Ih" "'Ihlll( ,,1 11\ ap/lrll . 1
IJt (1
1 1 1 1•
11\'('1\1,
Il ' ',an(', Ilt'r ,c,'nurio a, .1 IITil,'r and 250 f,.Ule, pt'\' li 11lI.l!>" d"'t'Clor, TI le li " 1
\\1" P"'I('II\!(
11... 'el'<''''' ais" p,·t\l'I",,,.<I 1 k
1 Il' 1IlUI ahm 1" ,11,,1 .. il\\l,tll\I\g ,1 cI","t" ",
l ' "ul 1 III tu,. "hich Il<' n'l'l'II l'cI lllt' full dm'clor, tél' ".1\ hlll/awllIg"ri, ,l-at. no 1l. Il hid,
l\U" tu mu\ t' li .10 u nm Ill' l.lIr illl( thl' h'thlllt\ tltt'U' ('.UHlOt hJ,Clltt \ 1", Illp "ll'cI \Il fal(' \I ll, 01' ".ull JUil"HIOb \It'anll Inl". hl' .ltd not Il ork
";t"tll l'\c i l,
U'lIl'
<..Il\llluni. 'PI "\;11 uf 1"1 ""'Il'lIi(\\ Il ,'t.' produt'l''' 11\ lllt' ,m,lIl"r l'llmpall\ Lm
.. • l Il ~" __ ~
-- -
Tt Il T_If_II_f_L_

- ~
Il the ..goll~ .0
I l ' on of Jat, , call1lot
l , mLIIl
1", tn"tt'd,
..1
\1 l1.It ahout tilt' t .
l ' "Ile\
1 amm~ TI"" " t.111 tal 'Llul! bllt lI1conclu"',,, .. , I( '"e, llat tltt' It'J!;,'nù lla, SIl'JI
p aCl ni t \ nt,l the of/elldml! pmt,'r or film ) h.ld ,hown a \lllrk
Lm "r "hln.
or aho\t'.I~ C0 hl hadfi,
\('('0 101: Il Il ' .
whlle ·1"
' . III,t.u"1 Ing tel tn~ fillUrt' , haù dnlled mtn Il trunk on th
' .. flo
.
. -'1 uhli,h ..d tl", romk ,tnp. ln 3 Bnt"h pt'noJ,C'.ll. (fig 129 110"t'It"
ln fact. onCIn", 1 P
. .
a Gdumon t fil m .n"'enng to tlll.' d,,'cnptltlll ha, ~et to he Id,'nllfi"d I~ But th-.. r(> art,.
other po "I""tit's
\t:COnllDt: to the memon of ,ts author, :\.lll't' Cu~, lhe Gaumont film 1.-<, \Ialrla.,
a/cool"/II (dIT Rom 0 80'l'tlt Oeceml,.,r 1900. Caumont cat. no. 15501 tolù th .. SIOn
of a drunkard \tllmbltm: IlItO d mattr"" facto~

Th" hum wanted t e:o to ,1..1'1' th ..11 and there on th .. malerial and Just pa;secl out.
The maltre, maker r.. tumerl and IDnoœntl) re<umed her le\l;n):(. A porter am"ed.
loadecl Ihe mattr!' on lu cart and \1 ent off. The \lino, half a\\'ake started staggering
;md there W:lS a sen off.ùb dO\ln the Iteps of \Iontmartre, ol'er a httle bridge, ne,t
to a laundn, 10 a unnol!, t'te, a1\1a~ \l'Ith the dehve~ man in pur;uit.
~leanwhtle a nL'\\ly"ed roupie \lere \laiting impatientl} for their new mattress.
Fmall\- It am\ ed. The Jdi' en. man thro,,", it down \lith ail hlS might, gets his tip and
mn off
Hastily the 'Olme: roupIe make the hed while rontemplating a pleasant nighl. But .. Serew it ti~ht, DOW"

III(' CTaz\ \"no star! dOlng ,ome"aults. The terrined newlyweds cr) for help. The
po!tcLmen arrl\C and takp the l'}\ers and the mattress to the station, Everything is
" pla1l1ed and the film e"J .. d ",th the drunk gOlOg into his celL 20

TI", ga t'.aslh oould ha", ht'en tnlen &om an 1888 strip br Cohl showing a drunk
hemg sewn 1I1S1d a matlre<iS fig 130, But Gaumont was not the only company to use
tht' Ide3 ~leh borrn"'ed It for La Cardeuse tk malelas 0906, Star-Film cal. no.
SI 20 and Path( !.ad madp a 'l'nlon that more closely resembled Alice Cuy's spic.
" r plot fig 1'31
Tht'w " tll another Cohl Source that mav have inspired a Caumont film. One of
lu. 1901 cartoons hO"cd a j1('destnan b"lOg run down by a postman in a car (fig. 1321.
Loul F. lullade s film LArodnl1 d auto rE'vohed around a s"ries of similar gags using
a douhle amputl c for ('()mic e/f"cts, Cohl would not nece.,arily have had to ,et' the film
beL':!tl pa till from It "'as pronlln"ntly dl'played in the SpnnJ!: of 1908 on the cover of
L'Illu trahon fig 13.1 '" mg tlm photoJ!;raph on a Pans newsstand would have been
,ufficlt'nt raIL'" tu .'nd ( ohl to (,~ur"ont.
n,e "mbarr, "tl1ent of n, he, pr,,\ Idecl b} thèS(' ('xamplt', of p""ible b"rrowlng>
From Coh!'s "ork lm",. thallu torws 0/ plagiari,m mav ha,,, b""n ,uhstantially tru.',
hut ,ince th .. pra(1ICt, W;i 0 rampant, th"Tf' 1S no lonl:l'~
any wav to tlE'tf'nnllle l.xactly
"luth of hi, .tnps and "Illch Caumont film "'-re 1Ill'olwd Ir;
any ('as,', WI' "an add
that (ohl , allger \\ as mon" nnan .aUy tl.an .. thwally 1Il0tivat .. cl I)('('a", .. ",lwll h.. s"h·

10.... - - .. '
.,.
 us • THE 1(

------lu> first sa"fl2'1O he dit! DOt h<-<inte

""tttd • p!ct'- n ln bis lnend
~ ~.od~ [1]2' ru"e been "I>---Ù
1 studio> Il.. the ,00 œ f.-....::..k
~as ...eU as aspum:: scenans" and ac.
, ton "L." LLL . ~
t,.d coUabo~ed on papen UJal puUU>lJ<:(J c.J'1icat<u-
~ tnbn tor a the satux press - 1 IS
beenh~- _
aurd Coh!'s name e>pecialI} smœ he bad hff
\rtl5 U1 1905
- 'J1)aII<i tanwt Cohl the rudunen ! cme·~lcr.:Jrml"'-
coUahorators and &-tends. For the ne • ...,., 'eus .......I.l
",,-rot) Gaumont films that ,.~)Uld. in r<ctrospect. pr!J\e
(2Rer Bul he re the"., film <:an he iuIh und.t,mood ln
111",,1 he an uoderstanding af the techo!C31 and ~d
md lU eronomic and >OCiaI rol5-all aï "inch ,. e", 'e'" d:.S~P.:c~
cooœptioru of film
--. --..
--"'-- ----
-
_~

. ---
132.
Jm~
Lr> facœW"'5 en .utomobde:,,,,-
6 1901
--

L"lLLl"STR.\ TIO\
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 --
1

U' l)ragonnad ,
Fatal, mt'pmt'
L Onde d' "m nque
do<! n tt'rp.,rt \larl·h .. de ,port
\lh n h, mll\ent La F i1le prod,gu
mt'nt Ulpltal"t, \\ La FHe de la ( lonot'Ile
, l, n .b th u,u;tl tl, at 'h" -Entracte--
• • .'r l'<'rfo
, ,tm Fren h rt (lOlit'r ""- LH,rondelle
dm (.,\\' r . . '" "tOIll .....
\"1,1
Corso Beurl
h l , than n.- f • Ile lIId ....mour et 'endetta
_..l ' • 'OInt'-
1 1 1t"U 111<1" ldualh , "'th Lt' Beau T Zlgan ..
romzt>d, und dIt h" trt'~ -lntenni, '00-
F l " H rE' 1 !l' ' t ntl'd ln a defuu
Lt' Dermer!. Jou", de Pompé,
-\1T=lOIn ntmu u pt'rtonnanl'<' dur,
Lt's F,tzgerald
p1le;.,,~
L'Omelette fantastique
bldl t,bm t.lIld. rd, of l'bot "
Ra, 00' t't ombre,
ut..,f. "Ima,,, Ill,t1t'd off th.
Gribouille cherche un dud
ln Cm -J""nlaI" aled
-!ntenn, 100--
uh t'<.'t' b. d 10 makh tIlat of
Lt' Carn3\-aI de 'ice, 1909
Bon. tr
Imu ,to ha, t'a ta.:.te for tI,e l'menu,
uch a program resemble<!, in some 3.lped, tIlo of tilt' van t\ tIlt'atel"' and
COI\('('rts. But in thetr ol",iou, ambItion la pleA.'" tIle 10\\ . t common dMlOmiruttOrof
era!:e audience. the producers and "ùllbilor. ,mitatt'd tilt' ran ol. ubject . nd m
popularfaJmh penodICab uchasLcctulY,/JOUrToll' There .. retra\e .Jt' humor-
OU ,ton" ,t'ducatiollal and hi tonca! f"ature" and prc.=li. lenm miliebmol
• Or tnck film, TIll " ,tilt' funcholl of Cohl' L Omdctt Gshq DO 1ï
solnetlm ho\\n Th re"=
th ab",e prooam to round out a ",1ec1l011 of ub <."Ct, that ,..ould ail and
p "de<! b, the Hq>
d no on \lthou home adJu>!mt'nt ,,,.., made ID . mtended k>r pro\1n-
dl r \1U1ch "~ ru '
adJ nœ It ,,"ould he Dl' takt' 10 pt tIle a' tl tu! " nolIS
aide<! an thi
sub~f<jt>on tht' pro m \1er .umt"d at Ihe upper d med\ sutl/eC'b
at pl hUiln, TI, Tt, . am" e\ldence th~t th
lIropc ln 1 Bnb,h r.. porter \lott"<!
lb. m to 0.. a fn,,,,, chan e f tlnt'm to...:,1IO<"
tin nt r. r Il '.. Il th m.. n ID Lon<!
1~ n t,ced Iman hh th t \\ h.. tIl .. mo'~ j~l'lU.
110 1 nt Jngredlt"1lt
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• • Il F N Til I_t_l:_ _

, 1 h, ,h" l'lllt'm h, fllm mmd ni' It hun ,\1\.1 tl::.~

h a Il....1,

--
,UIIIIIl
ut ~ hl, " .ah Il \\1th l. ,"mont 1", film, U,,\\ t'lI . t (' Il ' l' r _ - - - - - - - - -_____________
__ -' 1 1 tn 0 th" t
cum'llt, " h \ lu't cl ' 'n1"", \\ Il ' , le.! h' tilt' ,1\\ ,~t'1I111\!, l le (Int"ll1J.t
' ' 1\-an, ...
,\. h, n h 1111 ,II t , ,md th, puhlk ohr, film, 'u, lt • l'Ol).
III ,lnt'ou 1
tn1\\lt 1 t t 1I.It ptt " " The d',\I\l!1l1\! l'in.'un"t .,
,.,(~. (.
" I l (11\><1
' \ 'l- Cinema chez Gaumont
di'tnhuti h, Ih li ,d aud, n !lIh,d, ' C:,l\ t' hun (r"t'dom tll', • fil IIl'ho"
"'M' 11\\ h
, th , l nif 1 ni u!.>cl oth, r film, in tll<' pn.>C:I1I111
.
B,.t n l'
II "p\lï·
'" ,
\\ , ,t.>cl m lm' III h, h'lII,df 111 the l'ott,'\!e-mdll,tn t . d.. ~ le,
.L. d . r" 'holl d
.. " 'un 'ID ml' 1 d Ime th., Ile" l'\llIIe. Cohl \\ '-\s I~" ,,'llIn\!. . tlle art
,iII1.J
ru,enu \\ Wu th, l. UUl nt--a l IflXlrate ,trul'tur,' dlllllin It~d 1 .."
" "pnllolpl
e<.'IGmlm' Imerl produch"ll tl hnique, " \\'11" liE ("" to the Gaumont studIOS, Emile Cohl etehanged h" pa>t mdepend-
ell''t' for a di clplined work emironment ln 1900 the compan~ 'la, rele<lSmg about su.
,hor! films each week, entirely concei,ed, photographed, pnx'('"ed. and ed,ted "1thin
the La Villette studio. or their immediate en\lrons
Léon Erne,t Gaumont's personalit) dominated the compan,'s produchon, a1though
he hümelf did not m,\ke films, Born in 186-1, he had worked his "al up m the photo-
grJphir-suppl, business untU, in 1895, he was able to borro" ullb .. nt fund, to bu} out
lùs emplo,er and start his own company, As a.deline, Gaumont beg,m e\pIOltin~ a
cmematograph-Iike camera and projection de,ice that had heen de' eloped b, Geor\!es
Demen), In 1896 he started to concentrate on 6\m production, but the leeal tramfor-
mation of his company into li corporation specializin~ in motion picbJres Gaumont
ociété Anonyme) did not take place until December 1906,
ln 1908 Gaumont wa forty-fi"e years old (six ,ears Cohl'sjunior\ HI repubhon \\as
that of a demanding employer kno,m to be harsh \\;th worke" \\ ho incurred hlS rus-
pleasure He was a prh'ate, self-restrained per on. A, a bu,me»man, he \\a> arbculJte,
aggres>i\e, and usuall) appeared "in a furia ,'" George "lem.. h" \mencan dJ,tnbu-
tor, oomplained pri,atel) about Gaumon!'s "continu,lIh aggre m" attitude. - He
tende<! to be penuriou· in economic affuj" and \\as endo\\ed l\lth a ,tmt ,.n e of
proprieh that \Vas easil, offended.3 His personal punt.lIllSm often was reBected ID the
CIlmpany', productions because he critiqued each of the ne" 61m 10 a \\eeIJ\' ,ereen-
IO~ 'es"on Thi> "tribunal" was .. sembled in the presence of the ,tal! e,en Tue,da,
promptl,·• ~1. t"0; 0il.0
m 'II) a s[laltall proJechon
. , room -,,!'t
. d In-ac tor Henn Fe'L'Our! later
r"'alled

\Ir. Gaumont took his place to the left of the sert'en at ., hule tabl\' In the fi"t ru\\
"l're, 1 dl · 1 h d II camera ,.lies, the
t'a e t le t'Ompan, br.. , the chief f'n!!lnel'r. t 'f' t'a l
d"....,t fi" 1 h d lor of tlw Ca\llllont-
or 0 t 'e lab, the dltector of film ,ales and Ct'nta' t e m'C d 1w
P.doit l' t l . • t..J Wlth the" hea s 0 -
, .e ne\\sreel dm'dor etc. Behind thl',e \\dl' ",\ L . l' ,
'rt-<! tl fil . l' l ,.,ed ur at least 1><
le III ,hrecto" Thes a1llook"d more or le\\ .. e t 1< aL'<C' '
 ._-----
~....:...::::..:....-;;..'--- ------~--
--
h on pe~c:on""',.~
r PMjec d fint ~ ~
r~rded by he d. e{ rs as
especiall al ent",e ,the
":Xl:lJla'Oj bac! but! an em. hie reputatlOn u
"Ir plt~JalJ7 1'1ü=~o. Ad ltery VIOl .t tnmf"j and Jl<~ "',ialI
':tl<:!ro~<:!r...! co.. ~pt officer " ..re t.. hr~,
#l,.
~ ".Jiôi!I>
s ni] ,L,

gl es or u5ed amput .... ' a huI r,f Jok" ...

1U~~t; och enema, and d"'nb.,. ""
' ....er1:Mless, C Il en(;e led ln "'"rr~efJI. 't.lnr!arrl
"",,:odliM • ln ~ lm 'lU an ro'''., k, repritent. The
au- ft,pr.=:~ l. I(j{J(j exempl ~ ..s Hus m',r "'lOg ~
popular edla IInage of th IY,II<R' as meffectu.l
as CtUllJuaJs Rt'I!' the JCI~I'" fi.1 cnme
lit: po:; ~ are \\l'ben the", gendarm"j .et a (lime
of tb.,m • wounded ln the lm,. of d ut Y ln the tlnrd
"f!(l~nttng ar.d , ng an a-;ward for >al", •
og e (,aI mtmt m..rgll nie trad ..mark W,.r" Wltty f.irctl
,a 00 Iocat the """ghhrlr~j()(,rj <tret:ts r>t ln th,. Parc Bu~
ln
lit: '" le"""," and m",t typK21" fA Co·une "'lX pO/trr>ru Th.
1 jf~ ~. frerjuently attrIhutNI tr, (,r,hl th,. film ,,-as
,n a ~, hy f f:ulll ..rI.. and pmbably h.d r>i'1:1l
11lI" plot tmpl.. al'" .nt s cart u,lJap '"'. and the
h l)Jm ln pur ult A more by.taron""j"m the
of h= (fWrj ar.d htgm ~a..lve ;0(;1."", n,..y
w, ..to
the th l#;)' ri a hrJlJrgr.rn rI.n, ,g r,,,,m antl o.,.r th.
!o he cart I>y tf...rn 1 ~ V..an laler f""t1L,,l,. r,un"!

AItb""fIh f'....ril~~
....... -'
-ctn( (,
p!ir ""'" If.
!!$ If
. , ~ , ~(I~r Mg. plI(! f, rr~lt ,h,."."•. mt,the'"
ew frlf>dly r_"mh",,~1 hy 'alet hlmma~
rh., r"JIIt!M r ,fi...... Cb" tf) Jif!!", Tati n,ry
.1", ~ uhl.
l (. j ",,! Jaa~ rit 1lK jn j'JII n"II' 1 thelr <p<'."..1
1 . , H ~ PT. R FIl t R

h tl ,t' 'l'IMt ..1' ,ml"'" "ah"n. re'l!nt'd wa, tilt' fru~al L~

'ue~J
19
On rt"3.",on \\ \ . '. "40n Cau ......----. . ue de' th,.âtn·, et de la prise de He as.embl .. ·1 1
d, Ii..' 0 f p;l\ln~n n,,-'tlt'
L
'" to "'t'lIan,h Dll'fttor, and .let"" Wt'n' "n~)l
" Ira~ed t lIIonl art,st'C( . . ru a CirC 1.' of l!:Ilted
,(T',ce. raft;men Foremost Will> Etienne Arnaud Il!sï9-1!J55 Id Iii
up tone' on tl, '• r"",t
-
and ' "a re,ult film, such as Boseth and F('uHI'ld'
. ' t ' sUne0 'nal, cl f1ic,ent c h h d
." e th f France \Vith whom e a prev,ou\ly t'Ollaboratl'cl On
an 0
cl iIl
end from
t nunltn
t L-n ,,'hat a Lad, \UI:U,t 1905) ,till communieat" th('1r Ori"i'l'
[11(- t"I a1 unsc:,.;Da"" ou 0
the s . fi t assignment at Gaumont was 10 d,rect FE'uillade's Attra ~
. 'au e' e "'npt .
L ~
pontmt"h "PI'-'d cl s rs pe. mon CfUlpeau
~rnau l'at 1906).21 Among the other directors \Sere the forme act J
,\., lone a., th .., rt'mamed \\ltilln I:en .. ral parameters, tilt' dirt'ctors Wt're ail G ab Inv ") ' . r Ors a(.'qu~
' ' . Oll'eQ ,r. P' I 'sis and Roméo Bosetti. Ben Ca.rré recalled that "ha, 100 b..e b
" rl tilt" plt'a,ed Gaumont lum'ell was too prl'occupll'd with hm,"es. aII:. IQ
il> o ull et - es . rfi d ' ' ., n an acro at
,,0 . cl anded that lus actors pe Orm Iffieult feat, and neck-brealdno stu t If .
exert constant pre"ure 011 them. T\\o projects m partieular eommanded Il'' air, 10 Bosetb em 1. If' d' ., n.. an~
th.. Chronophone and Îorell:n e\pan,ion s attenh On f them hes''tated , tllen he, umse " mme ,atel} demon.trated exacth, the ro uli ne h..
a k' g for. "22 Jean Durand and Léonce Perret jOlOed Gaumont aCter Cohl
Th .. Gaumont Chronophone \\~ hl' sound-on-dise S\'stem for sYnehron,' . was 100 JO d b th d' . . .
'. . ZlOg son~\ These direclors \Vere not goveme y e 1\ 'SIOn of labor e.tabl"hed in later stu-
and s~ 'nth proJected Images H .. was ban king on ,t for the teehnological break.
. N~'ther were they auteurs in the modem sense, oor 10 the "a\. that _
da. \Iélll,
throudJ !hat would final" calll an ad, antage fur him O'er his arehn\'al, Charles Palhé
It \\ ucœssfulh d ..mon trat..d at the ~oc,été d'Encouragement pOur l'Indust. \ worked. They functioned as a team and. could be called upon to pro\1de a ,,--enario . to
ne na. mrect, and even to operate the camera if oecessary. ft was not unu,ua! for two or more
bonaIe ID 1907 to an audience of celebrated "Titers and seientists. 16 English-speakin
directors to apply their talents to a single 61m, making it dUlicult no,", to attnbute a film
Chrooophone film ,",ere alread} heing ,old in London and in tlle United States, whe~
sitively to only one of them . Arnaud's shooting carnet"" ,ho,,,, that he assisted Cohl
.\lice Gus BJ..ché the artistic dlrector of Gaumont before Louis Feuillade, and her
: many films , while Cohl's notes occasionally indicate NI" Arnaud" aCter a tltle. Cohl
husband, Herhert BJ..cht' \\t're m charge. In the summer of 190ï Gaumont rented the
prabably worked with Feuillade as weil, but at present there is no confirmation."
prestigio Theatre du Grmnase to premlere the Chronophone in Paris. But the S\S.
The scenarios Cohl submitted all 6t comfortably \\itrun the usua! Gaumont genres
tem" pla~ed 'nth ail the u,ual problems of sound-on-disc--Iaek of synchronizatlon
There was a chase (La Monnaie de 1.000 Fr. [cal. 5-11] comedies Le .\fouton enragé
and amphficatlon exce me baclground noise, and eumbersome mechanics. Despile
[cal. 5-1] and Si nous buviolls UII coup [cat. 5-15] ), and féenes lLe \firad.. d,'s ro>rs
a œmonstratlOn t the '\ dem, of Sciences in 1910, Gaumont never achieved his [cat. S-S]).
drnm ofbemg the fir t 10 de't'Iop true synchronous sound films. 17
When Cohl actually began directing, be supplemented Arnaud as a sp.-ciali,t ln tncl
At th same tlme, Gaumont was strug,gJing to break into the American market. Since
photography. He \Vas responsible for the féeries Le Docteur Camaml cal. 191, Les
1907. "hen Pathé had IDcorporated III the l:nited States, Gaumont's nemesis had been
Chaînes (cat. 48), and La Lune dans son tablier (cat. 38\ These \\ere insp,red b, tnuh-
uppl\'lng mOre than a thlrd of ail American film programs. while Gaumont titles
tional stage productions and, of course, by tlle 61m of George, \léli;, es He also di-
amounted 10 nh about Iwo penent I~ Gaumont had a modest studio in Flushing, Nell
rected l>ageants, sueh as Les Courollnes (cat. 29), whieh pr.. s.. nted ',-ene, dl'p,cting th ..
\url for prodUt1nl!: Chronophone films, but he was planning to start loea! printing and
distnbUbon ofhl5 Frt'ncb. ad fil . b db "crolVning of dilferent classes of people with ,af\mg laureb -\ dt'COrati, .. '\Teath
m e ms as SOOn as pO>Slble. These plans were aorte }
~ formation of Ihe MOtion P,clnre Patents Companv and he had to setlle grudgingl\
framed each tableau Porcelailles tendres (cal 31) grouped li,e Jctor, in compositions
resembling pieces of Sèvres poreelain . They posed for a fe" ",-'Ond" th .. n "came to
or a contract ",th the Iltensed . ri KI ' ., .1 l ' ail
m t he Library of Co l Imp"' . t'r t'Ill .. His ly"respondence w,t 1 K ellle, n 1 life" and danced. As in Les Courollnes, ea~h tableau \l'ant W~ endo,l'cl \\ltIDn an
wouId n~... (' earlr tnd".:att's that Caumont I)('hf'\{.d II", arrangeme" oroamental vignette (fig, 140). Only il fragment of ,\ Iodcmr f,rol. Il'Jt ~61 remain> Jt
tant! be temporaf) DunnR: the years that Cohl ,",orked for hilfl Gaumont \\'il> co'"
the Cinémathèque Gaumont-Aetu<ùité,. Z7 In the e\c,'!']}t the nanle of a hi,torÎca! pl'r-
il' 1. . 1ranch
HIS 1y cro 'mg tht' AtlantIC ln hopes 0 ft'st.,
S d
'5 IIng ail American pro uetlOn ) y
;onulit is \\Titlen on the lefl. page of a larl(e book On the nght p,tgl' the chameter
etiers to Feudlad from A ' 1 . h 1 ' C ,,"
Ame . merle.• reH'a il shrt'wd hlJ~jJw~!,)JlIan wil )1) f::')
ncao wte. m film IV At 1 1. Ilh< '"""''''II walk ' 'nto
' .
',ew, salutes, and exit, (fil(. 1,11\,1'1 Iell t1le page tum' , ancl th .. lIe\1
DpIDlon- do L..~3 t'asl on" pu '''cation, Cilll'-fullo 01 \Iilan , .• pn·"'·' J 10r app"ars
un u""",l. helcl b, man l ' . 'lI)l''''
..,th Ame 1 Y III pnv'dte--t 'at Caulllont was 100 Jln'/KI Cohl ais1) .1. t t"lIIpted Il few conll'dll'S, doeumentafll" , ail d l" t'II cl r.llll.l> . hut lm.. 'p"-
rt<:an aHair and that hlS P 1 ,., " Il
TIte e'ervela 61m an III IO"ss "as s"II"ring 2" '.. Iv wa, . . , l'
ul1llllallon. B\ 1909 It \\ a, conunonpl,Il'" to ,p..a. 0 a ,01
"C "I(l'Ore or 3 Co 1
- Y making hu ln , 1 t..d ,s 51;
Interrnedtan be e was SIJ)WCVl ed J,y l"'IIIII"d,- who JI ,U d' ~n" at lh ' ' ,tu d10 . F."'n
"'t Il
-' , ' "C ,hl film" fn,m \lIIeOla
(,alllllont once ,ellt ,IIl,d',llnr ,1 ., 1 1 <-
tween Gaumont and tl '.n )9()S 'r
19117 when h <AU Ill' l,ad 1""'/1 1... ".1 wnlf" Iron' 1 . 1 t t 'un Jroum t Il' ",nH-
./ld "~
L._,3 '" J ,,, nl<)"
" rep...."" AUl (.U\ HI 1 é 1 to r , nlnt li IIg J('" ,'Ir\ ho, opem and tlll' JI'\\ l' '1(1' OU , ,
éK 1 as artl!th(' (hn.tlfu (ur PU'('IM') , '- '''''dg/'1 la,· k''nto tllP dm" . ('rs. Jt\ a 'Cl"ll' lur ~Io
l'II'"
1 -
J fi •_(JI:\
_ ~_l' l "!- ~:.!.---------------- ___
.----- • 11\
1111' rnonklike persisteoe.. Won th" r~'pect r",
~
[(Cu
cent'c ,
ne
1
1~ t"I e.
0 LA"On C
J,hie pa l '''3~ e to this r("rnarkabl(, ernployet' . ' Ihe Benedictin' ,.;;
ciU
mont and
icklHU
th" O
TIIF A"\IATI D CAPTOO'
E~TS 01
(f D
~", , p 'is London, the United State" and around the world
ers ln al 1 Il . h . saw a stran~e
~follep;o ' 1 summer of 1908. Fo owmg t e Caumont lrademark. a whl l'
, 1 in l le h Th 'o , le Ine On a
'l' fi fl'1 d was drawn on t e screen. e arhst s hand qUlddy corn 1 t d h'
n' 1 kgroun d d P I ' l' a c ,Id-
hlack )lIc ofa clown. Suddenly the rawing 'eeme 10 eome ah'e and the clown began
Cl
Iike ,keI ' b l'Iclering ways, changing his shape and ent:ounlering oth II
ove in eW er equa s-
10 m . g beingS. The film was Fantasmagorie, Cohl"s first animated cartoo Ils'
e rno vlO . n.
\Iran~ . was less than two mmutes, so short thal mosl \iewers undoubt dl,
t'on tlm e . . e >
proJec 1 1 d by this curious appantlon.
~p~e ,
"ere orie was tlle single most c1emandmg task that Cohl Md e\er attempted as
I~U, P"rcela",c l"'I<lrr IClI 311. J9(19 141. Moderne Ecole (cal. 26), 1909 FontoS'~~t he had made a drawing on white paper \\ith black ink. Then he traced
an nrtlst. . g through a secon d sh ee, t ch '
anglllg no th'mg ln · th e ou ùi'ne except for a
I hat draWIO d 1
( )ut "f 1l{'('{"5Ih Cohl kept tu him,elf dunng his wOTking day . There \Vere oc .
, ,~- 'oute alt era. tion that would be perceive ater as motion E\ entuall,. hundred.s of
tholll!h . as Bell Carre: n'l"alll"d. ",hen Cohl \l'ould find tllne to chat with his colleague; 101 . re completed in this manneT, then photographed in sequence. The result
drawlOgs we . .
. t d in negative, so in the final film the IllUSIOn \Vas produced of white hnes
Dunnl! III) six) l'a .. thilt l "as \Vith Gaumo~t , one ~f the people l re member clearll \l'as prlll e ,
.
movlOg on black . At the beginning and end Cohl s O\VIl hand.s appeared in positive ,
"as Emil .. Gohl Our t'OJ1\l"rsatlOns wlth Emile Coh l were cente red more On
necessl'tatl'ng in these two shots the use of white ink on black paper to match the nega-
pamtml( than 011 I/Iotion pictures He was married to the daughter of a well-knO\VTI
tile animation sequence.
pamll"r ,dl!) helolll!ed to the I!;roup of Corot, Monet, Boudin, and other moderns of The amotlnt of work this film demanded \Vas formidable, but Cohl tended to inftate
that period il even more in his stories. H e later claimed that the film contamed 1. ~2 dra\\ings and
What 1 rt'rt!emlwr ahout hml is that he was a man twent)' years older than [Robert. had taken a year to complete. 31 Ho\Vever, a close look re\eals that onl~ about ïOO
Jul,'sJ Cam ... r Ilnd l , who \Vere then goml!; on tllIrty. Our conversation \Vas IlOt aus· drawings-still an impressive number-we re really used . Each was photographed
lt're. O"r Juke \\'l'n' without offense. The} would have amused any'one who DIer· Iwice in order to expose Iwo consecutive frames of film The li\ l'-action footage did not
Iward m in th" n ' taurolnt. Emile Cohl teased us about our bachelor lives and adl'ised reqUlre any sheets of drawings . As for the amount of time required, Cohl had been
'" dhout tlll' dlOll"t' of a wll(>, A("(.'ordmg 10 him , one should marry a petite woman as frequenting the Gaumont shldios only since the beginning of the veur, 50 that would
Ill' had dont', A petite \\ Ife Sl'I'nll,d likt' a miniature that one could put on a shelfwhen prOlide a maximum of six months fOT production . But it i \ery likely that the drawing
out' wantt'd to work .Incl )'ou could keep her under )'our eye . . . . lIere done in only four months . An early statement b} him trongly uggests that the
Tht' animation of Elllilt' Cohl was the work of a single arUst , not an organization Inspiration had come as late as March .
like Disney's which 1 admIT(' so Illuch, 1 would have seen mOTe of his film s, hui al
~
TIle nrst strip of animaled cartoon footage was Te1ease d III
' Pans . Ju ne 190 b\. the
. III
Gaumont ;'wn' WOlS ah"ars ,101111' joh which was needed at Ollce , preve nting me frolll
(; aumont company. lts title : Fantasl1wgone l ma, tt er s ho\\ 1 nr t got
. . lt scaree)
\'iewing tIlt' projcdioH 0/ tilt' film ~hot tht· clay before . 2g . the
Il1ea 0 f ma k'mg Iittle stick figures moYe It was III
. t1le mon th o.f \1 arch and all Jokers
.
When Cohl finisllt'd thest' hghtllt'arll'd 11IncheollS he would return to the SPlot'llII know that larch sun is dangerous . Let's just sa\' then that the ~Iarch un hllle 1
area se t 1151'd e rrur
.. l ' "work
liS IIll1malloll ,III a cornt'r of the' 1
!>tudio T )ere, WI'tll the aid ufan1 responsible, 32
'
115515
tan . cl ' , l '
t a sIgne to hlln to operatt' tilt' caillera , he completed antlllutl'( se (JI 1{'lIft" or
1
Huw d'cl d 'thout any pno r !'\pe-
aho ut Lmur fil ms each month which filrtlJer ('lIhanced th(' f('putatioll 0 f' t1J(' G'aulll
. 1 .
oll
1 Cohl mas ter the technique of the animatE' cartoon \\"1 ,. ~ . n,rt
compan y an d expan cl-~ . 1'1" th Wlt 1111
nenC'l' f ' 1 h' " la\'
CIlIl'matograph)'? Althou!l:h the " 'lare l suns me n .
ha\"(' pla\. t'U It 1"".,
t"U Its market. Almlt' in his mrnl'I Ill' worked ( 1 I~ell ,
U
 • ( " .. f' 1 l JI , ~
~-
-----------------~
l "lU" WIL' r"und ..d "1'0" \\l""'~I1,,\\n Ù 1prim·'pl,·, C"hlh"",,'11 1101(. J 1
tilt 1Jjl It 1ft( HI 1 ('
OU' 11J/"f)J1 (1 / 'III 'Ill •tI,'d dm" ,n<:.' h"ù 1"'('11 ,." ,'ni UII~ ,,"IOn' 11.,. "" ""110 1) 1} / ('j c 1'01
1 l'('1l'r \llrk
tU).:1 up I} •
Il,,!!1"1 J""'ph l'lal.'au. und S"non St'''"pl''r h"ù ,.,
1 k . III·'n,.
Pt-'nrll('r
1 1fi.30 "th Il .. , Jlhr"nln~'<111 .·fT,·( 1 that ('anl!' to l(' 'l'OWII ,li (>l'f\ilt''n I!"d
mtH' \ _ " - Cl'OfV''S1
. ku/ tlww 1111 l' l'I(alur l hu('w".' ,ulguru", .lI ,arlOllI opll('al tov'-TI
'rl If \\-ur . . lau
OTI [..oroc,",C M rn'I/ri 192.5
',. trulll'S l dt - tl',lt \\1 n' "Cllnmo" ln "'dorian
1rop'-'s , u I( "
hnlllehnld,_ thrnu ~1lOtit 1111" .'
l ""rth '\ml'Clca ( ... 1.1 .m ll(" palt'Ù rna", lat,,1' anTmat,on hlStorhn 1
rnfJ( um..-
, 'clll,at lOf trul)( stnr)~ showlIIl( ,1 mm .l'tnC:ut
lU glH
" • 'S W 1(>11 1
analyn'd IIlto lt!-l ('o rnpOll('lltl w(~r~ tI ,~
. _.
·11,
' ..
un~IlI'" ri, s"', {/fIII/"', 3.:> [111111 IInilallCl, Tllt'atn' ophqut'. '" 0IWralioli ilt tl", \1
,
l"
(,n', III !Jlru i J"<12, wu \1\1) . Id l '
1 1t' pnmf t1Jat (. fU\\lng!-l ('Ou l,~ proJ(>(·tpd On a larlT. . 1I1~e

"illl tilt' ,1JW.1CI11 uf IIIC1\('IONlt prO(1!Je('(1 lJ\ " d

ulle !-lUIt" (' PO\C\ !-I u l'('('~\ive'S" (.
." Icroell
, ~l st'ne~
0/ S""'( -S>". l'. po lIn'I. lig 112 1 J.I Il " mnr .. prohahle. though, that H{'ynaud'
.. . ~ 1101l_
phlllllgrapl", ' pru(.'., nI h,IIIc1 ' J1,II11tlOl!: tilt' figur"1 "n tra"'pan>nt ('e l/uloid band, Was 01
11U1I1,'d ' OI IMlrt.l/u P, ('o",,,,II<'d tu tlu lIII/U"lIte> "f th., chronophotographie .tud'es of c
,,l')SIIIlnW') f.tI"fITlf ' \I,trl"
144. "Dessins animés, Larousse .\ltnluP[ 19"25
( uhlllfrrl,,·/f drkT.owll~IJ!;"cI tIlt' IInportan('.· of \Jan') s work anù horrowcd hi, vo.
",",,'ar) to 1 \1'1 rrI tllf t,'clIllICIU" nf animatIOn

Il, "11 "'0"nlf·"t ",,,,t 1" , sn ln \Ill"a~, t1l11<'d with a . top watch. If a salu te il to lU.\t
",,, "('OIiU )"U "'" d lfi dra\\ IIIg, fi" tin g!'sture [Hp;. 143J. Tlle project,on , which
laltl u", "l'III<I , """ lfi Ir.!Tn(·s , the If) dlflérent Il11ag!'s that compose the salute,lI
Il. ",,,,h",·cI ~Iun')" "/:11111111< lIu,th"d" tn demomlrate the geometric abstraction of a
' •• rt,,,,,, IJ~"Tt"S \\al~ (fig. 1 Ill .."Jrt'y" m'''IOp;-plute chronophotographs were the
"",,1. 1/... " ~f1'Ù) nI a ,ntal'ug ,t"lIH'tt.· dig, J.t5); and the study of multiple exposod
I;"'d'pl,,tl." "'"unnphntoIo:Taph, I,'d to il Futurist-Iike ùrawing of a running fi gure (fig.
Ilh'
146. " Dessins ammés," !.aromse ,1/enrue1, 19]5.

0
0
0 0
0 0
Ci
0 - 0
a
ID a
"u a
0
0
0
0 0
0 0
'l a
u • 0
112 1-.1l111c · Jk~ llâUcI
1., ",,'''''' JuIl 23. IMI2
.nu IÎtU ClP"
~ à 0
0
1

1n "1)""10' animé\: LArofl. srlfcnsuel, 19]5.

 t l "".
1 II t
tin.WIll. r~. " 1'\"
 CI\E\I\CH
________ _ El(,H~IO~T
e-aI the mou> trick> of the ClDema ta his Illustration fE'ader m A ri] • 1.. -
to re -~
ch· t4 H p 1908 ." \1 Cohl, author of almo,t 2.50 animated
t of ammation that he most want"" ta Yme. e made a sp· . lt \
~al \' . lt \\~. . . cartOOn who e
the secre Iav 1·
Gaumont ,tudi s to mterroeJ.te .\/lat le Thibenille. Gaumont's chief carne~lt to tht ofth e haunted house . . . . The secret . m th e Owne.s of th
xpl;uned the Il''. tef\
,mg been adjusted 50 that each turn of the c<an k etpo,ed e takmg the camera'
I!',-ponded that Il ,,"3> a trade ,ecret onl} recentI-- learned at the studio ..... B~: "''ho ha
pressed hi> own e peration t tn"lm: ta guess the secret of The H aunted H bllJ et.
';ooal
u
operation alIowed one to give the appearancl' 0 f·mert ob· one ts frame This frac·
sh. such as those that set a table to serve coite Th jet mO\ingspontane·
hoped an ln IllOUS reader mü::ht <ucceed. The film Babin de cribed was clai o/el <lld OU . e. e cameraman
\'. tn ~
ta photograph the set table, the chrector come, ftomar . d ;md mo\ th tums the crank
Gaumont, IL Trm:tlJ n'tldu facilr. In faet it \Vas Work Made Easy , anoth er med
'eW millimeters and moves back out of the field of.. es l' coffee pot a
film \\lth arumatiOn mBtad:ton. which had been released in the l'nited ~taglaph "
this chsplacement and sa on, continuing until afte b d d
' It'\\ .. second tu h
rn p o.toeraphs
neœmber 1 7" Co!l>ecutt\ e frame en\argements reproduced in the am 1 tates In . .'
bas the obJect 111 Its new role as an animated hemg':
r un rI' of ne"
ce pro 'd POSItions, one
triJcing visuaI e\1dence of the frame-b~ -frame technique fig. 150). \1 ed
Arnaud's account,
. wmch gives Cohl crecht for the importantdISCO\ Ef\ leave>se rai
disturbing questions unans\Vered. Ho\\' far cao \maud' he' , \e
". ..,.' . , account trusled- If w
c.~. we can l'
combllle hls recoUection \VIth Thibenille 5 assertions and th e kn0Vt1l Llll..U
construct this scenario:. The Haun/ed
" Hotel excited
". Pans· ln th e summer and' làII of 190~
rI"

Gaumont bought a pnnt (along Wlth other \ itagrapb films . sorne 0 f "w<: L'-h contained
.
animation), probably in December or January. It was duplicated for FebrtJar\ distrib .
tion. These dates correspond ta Emile Coh!'s fint appearance at GaumOIIt. so . conee,,··li

abl}' be could have participated in a close study of the film. Accordine ta Thihenille,
the secret had been known for about eight monthS at the time of "TItin~\lthough we
do not know when Babin inten;ewed mm, nor b) ho\\ much he eUg:1erated. a date
near the end of 190ï seems to be inchcated. The animated film Worl< .\Iade EIlSIJ had
ob\iously been "deciphered" by press time, which we ma, assume to haH' heeo about
mid·~larch" Amaud's account is possible, but is it plausible
A serious challenge in the form of "negative e,;dence" is the l'act !hat Emile Cohl
himself, although he seldom hesitated to ad\erti e hi own achie' "ment> ne\Er once
claimed to have chsco\'ered the secret of The Haun/ed Hotd. <,\t'n "hen he specilicalh
discussed the fiIm. 4S •

Is it reasonable to belie\'e that this team of experienced Gaumont filmmakers "J.>

unable to guess the technique, ",hile Cohl, who had no e~rience ln cinematopaph\,
\las able to do 50? It is true that Feuillade, .\maud. and -.orne of the others Md back·
1
grcounds in writing and acting, but Anatole Thibenille had heen a \eteran techniclan.
150 J ~nwt Blackt"n Work .\lade Easfj. 1907.
aUmont ftOr over a decade. 49 Their c1aim of complete Ignorance eems t'ven more
barn'
mg in light of the fact tlJat the technique use<! in CHôtd /tanth\ . aimast as old a:.
Tbibef\ilJt,
'" s tatemenl!hat the d
-long time Was e(:!tœd la
cJJlll ctnematograph} "
lseo\l'!) ofthe technique had \exed !lIe techni
ter Il} .\maud· Like many aspects of earh- filmmaking animation \Va.' ru,co\ered and cl~\eloped
more 1 . 'cl uI
There "'eTe thre., of appl Or ess simultaneoush in Europe and America Credtt for the fi .... t atCI en d
IIQt '~tion of the techlllque" bas trachttonalh heen ti\en to the dlfectùr ofTM HaunleE
lIIOIJt tbe 115 duetton whn had bee . Cau'
mlJSlQn of gain 10 find n assl~e<! b} the bi/! boss. Léon u!d
~ to be DlO\ing no th out by what reall\' dlabolical meanS objec" cO e . Blach d ' . th \. h romn.. n\ \Ibert
Smith. on. an his partner and cofounder 01 e Itagrap y-".
.....~ CO&secutiv e5Creenme 5Creen
of The"ltho t b ' throu-
u an} uman mter\ention. \\1' at Bta.,kt . te<! to th~ 1: wted
r-1DaIIy atcor""- Haunted Hutel] ttte at on "3>born in Sheffield, Encland. in 1~75 and ImmIgra r Jl\d tr\ln~ 10
""'g to Arnaud the age of ten B~ the time he was ::!l he \Vas e",nl! out a caree
Emile Cohl unlocked th
l'secret.
 --

CZlctD<lIIIi,1 l> ,..., t" . rap

coaOC:ù bture .md apn'>'. \r.et cam-
Lili::[;al ~ A U ' " . .opKIh dl":Pll". 011 the paper den'r,' t'tch cL ~
3cttWl]\ rt'mm '" !hem &o.. ~
actua!...-me out - the b.xtIe m >
and the numen>u.> c
stc~ can:.e " t amount l1>,en""", "'"
of the cancatun't' art 1 ~-

DOt been Iocated but the Url"t' ID'~

~ Freuch and """""Iun'\ tud
1
 CH,rTI~ IOL"
130 •
gh tlll; date h"" not been connrmed But either Coa .
m Ib99. al thou k f 1904 Per, /) Il
_J
rel .l't'U '"
1901 or Tire Ellclranlcd TOlf mll 'cr, 0
• , ' , "
cou Id have ' 0 y', 1
pro\'ld cl "li ---'1 tlle plcture ,ho,," ~Ho'" Jones u»t HIS RoU - the 1 te ah
t pm e 1\ at lDte"als and tell the
r B'-,lton uthrr contained true ammation . smce It IS likek th t th t, 1",,- "hl e \ering d,,entan",e
_1 h n ermocb .. • and
OOillor "'" , . ' J a el ...... rn anoeu 1) fi ..1>rds
duprd and di'hihuted b) EdISOn , The Februan 1903Edlson catalogue de;cllt'e
, Edison copv n~te<! The n'hole Dam", Famû" and th n __
m'Id Dol/s, a film in wluch sleepme: eht/dren are \ ISlted by a fai'"} nh.,~ 10 ~la\ ' . ~""" Dcot: m the linaJ
of" hich we see part., ,of ilie dog bod) 0iJT<",,~ the~" ha L __
""eoe h fi pe uuv.1Ill:
The doUs. whlch are dre sed as boy and gtrl, come to life and begin to roai< 'I 'dated looking cur sltbng up on i> haunch.,. Pr th h tul L"
J d1 ap' " " )OUI. "lé bo,h ln
each other, The) male so muc, h nOIse. however. that they wake h e 100f ~ , Ol eal , the end h3\lI1g two bn
plece ,
cans be<! to It "10 ID Febn• -.. - , 1 - <AU>OD r~, ___ '
et>p\_
l'pan seemg the action of the httle people. the children are very mu h up t e ch Id
l ''tt righted The "Teddy Bean "h,ch h.., a rernarkabl.. sequenc,. ..-h"rem GoI,h!oc'"
sitting up ln bed, the) wateh the pe rfiormance, Fmally the doll s u
' e arous""
,'u,~ , 'anl'mated bears through a ke,hole, .-\lI thr.,., film. un" ..
\1e\'S .
, rd ' POn seelng ,L. Europeans had plenty of opportunities to lie\\ th"", films Portt"f. Ed.son hlms bail
they are discovered, resume mammate JOrm , an the children jump out ofbed ...
them, to f , heen readih a"ailable in Europe since 1903" hen a London.ales "opened ln
earh 1906 Edison strengthened ils position \\ hen It opened distnlm m
\\Me this may hm'e been a remale b) ~dison's special-effects buff, Ed\\in S, Po London at 25 Clerkenwell Road, E,C." Ho\\e'er, Il i nol leI knov.u ..iuch of!h..
It 'eems more hkel) that the film was slmply a retitled dupe of ~j elbourne,C "", .ho,'e specifie tiÙes were di;tributed in Europe
ongmal, The $Orne mav be srud for The Toymaker and the Good Fair.. d 'b dOOper To retum to l 'itagraph , when It resume<! r~1ar production lD 1 -, Wp-"">on
.. • ~I escn e IOtf..
September 1904 catalogue: [The tol'maler] is surprised to see all the t h bicks were corn mon (for e,ample, in Raff/es, Ihe Amal"", Cnu-ksma bot!h..... ,.
' ' o\'s e toucbt.
mO"e as thou{(h ali\'e , , ' [Toys] march a10ng in rapid succession until all are' 'd ,L 00 cerifiable animated film until April 1906,
k' Th b' mSI e..
ar, 1.\ su ~ect and Its treatment resemble ~jelbourne-Cooper's The Encha'ln! That was Humoraus Phases ofFunny Face, BI thi time th... teduuq~ ofobject."d
Toymaker, whic,b had been released earlier in 1904 bv R \V Paul C' tan'" drawing animation was definitely establishe<!, The lette" of the b~ f.:>rm!h..m h ,
'" 'd eoce exists 10 the fact th t Ed ' d'd J " , Ircums ""
00 a blackboard (using re,'erse motion, as \\eU ." animation , Onh B otno" ncill
' a lSon 1 not attempt to copyright either film as hu
mm, and tbat other R \\ Paul d d film b ' hand appears, He sketches comic figure of a man and woman" ho · come to tfe u m~
\\" al lm t1 ' upe scan e Identified in the Edison catalogue
e sa OW lat Edison freel ' d d d d ' 'b acombination of the Enchaliled Drawing protoanimabon techmque."d true frame-b\-
riod .. P l' fil y upe an IStri uted Pathé film s during this pt-
, au 5 ms were distrib t d ' th '1 ' d frame atlimation , Earl) audiences were astounded \\ hen the dr"\lo~
and bl \I~es Brothers,60 u e ID e ... mte States by Williams. Brown and EBrk
The atumated-to\" theme iD both C Suddenly the figure becomes animated \\ith lue. the umbrella " thJ'\J\\U up ml~ the
On TI" Humpty D' , OOper films ma> also have been a likely inHuent" air. and making a complete tum, is defth caught agrun b, the , ...tch \ft r th"
umpty Crreus li fi '
American version h 'b , n Ortunately neither of the British film s no' the~ astonishin g OCCurrence, se,'eral of tllese m"tenou, .md fanta.>tIc ' etc~' ap-
5 a\e een locat d d " 'th
there were am trul " e , atl sorne histonans have quesboned whe el pear, atld each one is more surpn ing than Ùl ... other, Ùle" hol... film hem "ltn>meh
, } anlmated B "ti h film d t...
BlacktOD ,~1 Howe ' , n S s before ilie technique was learne HUm odd and unique, and causing con idembl ... comment "here\er evluhlled os
ver, POlIItedl ' t b
film as "the first stop t' fi} ' 1 now seems, Smith had referred to his \ltagJ'P Other sequences animate cu touts of a dO\\1l and poodIe and ,ho" Blac too rubhm out
"orelgn' m;piration sho -mo Id 100b lm in Amenca ' .. [my emphasis] , so the pOSSI'b'ln Il , cl the picture with a wet sponge, The film h"" no namlll\t e'I>eNhon, Il " lliblc"3lh •
Blacktoo and Smith fi~ nfot e hastilYdismissed, It is reasonable to conclude that th' catalogue of trich ,
e th d m. 1 It ellsted '"
1 er irectly On Coa ' "was made around late 1904 and was pattern 1d
1 pers' fil m Other 1906 comedies. such ilS TI,e HOlld oft/Il :\,i,,1 \ \u"u,t, no" I,,,t Id probdhh
exp alll the reason for Blackt ,s'Ior, IIIdlfectly, on Porter's imitations.6Z This wOllof • dup e 0 fIl à 1ter Booth', film of the sallie htle' U"'U .J '
'11111'l,Il
ar , t,- ln O<"<.... I1II,,·r
ilItimation t, lm on s SI ence co ' 'eo tor
,ne ew that It ncernmg his alleged status as the Ill' ' nothe r nal 'rallye " 111110\ •.1llon
, was mlroduœd111' I\ I J , l' ~ .cht ,Dr III, or uttl,
ln earl\" 1r~5' was not true 1 . wu Ifl ('
, "" aOlmat d 61 ' Joc, LIIc k , )01' dreums that he is ,hellered h, ,\ \\<,,ut . 1 1 t' 1 It Chn,tllll' He CO<"
l' ,11111',
at the EdlSo e ms bl EdWin S ' 'IJh"
Roll ' 0 studiO, started ' Porter, who was by then the trick ,pe< 1 10 bed,an cl d re.ms (within hi, dreaml thut I",ll" ' 'Id \ l",.u.1I\, ' t! c',,"!!' tl1\ , l'\lllle tll I.te>,
~
' copvnght d appearing '1 l:,ost il,' 'The\, C ·n~w. 1 hl' ~UlUl1atldn lot
, e ln \ldCch, utili z d, ' \Vtt 1 greater frequenc)' , Hon' j Ol1fS , are probabl) th" tOI that \\ ere in HUlllI'Iy Dlllnl'Iy 1 TI iiI 1
From be~nning t ,e aOlroated title cards: qU('llce - .. ' . 1 1 f J1l\lIU! llJITJh\t' lt' n
o eod th ' d' u "nolturah,cd" 1" IOtel(filhnl( It \\ithm t Il' ,1n:,'1 r ' 1 ) • Jlld
e au lence is k ' t'rtaO" le, pan ' ," • 1 ok Ult! t,,,th l( 1\\ t','11 ,"
ept III one continuai state of l?\p n1ll~ 111 1l,tOlw.l11ll~ VHl\~ . lIldt1din~ pJl\mll\!. \J.l •
 ·\uother SI::ni~ t a5)lect
e before the s ----- of Europe:tn anlmatnn ln ommar, 100 Cart-L-
-~. <.....-rz .. COrrect ~ bt-
pX~ti~r~~~~ hn~ue~
thal \ ltacaph S obJect anunatJon film "ere the ~e betv. th.-
~(JTIl January 1 1 ~ bsIJ u!J01l film of \lél, and bIS CODtemP<mrie:s and ~ eeo ~
...... r=rTMHtIV eJH el .. rele 4S<'d e 000 u - c..rtoons 2IInnatI;d
rn F ofbter • ...an
Eump!es of animatIOn made doser 0 th.. (HU 101" Id hze ~ prO)-
E..act::=l rde25e(l u:::'!!==z :'A?tc1l~ a lm that r 'ums ~ il
.ldtd b\ an ther cand dat{- for lb .. dlStin~'ÜOO dlSC:o\e • the tedm..."...m Eo~
~ the onnnal e zh -nunule fi ;:oa.-uard named ~u cl d{- Chom6n 1 -:-1-19!<i - He Iwd been 2 films m
-ped racut canc.:.: • ~Iona .. hen F{-rdma d Ze<c. met hlm m 19f,.2 and ())fn mm ta coIor and
n:lt sorne Parbé films mt{-nded for !)parush • • (Jo.. da. aca>rdü:z to hi.s
eDIpOr.U} descnpbons tha ""-"rr2J",er Carlos Cu{-nca. Chom6n "as sbootinz ... and did DOt ,.. a 00 the
TM I>Lritstr-rated ContlCt 4LIl1lUtlC!l s/;ft'ts When Ibe film ..-as proœssed be ..a.s rp1"l5ed ta....., *JUmpulz* about
,~ C ra::g QuJt • 0\ ember .- IIOrt .- !he screftJ and aher thtnkinz this 0\ er. dedD<ed the tb.:o., of ~ amJNtlon .\ br
.-hen he .. lus artJcl" ..... r~. e expenmen let! 10 the use of U,e ledlllJÇU<- ID a 5e\en- afit.zed}.
m the echniq e T~ r-.., made around 1CJ(J.5 calJed El Hotel elednco .\ coup e u ~ [ _ m a lI>Odern
~
=::;e-JI:3Il:W: T'''om'e an anUiaal band 'el .\mon~ 1 . unusual attracboos are m~ tenons pG\OE-fS cause ~.. to
j-ùiaPnu~1 FnllaU '1CO!I1I<!' Iboth 19fE coot4med_:I!:l en!er the e1",..tar ~ Ifs{-)f and cIolbes 0 hal>!:: themseh{-5 lIJ>-"'" Il.... :ft! II. tram ...
eœ....
a sequence of day anun.ùioo m U!t .frame nporures. The couple conlmu .. 10 manel DO a d da. ""'-.nes
tmdJrm 1910 eo -.rnh the electrica1 s~stem, causmz them ta he ejectt-d mto ~ pidc np
CID E... opau annnaton "'as enormaus. l.o eoo !heu- belonZIDZS and vo..- ne. er ta [etom. The film eusts but the 1'1}) d.te .. dobious.
al onl)' u the plo ruspiciousl~ slmilar ta Bl.odtolù hi film but. chl:d- of e reœrd
Di the teduuqne --as stroozes \'Ita~h tœ:rzlv
EllI'opean marl.ets. A ne<>'..ame IS sentO\er h·"""',.
~ !bat Parbé did nol rele--..se it ID Pans untill'1r. ..-ben rompe t-d LH d
~12OO"S_ cau~OOizeinE :dan.:! .\mericaandP~ """U 10 the L:nited States 1 appeared .... eo Iater m Decemb.-r 1:' " -,
~oc o6iiœ m F~ 1% al 10 UciI Coo:- Cbom6n bel(an .. orking for Pathé in Paru lrl )':j(.Ifi undé-r G~ _ of
p::::~ ~r.n~~~ OfCame SOW"œ of tednucal Irno..iedze D . Cbomon He contributed pecral efferu 0 th" films of F~ Zect:2 and Gas.
\dle mdudinzLe Théâtre du Petit Bob fiz )52 - IDthislil the Bob ...IJ1lc.... es

(..100
, P>1bi-
 R
134 • C:IIAPT[R fOl ~
~

flu.lnend. mlonl! , hol Ti"'11 Il'''(('1," 10' .

'1 .h,," ,(.tg' tu. 1 " 0 .' '~and \
hbp"Ppt 1 cl luen,... ,h"WlOl( lu, ton c:tvortrllJ( I"'f",,. th '1 l '~
Ud c do"",up "/limaf BI"àluu, e e' l '"'7 CI ' 'U t,~
wc on Haun/rd Hulr in 1'7V ' HJ1n{,n l'un'Illel 'd ,.
Alter the urres' 0 1 ( '1 ' 10,,,,-
wn .1 b 1 Imatll," Cuen,.,. ar$ll"" t lat ,Iom{,n al,o mad,. . -,
Sim. that ullhll'U 0 ~,:c 811 -1'1 . aOlll"l'<I
, 1 BI"àton or Cohl m th,' 190, 1 m Lil ,\ lat lOn "ant~e ,. l: f
dr.",n~ belOn clt ,er . ' d d . . . 0 o~u'
h 1 Ch 6,,', ",ork remam' to b" d",'oVl're . an tl", dat IIl l( 1"0
wltth sa mue u . am 15 IlnCtr.
., t, n of lm adul',emellh. must Il(' po;tponed.
talli. th ... t a fIDal f;'\.uUd J )
TIIf samf' mh,.II -~I h, •,....
.. d 'or
l'
anoth"r En~hsh de,dop"r
.
u( allilnalton
. '
W"II
.. Cr k

Booth H" h.d I~"II' pru("",ollal ma~ltIan, who, hke M(>I,,·, . "'cognlled the )l<Jteolta!
01 the cmcn... \roulld I~\)" h, b('~n ta dired tnck films pr"duced by R W l''ul-
HI< pt-Clalt, "'" a typt· u( Ir.ulliormatioo in "hich a drawing Ilf a pcr"ln chan~t'd roI,
• h\lllg fi~ufl' by 1/ 1II~ dl so"'e..nd ,top-acbon .ub,trtutlCln, lt Wa' prohahly Ihilln<\
tI",l" ,(-<1 III /land of //11' Anllt 1(06), Altl IOU 19 1 It has Iwen called the fi"l Bnli",
arurnated <2l1mfl. floth,n\( 111 Il,,· catalogue d",cnptlCJn '''/(ge,l, that the filrn u,('cl an!
trut" amm.ltJon
>\ltftough },,- had aln-.ldy ("pied ...,eral of Blacklon', film, Booth dlcl nol US" antro"
tlfm "l,en fte ",,,,le flanky Partky Carm ln Jun" 1007. despite the seemrng appropnale,
ne.. o( th,· te,hnlflu, n TIw ,·arlre.t existml( aetual allimated film by Boolh " TI..
orcerer, ~(1.f'"rI Octol"'r 190i fi~ , 153)_ in whkh a Teddy hear euts paper wllh
1(1 lun 'V

'1'-an"h,I,-, rn Ih,· lnlte·d ~"'tcs, al American ~ut()\c(lpe & Biograph. IheY"ete

al", trylllg th,-rr hand al arumalio" by C W "Btlly" Bitter, who would bccorne famoul
.., (,nllltlr', ".nwran,an. and ~ A 00],500, a cameraman ahout whom Iittle i, known
TIIU fir 1 knnwn B,ol(l'aph hlrn willi am mati on 1\ If YOll lIad a Wifa Like Th" (ah"
kn"wn .. flou. .....ouhl l'ou L,kr a \\'ifr Uk,· Thh?) photn~raphccl by Bitter rn Februan
l'JlI7 .",d n,I,·"",ù 0" \Iay 23 .., ln the onl' ammaled '('quPllce a bowlin~ bull appem
10 , tlrrnlJgl, Il,,· IInlS wlIl,oul kn,)(;kmg uny n( them dow11 The following monlh
153 \I .!ter R Booth TI. .m:crrr, _~ l rbon. 1907
l)ul>Slm (ilr",·d /Joli '" Dn'alllland. 111 wh ,ch "a lunchenll i, served hl Tedd) Ilear 10
Ih. nIJw auimal,',) DI,II . wh'r j'ac'h gJVf'!. d dam.T' Jwculiar lu Iheir character"HI ln Till'
III'" la,/"" /Jmlln pltotuRraplw" collaboralrwly hy Dohson and Bllter ,n ~IJI • '!alue rnodel"d in c1av " Arnaud ad",..d '\\ Ith UCt'<'>lI" toulh~ of the thumb
)901 • UII 0/ d"II". i. '-WII tOR"llwr hy .n animale.d ""cdl(. and Ih"'ad "A li Ihil JI d{'fo rm il until it is only'~ m.l.\s. and with l'3ch chan~e. l'\po'f' oDt" frame
Ol"l'''"11 I"I,,·'' wllh"ut tl ., 1 fIl' 1 . d cd
If ait 0 If' plJ1g ltlnd, _ llw vanou~ arl)(.'I(--'!' ~(,'CJll l~ n OW TIlt:' mo\t ,urpri\ing name on the li!)( of ullImation plOnt·t.'n l' that of Léon Ga.umont
a
Wltl, l''"rrdll '"1f'IIl "II' C J 1 1 · Thil
, '!'!o UIIC gt) li )CJul t Wu work lJ1 a hw. Îtu'\\ lik" rnanrH'r. whu rlninwd a patt'nt on the proce" . Whelher 1I1'ptred b) 81.I<110n\ ~m.~,t eurnple,
;",I""f"u"I"I',llh il,,· fUIl'''''\1 (ilrn '''l'r made al "l'II ," III(' 'uo,1 rnystily,nl(,"" (Em,l' ur ' 'no··'" l'ke 1y il product of hi> OWll fertile led11l1l'.ù IIn'l!Ina" li n , G.lUtnOnt took oui
.... fI 1 Ytrlll f 111\1'.1 fulurt, fil '1 1 d The
S,fil" 'n 1111 d IIIJIIllr Iln'nllll' ) ln Muy HJO~ llioWa plr ft ' t' J'" paIent 'UII11h" r 296,016 III 1900 for ,1 "5)"1le111 of prodUl'1I1R ulIl'lIIatocr-aph film "'pro-
ptu, .l\lg/'/IIIf/II Ipl,,,luj(rJplwù hr Bit,,'r wiI" J) W CrrfTilh alld Mark S('nn('" dUl'l"n,., l •V~mt\. l't'al or oth(,.ll"wj\,e b) tilt" repn:OSt'ntJ.tlOo 0l' th.t \101 ulal,'cl d"plal'ement
." ,1( IlIr) III wl",," da l, 1 1 1ad __ h
llf j,(1111 , . • 1 1 1 y ) I~ ft IIwtarnfJrphol,(' 11110 pohlihtl (·ari(.'atlln', . JjjCl~rJP. l , uf ObJI'CI' 1 l' '. " D 'p l ' Ihe t.U1t.ù1Zm~ p ra>e
ri ru 1 ( 1 III mtlflll hy thj!i f' . 1 . ('1 Il Jl "~ 1 • lOC "., III''',,~ , . trOU(1e •. ,11Ip" etc t'll'_ e ' , d..J h"
C {'pli1('(' '. 1 tl t Cali
hlu·clflC.tllvd, 1.11 1fT" .HIC Itwô.l\aIIJlO'tc'f'rlain lylhl' lin 1 'k' !tWill, '"11ld(.\ .. ("lrelul rt.;o 'ld1l1,.:t nhl~f!' It l' l ur la . mont mten t
'/1 '" 'Y 1' t"'III1" >\r lIdll(JW1Wll l 1(' Wd~ Intc', vlf'w, 'd III 1 11' J.-''')H 1,1 1 1111'10.1.1 <.'11 l ' • • ~. , , ....
1H f' nu". and fl~lInnt" to he 11lo\ed JrtHlnd \\ lth nh1\!llll
 ---~
---- - ---..:.:.:
-~~~

a ",,,rl:.'liI
1 t
~ ~mplm lcal ..
~n 10 \ 1 no J 1 im2boo esolpe(\
broul!ht th European die rs up cht 011 tœ indlStTr-
:ton "ho en \1 lIed hi London and Paru ofIi~ ~
beift penod ...ho di.-
th<- t hmqm ... soon as the cat ..... ou of th
1 T> att pl...! t
c;UJitilize on th< If kno,,-It"dl!" 1.) I:eltinl: frre publIC! ruIIW:ion
Iteh ln th
publ d main b_ \ pn 1 190 ...hen lop C en T rids .. pu
hed'naBn h
trade ~o

p,~~iI.
ID'
-bo hac! kn(NlI th tee
tment
explOlunj! It carher 1!15 T\. __
-~~d "K7e •
.., rl.-I'l-fa 1 t surTOUnd the ted!mu:.,.
llIbooak n~'eJtIed m enrac found ln Edison pn-..
c:abJOI:1Je appeaIed to erlllbi oc(
1 unn Sa<) and would ouh dt-
Pex~pos~ln!!
a tncl: More perfOMlJDfI
tmmal:ion IS dODe "!16 In Thr ~Teddy" Btan!lr
ltudlO~ [Goldllod:sl uoel
somethmg that aston",h.. and pkoI<s
nUlnb.::rol Tedd Bean performlng ail sorts or
JUn",,,,,,,.
The e<:rec.) strate!!) ,..as
SOOiler ha<! the London office ope
The Haunted If otel began ln ..arnest
c..o m} tery of THE"' ,nu~
Bewild nng," T rad"""ounW d-
-'m:' pr t ded Ignorance
The If aun!' d If (,tel and th!') as\; (,,:t
wrJUld lx il li ET man ",-bD (.Iuld r
me {;(JfUI{' th ub), (. /fow all tlu 1 t!I1II
of the lx t of th munt" Iliid on~ "
ln-natural scene • such as tumb"ng cao If-actm"- tooh l ~ \\ r llaar
_J.
etc ,are made thus takethemarchlngbattahonofw. kLen P\; tœmlDran
lM
.!J
file< male one e'po,ure
.
and then mm e ail of th "ttle b, li ._~
U,ft~~~
L
n
roch rnD'ement makiog an expo UrE' -
ln June the same periodlcal mad" pubhc the teœDlqu ofbbc bœnl anlm:llilOn.
Pittures of figures, etc, dra...." on a blackboard ",!hout banc\, to gu1<k th.- "lute
chail. are produced bl the plecemeal prac 1 e a camenlJ used ,.-bJ<b Il pro-
\1ded ...ith the meam for making one or more exposur at a \ lJlO\ m nt of th.-
handle, and each lime the handl .. is stoppe<! sorne addilionai trol.. IS addl'd ln the
dra...ing before the Cdmera " stMled agam To 't'CP th.. chail le pbœ the drawmg Jj
~eneralll mad" on a board Iling horiwntalh or nearh sa and the Ima recel\ed
bl' the I.. ns of the camera ..fter bemg once r..8ected If ... nœ the bœnl kmg ln a
horizontal po>ition. the chalk "ill re,t on th board qUite ... e11
",Ib \t the sam" lime \maud ....-as r"\ ..aime the secret durin\( an IOten .,... publi hed m the
June ISSUe of a m $-CIrculation famlh- mag,mne tRCI .. r ,l(Iur Tou ln ugll t lOO!l
the \mencao r.xluhltors' trad .. journal Thl' \ u krltkkon r'" aIed th ,;mou tITI.-
Dlqu used ln Pnnce Slrot ..." II< \\e ( n ronc1ude tbat bl 1<j()9lh onlOn>! lecbnl
m t ..c." of anlmatl"n" \\.·11 dl "l'ated
uf!i(lcnt prool that Cohl"as ..... re 01 hlOCIDMllafll prt-œd ... hen h mad hn
ÙlmItIgorl hl'$ "1tllln li", film Il df l'nnlmg the anllnat,,d foo ID nl'g;lll\e ...
Ptobahlv mothat"d h) tl". demI to Imula Blackton chail lm dft'(1 T... o of th
:h.u1k1..r ",10'
ppcar ln lIumnrou Pha el 'JI 1 unny ,u«
' th ckrA n cl lllf' bour
t

1 ~"tlf man rdurn tH (.<rh!'s film m remcam !Ô fiJrm lb ID t 'IJtII1~t

tgrapluc hnk bel" •• n tl" t \0 film IS tht motif "fth" artJSl' band tl.lI ( ut" dt ..
k('re(:V, n nique to th .. ongI of afIJ"" dr la Wb he borrowl'd thl 1
Imp>kn:l<'nted d nng dl begmnmg.l of tl tJI B a.. g beforc the C3m.. ra on th" bbc tallu ra en rad! wn IbAt 001:1-
lat ton (dlhl-ptrhal' Inadv<fU"lltly- Ituatt-d hb lihn mat
~lIIl<jlan. d prOOtlCt'r ha e typl II. r
 e ad called iicl1tmn!! 'etcbe •• In Europe IlJUSI(
~----------~~~~~
oated msuch
'-- the popuIar
as Tom '1 ;> e
m and Uttle l4Ille} made . .1 a name for th"llJ \el
If:! _
public SC1ffI1wz at the G)mnase he ft: -J
.......en 1 • • • ~ bladcboards. ln the l'mteo tates we ha\ie alread_ &ad beeD an unath erilied y-.rjes; filins' Ime
• (JII easel> mu li5 J ~
lad1m bûlmz bllrue • as a 1i!!htmI:!! cartoomst. ", ad, ertJSJDI! for the prozram of ~ :. prE:se:;:i!f:d
J tnart
1 liesB~ f rance's Ill>' f!-. li, tnlC;Z c:artoonist- on film As the "Dessinc>'n
, <-..c r ~
i::e- - •el"ertbeles;s, there is sorne c::nalIDsta: f'\ider.œ _tic ~:::c;,ll
e ttliès c:anartured oontempOl al) personalities in a style that 100 :el! \en the secretary-l!ener.J of the theater Uoo P
m l~ .
IikebU~er~art. li the ""-Ltn'
\frer.lé'es. r~"'~_'" fil
11'9l m!!~LUVDlst 'ms\\en;",
• ;.ort \lere Wting: place al the GymlliLSe One :er aociœd
mfnseA lIilfu malnC The sketches of the artists would take on a life of their 0Wn, ~rioU5 plays in the "inter 1 refer to the Gym~ ' .. t>!'I"",,..
theircreaton somnambulim. or act rebellious~, .. ODe of these films con~ mer. This suggests that Gaumont had.indéftl bsed . ~
unad\"ertised projections 'ere restrictecl to po _'el> f":ff a-iliEp:Iltp;:,;e
aDJJ!!llM dnrwim!' It..as apparentl} Blac-kton ito mst realized that instead of~
rorther tesling of the Chronophone and no:: open tG ~ :: •
ahruptchanze5 ID the mtenal bern'een exposures. graduai changes ('ould he made
\\'bate>er the case, FantamuIgorie was added tG:hé • f*!I2LQ thé-
,,-ouId produce the ilhmon o' mm in!! dnmings_ That theory, of course, 'l'as the km
..-€et of August Br that lime Cohl had ~ =tle-.ai Sëmnc! t=Dœ. 12
Humorow P!uue. of Funny Face•. The conœptiOD of the film was neverthdtsl
CaucheT1Ulr du fantoche The Puppeù _1_ tmare C<o..:.: l' <lI2W1l in _ .
wry dose 10 the '1izbtninulœtL.nes" tage ad:, except that only the artist'5 forearm,
chzIk·line style of Fantasmagorie but ID re than riœ e
bU full knf'.h. ean he Steen_
sa an that is known about it is the description puhhsbed ID - CC:Z-HHlI.-œ-I<F cz:;ah;:ue
The "licl.inml! c;,r..lOlli5t" motif was propagated by Booth when bis imitation liH..
lII(ff{/U.J P of FUl'IrIfJ Facet, called Comedy Cartoons, was released in 19O'i 11 Le Cauclumuzr du fantoche is an amUSÎng and brn!!Te se;-.e;; _ m

borrOllled the :0 male and female faces. the smokingjoke. and the figure of a don- ..ruch the apparent neglect offurm ronceals a COO5IlJllm.!.:< r'_ Lu... œH!rCI":iS

Booth S Ül!htJUnr POItaIrd •.\rtift 1908 retained ils association \Vith the stage act m:!< this completel)' new genre. r l

titk but descriptiom of the film indtcate that neither the artist nor his bands appero! Rather than promoting Cohl's ,,'Urk ,igo~-, Gamnoo' s :!S iIIlIlOS! 2pCda-:,:i1'-
ID Il
mg for its lack of -form," The writeT ...-.,s appareo~ JWI77Ied &. :ne- drzl<'ir::s W::
Throu t the e\olutionary ct..m!!e from the ïightning cartoonist ~ films to the rrrt mmed io a state of constant HIlL
ammated .1. , ~
, cartoon. mere "'as a notice-.ilile shift of emphasis from the performer tri C6hl "'as paid 250 francs foT bis third 5lm, [-n ~ cltc::: lnj--~!JIi;.;;IrM .l. hrf1Irl
dm.'lll!!S .\t' the ',1I-ler-
~1. ~n_, camera captured the artisfs act in ils entiretv, and bis lUll ,,~ Drama, caL 5 . in August 1905_ of': The {"'en untàId as gad.h -5 DI !"at'CIIOÇlJJY
pro"", Uüt:U the - dlJIiO>-
boards, Becans.,loCrE:en Later the camera 'l'as brought in doser to the easels aD rr# but as the title implies. this film bas sorne sembhoc-e -a plot \.. '~:re le
~ 001) the arm of the artist was visible bis importance as an ente ,
"-as W'I1!!Dlshtod \hth F ' ' dose-uP Il'
!t", beUconl on the làcade ofa house From me ..
indovo e' dooc.ll. -~
001 afewsec:oods Wh ~gonethe artisfs band is seen in extreme , CJ"1I lJ looks down at her caller and dumps a bucket of...-arer œ him \ p>è ot:medla-

the fim1e of the ~L. en It withdraws, the graphie work springs to life on Its, irJ!! in the mom behind her shm, us that tbere is :0 10- e The. ,JJ1Z!1-<o1m!!
.\.- 'W1I1 e litt1e clown 'des . h' liberatiOD throu~\. th, _1'..J..- _ e
~
• •'
"'" 3r1:W.-<:reator The drawi,; d i5 ~ 5U e open wmdow and causes an eAp'O>JOII I D < ' l l ,
"'iule the lines of the house disintegrate _ A poIiœman beiiiends ha- md a "":;~
n away, as though asserting 15
~ ere ~ of the I~ are now of Primary importance and the~, ,.-.ri!' ~entJern ' ~ -rt. _ ' mm 15 naw ><>= p-
Cohrs r.ext film . old \aude\ille tradition that wOllld completely dlS"l'r an Pin a medal fon-a1or on the officer .,.., n 'tho.t boiId up
"Dtng a knif.. d' turn iJlt -,
"'ail - e at a gnndstone. It explodes an Il:: pleœ> Irnife. but .li
THr CrE T' ' fie bides behind the wall and threatf'lli the "umm mth - md - m.-
F
Althoogb Fantn __ .
A II~T {; Tl: H
IQ ES U G,u MO T
~~~
-~b
in a Ilo\\erpot take it awa\ &om mm
Ibe
\.-~~1~
poliœ.man-rt.~ =
. Iwa
III g repentantl\, o\er the WOrruID ho oo.s n The 2
in Julv--uOUJ::Orle
th.t bis~A
co le '
t hclor~ the ~ t~ ln June 1908 and screened for
dao bfJ'
~1Ir.. '
Lo; Ori~_
~'-er
salad basket. the o~tlines of "mch di! ,e roto a J2iI ,. c_.J_ aah [ •
le; , the \\"JDU<'"'-
(;au "as lirst sho.. "'as re1eased m Paris, Cohl was fond 0 "".;tI' Ihrout;h lac, up the chairs and able> !:IDI - a b~ 'bat Tbe
IllOn hG<! 1_,. 'n a the lbéâ l~ 1"" lllaQ and begIn wr'e tlinl! \\ith another man \\ anD. , _ _ 00 each
>ean:h of p - the pres '\(1 .~ tre du Gymnase on Au~st 'l"ll'
ans nev.SJlaJ:>er d 0Us UlF-ater duting its annuaI ,ummer C () G '>f ~eturn to eparate them. and th" t\\ men mf'it m • bne t~ a
an Ir..:!e JO t an' er \ he knet'6 between !hem a spider de-ceo '
umaIs bas failed to documen
(4(1 •
CHA PTE R Hl l' R
T • 141
. l ' aps the two deflllted fOrlns of th e men about he
d f web \\ Iwn S le \1 r ' h 1 r neck IiI - - - h -Iess Cohl wa\ f'ncouraged by the public r€-(l'ption cl L 1 lei
stran 0 .' 1 . l!lruO m happening as a ower lead descends t cl ~ '\le vert e "
de nt wrote from Pam
fi ri ~ \ Bn • b
boa there IS Mot ll'r IIlCOI . k 1 bl b . 0 rend
corresPOll
a . t ms carrying his nightshC " T le two 0 s -form erly th 1
her The pohl't'man re U" ki hl' e IYrel.
. .1
tlers-sht 1er awa\ lU
·1 t retllrtl when the woman ..
ses t e po Iceman and hand h
cl' s Ill! 1 TIVO 0
fC aumo nt '" procluclIom are bf'ing weil reeei\ed Ihis week Fan/IUt --, T
r.] ' . . VAU ran ...
heart. E\'eryone ta . kes li curtain c.ùl remtndtng the au le nce that thes e bizarre . t 'ons [Le Cauchemar du JaTl/oche 15 a eunous SUccession of lra(.1n a < (.I, l
' . , Ill'i. fo~' _R~Ja~
. al scenes bet'tct'an as tholl"h
hon they. "'l'rI.' an ordtnary melodram a. .. l and has evid enùy been made after the manllE:r of·li~tnin!( ,ketchf".$w Iatel
e-o ..
/Oc le, . ,. h l ,II " 1. )
These first three works nm be con\'enienÙ) called the fantoch e HJ~ s beeause the) issue d b)' the Am e rlcan "ltagrap t \\. eE:rtam y meet \\lth great suC(;-e;s h.. re . Ulf
were ail done exdllsi\'elY in the whlte-on-blaek st) le and feature d slImlar stick figures
that were intended to represent puppets (fantoches). They form a separate group Il;. His succe 5s was also inclicated by the
. rapidity
' w.th
. which the first imitations ap.v.o.ed
..- .
Anot her fi lm called FaTl/a,5magone (s ubttùed leur d'Ler, was released in Octo\x-r
thin Cohrs work and also represent the fir t stage orhis developme nt of the technolog)
1908, Distributed by the British company Wreneh, it amused audIences lIith u parts
of animation .
laed b)' billiard balls, ch eckers and dominoes. lIithout the appear.mœ of an}' play-
Draldng animation. Cohrs earlie t alllmation system, the one h e used exclusÎlely
P Y"IOS The first explicit plagiarism of Cohrs technique was a Pathé film calJed in the
ers.
for the "fantoche film ," created the ûlusion of moving Itnes From a series of indi\'idual
United States) Bobby's Sketches, According to iu ,\fotiTl~ Pic/url! \\'orld description
drallings on paper. lt is now caIJed the retracing method . He con tructed a Iight bol.
the film
simpl~ a wooden frame 1I1th a !Tosted glass top. lnside \l'as an eleetrie bulb for illuminat.
in!! the sbeets of paper !Tom bebind , ln the first experiment the camera was aimed al w
partakes of the eharacte r of 'The Love Affair iD To) land [L'n Drame chr-lel fanto-
the drallin!!s horizontaIJ\', the normal arrangement u5ed then for shooting tiùes, Bul ches] brought out by the same house [sic] some "eeb aeo In this lI\Stanœ the
thi required a ,heet of glass o\er the artwork to hold il up , and the cumbersome sketches Bobbv makes suddenlv assume life and do a good man)' funn) !hin\!). The
arrangement was quickl) abandoned in fa\or of mounting the camera \'ertieall)' abOIe sketches are fu~n)' and the acti~D of the figures Deler fails to amu;e the old Colh.."d
the drallings ln Fantl1.\lIlagorie eaeh Image was drawn , photographed , Ùlen trace<! set the children wild with deligbt. 106
onto a second sht't't hefore remming the original sheet from the ligh t box. The adl'an·
tage of th., pl'l)(:edure was that image registration remained more constant ùlan il Perhaps this animation \l'as made b) Segundo de Cbom6n. Cohl behe\ed tbat "the fint
would hale If the drall1ngs had heen made and photographed separatel\', The tech· imitations came from Ital\' .. and Chom6n had heen working In Tunn with Carlo Ro,S!
mque also fostered pontan l' . . 1 ne<! since earl} 1908. Hr; His fii~s were still distributed hy Pathé
no_"
._ ......,1.' l'ous Itrap lle Impro\'isation. since there \l'as no prep an
of the *-lantoc·be fihru ' Cohl
w
.
Desplte Ù1e popularity and alluring linear quahbe . .

Howe\ er there Il ere gr t d d d tùe<! could no longer sustain the heroic effort that Ù1eir producboD demanded Later be
\"••L~ d l'a lsa \ant !(es. The rear light source produee a 1110 .
~un Ils the bgbt p.l$sed th _1. h 1 dra\\ln[ nostaigica\l\' regretted abandoning the original technique
bail 10 he Pho rou"". t 1.' une\ en fibers of the paper Eae 1 .
pre\iew th tographed hefore the ne,t traCtn!( \\"as made 50 the rI.' was no \\a' 10 Th 1.' d ra\\1ng
. In. these first films had Ù1e ment - al upp1l'ne - The moothne;'
. of n,u
e alllmated sequence h fi ' . • h (heur b bad
~n DlO\ements had he \ lPptnl1; Ù1e heets . The timing of t e syn. • of th e penclled
. . no. Jer 0 r ,hoc· . The sketc
_~ es
Cob) also
&nno
eI!:;: cal 'ulated mathematicalh and h, "animator's intUition
t the lndia ink he u ed tended to ~kle Ùle tracinJ( pap<'r
characters was remarkable, \\lth
bel' n p1anned very carefulh The gesture , e pecwh \\ hen Core,horten= \\ ete
he s.x-rtficed \\ hen
1llP transP&rt'ot paper " \ en Ù1 . . . he ~liIl' exact as in reality . There was altogether a oRne that later bad to
~ti me required to make the de ign had to he t'(.'OnnmIZedl
under II. lt Il.......... '-d a ln and wlÙ10ut substance, in pIte of t ~r
(·,.Ltl - ""'~. Ouered no re . t· . . , 110" e'
- , , USed 10 trace th k 15 anee to Ùle pen full of indlJ tn~ "l'he exi . . h mllent \.,th a1terrult:J\ t'
l' etch \0 th
B F.r ~ 0 er" stem had to be found.103 inltnalj gencles of Ù1e Gaumont studio reqUlred that e eqx'
.....,_. ~l'St disl\(hllDlaj( filin . On systems . . the obj<'CI-
:--1eeIJIed.
.. reIe.sed CL.
ID 190& 1ik Wa" the lenltth of time required to complt-te 3 t r.
an etenu 1 L _ 000 loe '"1
ObJect a'
.... tnati
. ll . fil Co Gaumont utilizin
1I1'llal/o Cohl made urpri Inch ft'\\ m r
.
r • • • Hurnrtt
Th fint \\ .......~
UUIl ta for n O\emuer Cohl had le" than _ ~ a~t",< on technique of Blackton Chom6n. and other- e ~oJDJCSI b\e-
lo
IO!otedlhr.,., 6'eda ci hOOtiu en mooth ofbard \\ork Th\. amount nornlalh te J.J ··",cs (A . ,
n < nlmaled \Ia\('he\, cat. 6 Il \\ a; al 0 th.. '?
fi t film to ll--e ~~
. ln the p _ a
lIetIed 0IIh 750 &a..cs for .L. IOr a typlca\ Caumont film '\nd the three fjltll' 'taroin . Cohl, amm.1bOn
we artl$l b 11; t'quence~ preceding and foll WIIll: to II hl hi> pil'"
/J\ SQ \\ hll ... tr\lll!! -
rot' matche and blo\\ up his room
CH _\ pT ER FOL' R

b bl -rurected lhi> sequene€', ln Cohl' animat€'d insl'l't th • III

Etienne Arnaud pro il \ ere IS
th screen il opens and a match jumps Out and stand
a bo\ of matehes on e, d l ' cl s Up b,
- ù t' Il
itself: anD 1er 0 0\\ S ' and stands b, the 6rst, un a t 111' places itself ae
" r o s s th1
others,'r '
lormmg a 1e tter H' Litùe by- Httle an eutire word 15 thus fonned , 0 l' Sallie,e
times a geometriral figure,lIo

Coh!'s skill at timing the mo\ements allowed him to impurt anthropol11ol'phic quali,
ties to the shoes in Les Chaussures matrimoniales (r-Iatrimonial Footwal'e, cat. 32) Ils
the\' cayort about their o,mers' hotel rool11 after the newlyweds have l'etil'ed for the
Digil!. Tbe aggressi\e "male" shoes chase the coquettish "female" shoes, The al'ticlesor ..
fumiture in Le Mobilierfidèle (faithful Furniture, cat. 56) mal'ch back to their rightful
mmer like fruùlful puppies_ 11l One scene in the film cou tains the first example of an
"animated" human being when a man sitting on a piano stool is SpUll up and dO\\11 bl'
means of single-frame photography, a technique that would be called pixilation nearly
a half-centul) Iater b} ~orman }'leLaren, Le Linge turbulent (Turbulent Laundry, cat.
27) was made \\ith articles of clothing, Arnaud referred to it as "American laundry"
because 11 "as shot usmg "the American mo\'ement" animation,II2
Les Quatres Petits Tailleurs Four Little Tailors, cat. 61) illustrates how Coh!'s ani-
mation sequences were planned as inserts in predol11inantly live-action films, The story
deseribes

the efforts of four tailors to win the band of the master' s daugbter when he promises
ta glVe her ta the one most proficient in his business, The love story gives a touch of
hfe ta some good tri k h h d vs
tI - C P otograp y, One sews without a thread, the seeon sel
"lh- IOut a needle and the third sews the 'rings of a By, The fourth merely does ,,'cil l
w at a trulor shotÙcl do d t h ' 1 man l'
-h cl h- an ge ste gIrl, putting the seal of approval upon t le c>4, Cohl and.ssi,tanl working on La Ba/aille d'Austerlitz, 155 lA Ba/mll.- dAul/rrlr/z (rai 30), 1909
W a oe. 1> \\ork well_" 3 ,"monl studios, May 1909,
The negatives at the Cinémathè - , te sec-
tions Were Slmed - all que Caumont-Actualités show that four sepala r gested IIle ol'll(lI1al
" ,
iclea .. _
aher observing lh e JII("IW-PIl7.1 _1.~ fli d on 011" of his '/1\ mt'rit'nn
,'\
the doorway of a ongln d a])b' ln the fi rs t th e actor Lucien Cazalis is seen emel'g'ng 1 1(011115 vi,il,-, TIIls' was apparently li [airly common proctlee , 1. "
)HUII\< '
, Cohl\ to 811/111 el i (H-
k h' 1900
me lev' uilding ca - b d lable
.ln Interior set where t -1 rrymg a undle of clothes, The secon ' au'Ior fel'Iilz ( •
cal. 30) was lh (' l'('a li zali!)n of an icleu of (,aUIlIOIlI
, t - dUllOg bac - ID l'
1 (J\P-
dd ru ors are hard at k Tl 1 1er lai
ah ressing the atell-er TlIl' 'lourth wor, le third tableau shows 1 le mas paIent ' P'or t lIls ' Alnl, wlrieh "att elll pts lu schl'Illlltrcn _ Il y nI' lrodlll'l' 011 .1 nI'IP t Je ni
' Co Il1 '\_ _ _ "to"ra-
and appears \\ith a n edl SeclJon Consists of all the animation [ootage , f lile nlenls f' l ' ) 'III 0 'U IIllerl'sl 10 l'III "
[li ,() 1liS grandiose' halll!","II '1 Cohl clrew IIpon lm l' 11 ( 1 l , t ' l staod (lig,
needl by itself, then fi.: _e and thread, The thread crawls through the eye 0 t1Jf
e
Iy, I!~ 'II _ _ 1 \l'r\ill>d .Inllllll 101
cloth ta h es to work On a - f f: fold III 154) ., • ~[) "Ipprvi~('d lh e ('ons tru ction 0/ .1 'IX'C'IU () , r hattlt' (us rP-
, S ow that tlw needl.1 ' plece 0 ab rie, The hand opc-ns a bren ' 1hl' SC> , ' ' l ' > 'nh (II thl' I;lOlllU'
Intercut With th e las sewn Il ln th fi 1 Id h3\,e COtel l' l n.lno \Vas aclaptpd l''om aCllI<l m(" ( IIIl 1 • \'Idoriolll on
- h-lVa] - e previou\ tall, ~a\lJI
' to -t Il he na print thi; section wou1 d' d III ' Ih e ~( ln t i l - 1 N-I!," eon \\lb
arc 1),,(, 1 1<:> nllll'books of COlllmandanl Collin ) al WlIt' • 00 l \\ IS Illdlcalt,c1
r_ prrnt) wQuld have h 1 d pt .. story, Intertilles (Ilot inc Il c <'In "'l' 2 1~05 ' - 700 Il 111 to 1: p, n •
"" CIlamp' d e pe Inak, the t _, in th" f'] ,<" , 1 hl' duration of lhl;' battll' froll! '
brie! - IOn U jeu à la mode (Th raosrlIons more fluid 1 Ille y
est Insert of e Ch- , es nll \ f P"l l rn h fi d()c'k fllc(, witlr unimalcd hand, (fi,,_ l,s,s), _ ' 1lll'd 1) Pl' of obJed
""d the'- anImation when th h amplon of Games, cat. ,52) US dk ,(chW 'IJet lit j _ 1" 1111' _\jlt'l'1l1 1h
Vlewer se 1 e c' amp' 1 1 Il t 'nh n- - ' nralfo/) , Eighl Gaulllont film, \"' 1'(' lIlac (' \ Il Il (The \\'(xJC t' II'
es t le pieee, _ IOn covers Iris plIaI .. will 3 la d ",~'
InO\III~ rnaa. II ' t hu - H'I>II,
"t">11II"
at Il' .. d arli('lIlalcd doll, (II' puppet;, LI',\ F'n"n - HOlll1 "l q) ICi
hlld Il}(' pOPP''h
,."ca y loto place_ Léon Gaurnon l'rI ('Ul (l), ,
, .Jnd SO!jOIl.\ dcmc s/Jortifs , (L(, t '1 B't Sport y, ".,1. ~
• ~~-------
\ , udt \ IlIt'-lr,1\1lt 1,11111\1,11,1< 1 \\ ,'l, ',111117\'" 1111
~-----
'G~:::--:=~~
----==' _1_f....:.I:.:\.:....:(:.:f~I.:E~/~~~~:2 _ _..::
III \\'111 h

' 1 ,lU 1 III •

t.l"ml!.1 h.md.1t th" fill" .lrt , Il ~ cl
h 111,11 t'"
hm,h. \Id p.Ùdt.~\\ 111 1.1\11 "l, .h.1 l'ulptor t' "Ill
Ir. Iht\ \\ Il h Ih Il ' no: 4J'tlu.
d1 \ l' hi l ,1 nIU ' "

lah 1I1 'l'lU'I'1I (IOIClI ch,: ln {j{{ill l t

MIl
lb<'f't' \\
, ..1 ~
1 1"/1 \1
''1.' of ('ohl 'l11'ht .lt'comph Iwd PUPpet 61111\ 1\
t\,ent\ dolb "h,) nH1\ t' Illdl\ Idu.ll" III [<"I)on
\~ ta tht
(1
su<'lit-oC'e" m ' , "
\\ lrom -' B ~, de \I r lown, thert' are performmg ho r ,,·, bn
, " -ars, and
det.banb _ 1- '
'Ih.ree pel unabooq ere })<'(:t•• ular produdlons oflit,'rary tÜ~"(,, Don Qui,
Don 1 9 (1odt''1, ed the fanuhar t'I'\',ll1te, stOI'\ IIlto a ,ene, Il
Le âChan:m r t.;H \\Ob adullinuti\t' ,ersion of Ro,tand and l,e
,c cr, tht'o belli:: rt'\i\ed in Parb L. Tout Pctit Fallst lcat 60 \I,lSnot
~ the Fall,t hut 00 the opéra-bouffe, l'NOn that had been a fa\ontee{
Ûlhl, , he had an tured Lé d',bro in tbe roll' of ~I arguerite in 1 :1 fi~ 15-
Cob! had nd _ p.w1ted ln !!T1>Jille either h\ Gaumont's decorator Robert.
Jult'5 C et' r h, Ben Carré fig 1- The articulated dolls, whlch had to be reposl'
booed ..ad! expo, ure, \\t're t>tumed h, Cobl fig 159

m • Cohl warkmg on Le Tout Petrt Faust, -\pri11910,

~

LA Nouv'iièr"t UN[
--

• fOr L. 7:
OUt P'iot Fault <al bOl, 19\(1

I~tnll
larch 19
 1I1'lwt fi 1n" t ll', Huitht\. of motion wa~ rt"trictt'd by lll(> lli'"
"nes, of 1
1
In.1II t Je p. t'- \\'en~ IIlt\lp.l
. Ile ofhfelike mo\ement ln some films , sucl1 a~ S t l'
"1
d"I" ,dllm' JOIIl t 'as \" Jl'rky that even l'arlr commt'ntator\ not cl °Y0\Jt
dNle'lk). riif, ùw mo' l'men \\ - - "lIh 1 C that .
1 f-' ,lOden tOI affair. But t lese were Cohl's" to
t \ 1.\ too mue 10 II \ l . . \Uperp
t·,erlon~, 1 1 . . 1 all- nllnated films that equaled the length of Caumont' 'Il-
duclJOns :md IlIS on 1 a s nO'lllal
releases · The ll'e
Cl/t.Jllt anll"O t 1011 . _ .
of cutout fi gures (d't:coupages) was a 1a b ar-savin g cl l'vic
r C lù t had been for Blackton. En routr (cat. 50) was probably the first film t ~
.or 0 • ilS' Ù B" h F 'I [ . 0 USe
. elc1us"eh
the tee hOlque \ fra~ent at.le' ntis l m nstltute• ational F'I 1 rn At.
1 . . < rOll te (cal. SO) , 1910.
· h Ùlat the design
chne s O\\~ ,
of the two-dlmenslonal
. . . .
figures was denved From po'rn1h\'(''. 1611. ""

puppe ts fi .", _ 160'

. The ton. ' hOllever,
. IS 11Ighl)' onglOal. .In. each tableau
, a cavelllan
\\ô!ches an animal Ln motion ThIS scene IS fallowed bl' a nSlOn of man s application of
that princlple ta modem transportation. The bird, for instance, forecasts the dirigible
the fish is the ancestorofthe submarine_ In the final climactic scene the earth is rotatin;
on its aus propelled b, rockets, airships, steamers, and balloons. When he lvished to
mdicate \\ôter, Cohl placed a sheet oftranslucent celluloid over the scene. The system
anticlpated the later application of ceUuloid ol-erlays in American animation, but the
Idea of dra\\ing rus figures on mdi"idual sheets of these "cels" (as in the Bray-Hurd ,
pracess did not occur to him
Cohl w>ed sketches of the cutout figures in Le Peintre néo-impressionn~te (The Neo-
Impressionist Painter, cat. 581 to demonstrate how the)' functioned as animation short-
cuts fig. 161 .

GraduaU\, to al oid the long and. franld} , tedious work demanded to make thousands 161 Cutouts for Le Pnntn' néo-mtpnUlOnnW<
of dra\\ings. one rumed to silhouettes eut from bristol board that one could make go
ta and fro across the background bl' usmg registration marks. 117
Le Peintre néo-impressionn~te also toyed \\'ith the mherent artIDciaIi~ of the sys-
But \"th the,e articulated paper 6gures the mo\'ements l'lere even more restricted tem. In one sequence, for example, we see a carnel mo\;ng acro 5 the sands of a desert
!han "'ith puppet.. Cohl was weU aware of this potential Haw: lfig. 162). \Vith the camel remaining station~, the horizon betiru to spIn about ~
Thib'ls ~_trusion of ngtd cardboard led to real dryness in the character which, made U1 central pivot (acrually just a pin sruck in the camel As It come to re,t ·upside down,
a oc", mOI ed Its arms arti uI d h g the camel tums into a ship. The dark area that formerl) repre>ented >ohd ground is no"
h "-_ , c ate at the shoulders by a single pin, without aVln
to s oot u ..ne-b, frame Th k . nt seen as sky. The light area which used to be sh, i no\\ water The tncJ.. \\<15 intended
of supp1eness. w-- . e wor was eCOnomized " obviously but to the detnme
- . al ge talt fa ned
l'to dislocate t h '
e Vlewers ,reaction
' . to the repre entation nb, . the arbitran.
In se\ eral films h . I~t and dark areas.
e expenmented " ·th theU'
thatprofited from th fi 1 ways ta tum this disadvantage into an aes MiIed" a i'
n malron. ln the majori!\' ofhi Gaumont fil m'. C0 hl did not restnet him-
e alness and mm 'ah fLe Dou:t If
se tousing 1 - ù h edntocutoutfigures
TrataUI aHer-·L (Th T Cl ty of the cutouts. Each tableau a S of wh' h . on y one technique . Animated hnes frequen ) c ang 1
".", e welve Labo f l' bs le ln tu h
••ther Hercule Or h ad rs 0 Hercules, cat. 55) ends with the lm d Th me anged into solid objects or el en mto IJle acto,", Th
IS \ersarye lad' hl ma e
no attempt to disguise th.
rend . .
xy mg and Bying away from his torso Co . J
e figures Iwo d' , pe-loe
e first fil t
\1 ••; C.
b' - .
m 0 COm me se\ eral animation techmque, \\-ru.
U' Cemau maE!lqUf 1 e
. 1h ' .
enn~ Or il) hidin~ th - lmenslOnality either by using trom Id "'c Ircle t - ) . hOI\1og a httle IDr angLn-
e ptnsthat h Id h b woU her to 'h ' ca . ( . After a live-action fran11ng equenre' _C Id ·thin the
~
<n '
,..ln around these pIVOts for e t e cutouts together. Sometimes hm s hoop oop th .
on e wall of her room, a erie, of metamorp ho,e UIllO \\1
~ 3
purely humorous effects. S ma,,' b . . t e hoop re<bn_ on
"le oundanes. For the animation ,equf'nce .1 111101a ur -
 pœn~ ~ed ID ordt-r
!lIN~_~:c.:: OT!~ t2:l.... dbiclb ID IL ma end

~
Tbeen' nœœ
tftimJq&e back !"\ eral \ ean eaJjlJer!!:..
-13 ·en bearted Pedro
• 00. ~ aoo- e the oonmn
'f'SJklDIk ln ~0
1Il mè. bnxi5es the moon· face then pewe:!
D.W~ 1 . '-'ID H
l!l t~c"aic~ . a ha. .cbe \T_ \Ude ID Clmr k '" apI!•
ID aàZlrin!! oh .......""",. jus bei • T_ Eç.,."l"rS-

<="""!lm. mllllX"l =i:!"attJ::1:;j he. een In e and animale<! be1n _ (di
iplll--!dXl:Xl act:wa;-, ;,ee dial!r3m l fir>t he m
~~Ba~ ;j?,=Crea:.'3~ emprrblac .~bachI.rop B) . m<J)~~
- ioo!:a!'!; bf.nœdtl ........... Lllto =oct numher ai frame; reqmred
... oclnonized !) the spea5c h,e.,.-en ~
~~~ sequ....-nœ hem!! carefuJ ta mamtml
!!e Tbe ..iûte moon C1l \lU .. ~
pœ =imed in · e upper m:bt corner ~
the Wlps ci 5lm rould he {'(JIll
pnntII:!! method' Jbe'"
moon -as rolored bn
ao;.~ .a::rar'=:~tter. tedl:ml!::al RlCœs
thrud a bole ID the "a.lI ""d":œ ioto action .\."er an exj:!b-~
'onous t:hree-<hmen~ IOnal ob.,a ~ indudin= a d.m= 1lll!""".....1L
~ an impiili ammated ~in": who auns 3 cet throo~b
in 0 the apartmen on the ridl and the oId rotrple' hxle
Cddpl"OC"eOOed a!, in Clarrddun pc. db)!iIm • the \~lOCu.>:> So-st""dplilmlm=
lIlImabon ta match the de, dope<! . . e l "uu)d œ.
~ field of the len ta en:ure that the ~ ..void er--•.tho",.. ~,cal
\\1nIe
~ lit- "-0"'00
.J. '--'1JlIpk>
al Gaumont. Cohl ha<! no practtcal ~~ btm-
of antmation lechmque, He m' entc>d ,be .....
"i'IlJlmenl """ Ileœ.~. be de\i,ro 1 him,.e
0\ L •
unt t1u" nothin!! morE' than -a table

=!Xxil!l
r
ID onler 10 00.. imul un : :
'-'-' UJ(:a!4lTn tlt1 clJti . e ·Ooor el bor'S 1
": the rom mou "aIl " ._rI"~
fnend are en~..n- an
.~~~
~ On t>ach Kle 0
<:amera be v. rtunate ta ha..e lhe G
....1IJll]1t'S..cumhersome a: a field camera. It had a repu
1 ima .. mad 11 .. œUeu r anuna
~ .. ~ .
t N.roIIlC>-llr-;.ltll

W!:1pIe The ma JCLaD detects th tD had 'an.tble hutter ,pt>ed- and pro\idc>d re \. ,'lt'" -
 1.:-1 COI\I(~~k _______ ----~~----------------------~C2(~~f,~M~\~(~,H~F.~l~~~~~~~~
_

ha,l"d ~
-, \ tlàlltler or sp c,al (·Hect tilt' film <, \ U \1 0 T • (;(
nnc ZCIS or PIg e
[ 1 J ,II ..oh 1'\ and d"uhlt' IJO un' . Il " hkt Ir that Cohl h d IIp fOtr, Il /' v'
mag.1ZJOf .or ,II ( 1 k a "I<'" ,~
'ùlu(I om 11110 ure p T tllm as Bac' tOIl had don ,) "',h~'L
~pr k t o~- '. ~ 1
'lfcl,·,('nbccJ Ihe (,reumst,' ('t of mtll.,1 cmt'matograpl, fi
(,(" Il h JO"! ~ g, l&t .
\r,,~1 "ftc 1\ tl,C' sllootmg" done 11111 elarh'm'd room with thl' draWing\ bti •
1>) " 113n k of te
l' IIr n,eh t,l, etnt larllP' \,tuated
"
hen"l'c'" the I~n
\ and th
~t1"1
'II
L I S Il,, ilrll l "'Lod an op rator "hom he IIhtructed ",hen to t e tabl,
,,"'fi" UII' . Urn the
If", C;IIn",a, huI 1lI0rt' "ft Il'' shol hl hUlISdf in order not to hl> distracted ~ank""
1rd'
n W", 'If
Ct' JI'\ .. I ('\1'1'\ monH'lIt " errors Wt'rl' to he aVOidC'd a d
. n erro,Onl'l'n.
•
l"
olt, " d,fueull tll wrrlX't
~ ~~
le •
.t1", \ I.'m ft (jUIn'cJ Ulam moddK'lIliom. The bank of hght.. made W k'
Or lng Und
,. __ .1 ......... ' •

Il,,, C:IIllt'r .. urlCornfort"bl,' nd came,1 t h (' paper to curl Cohl soked this hl et
• ~ 1 - 1 1 . pro elll b, , gs for shutter-tripping mechanism, with translucent o,.rla\.
ft pladn~ the st"ndard ~2 mm 1"11 \\ltn a .5 mm te ep loto lens that allowed th Ir,;, Or;lwln
' I l e caille"
,11111 IIghts 10 be r , ,d 123 But tlll cn'atl' d ," 0\\11 pro lems, The crank of th
" ,~ 1110 IlIgh 10 b,
"
,,~ reada'd, '01", deI "ed a s\'Stem for exposing single f
ecaille" mechanical drawings, complete with transparent cellophane olerla~ ,SUI!;~e~t that he
• " " rames bl e\'entually intended to patent it (fig, 165). Later he attached a sm ail el('(tric motor that
1'"111111( 1)11 a cord te<:llDl ,II de l'nptlOn of thls system and a series of carefully dralt~
rou1d be activated by a remote switch to open the shutler and adl ance the film one
!rame at a time. With the electric drive, "the crank tumed \\;th perfect regularill and
the images were exposed at the same speed and lighl intensit):" This system \\:as al-
ready in use during the filming of La Bataille d'Austerlitz in \Iay 1909 and is e~~entiall\
the same principle used on modern animation cameras. '
ln the back ofhjs notebook, in 1910, Cohl compiled table of aperture openm~s and
depth-of-field calculations, a chart showing the \'ie\\~ng areas of lenses at \'arious
heights above the animation plane, and tables for com'erting the number of frames in
an animated sequence into projection time (fig. 166). This compendium of data, still
familiar to all animators, \Vas signed "Emile Cohl, cinématographiste."
ln less than three years at Gaumont Cohl had transfomled the erude, jerky experi-
lIlents of Blackton into a new cinema genre. Single-handedly he had ereated the tech-
nolo~ and the art of the animated film and had broul(ht il to the first plateau of de\el-
opment The images of his films \Vere photographed with the same clan~ and steadi-
nes; that distin!!:uished other fine Gaumont produets, The motion \Vas smooth and
flickerless, Cohl had de\'ised advanced sometime, hold techniques for diminishmg
Ihe amount of time and labor required for their production Had he not suœeeded in
dolug 50, it is unlikely that the animated cartoon would hall' sun I\ed in the intensel}
l'Omlle!'t'
, Ive economic en\'ironment of pre\\ar cinema, once tlle 11\1 ,'t'la1 nOIe
. -ltl. had
eroded . 1n \pa\\111n!!:
. a continuai Ho\\' of Oler sel entl fil m; la1mos t ail of \\ hil'h L'OU-
Iatn~d ani ma te cl sequences), he kept the public intere,te. d'III t1le !len rt' and whdt.od il-,
IlpP(>!i!t. 1 '" 1. t f lm \\ork But hl>
L , 1\ {'rrett. he treated and sustained his own rnar~e ,or 1
, 1J[lti. ra 1\Il <ll'ue\'erllt' 1 fil h d th haphaurd polIIt t "
)(H Cuhl .,1 ,lIIlIlIUll UII , ,
n \l'as more than technical. . "one oftlle,e lm a e .
 embIed men' ta! - eff~
e of (>e("la)
,~1, 1

---
di>crplil>ed co nnml: to the de\elo pTE R f J \ E
P'D~
prod a1thoucll the C'Ontent "Ols 0 en Cil'
Ga,DIIOn! prod
mOIlml arumalro
, J.ajd down not onl~ the tt'c
but il> aestheb oo,b lU "eU. "1ll(~_,
..
__ gollywood" in France and
~eW Jersey

P,;Rt. 1910-1911

CohIIeft Gaumont on JO. 191 0, probabl~ lured

:\0\ ember =er oC a
better~' The parsimonious Gaumont had abo ju" ln Bosetti
hnncb. and Arnaud would join Eclair in 1911 .-\r.er a bnel \.'lICO:JOIl
Frmœ. Cohl returned to bis new apartment in '.Iontmartre· he.,,; ",..........,...
Le Retaprur de cerr:ella Bram, Rep.ured cal.
Iwo Pathé films:
blm nlroarcüna.re aun bout de papier Ertraordman \$entures oC 4 Pieœ ci
l'Jper. calI).
lt ""-S not long before he began to realize tha s:i0lin~ ,,~th Pathé ba..., been
lmistake. His ~ for '.Iarch 1911 noted a ~Pathé quarrt'I- bu smœ he prob.hh had
la! 110 contact "'ith Charles Pathé Iumse\[ the quarrel œr....inh m t ba..... beea .
Ferdinand Zecca. whase function al Pathé was anal _ Il f euiIIaœ . t mM!
.no .. ,,-, known for his hot Corsican temper !
Perhap the argument was about Cohl'~ ne'\< as '!:DIIlen: ,director the bm'b<.....
~
-"" Slaning a perfonner from the opéra bouffe, Luaen "_L \..:au.Ii )_1..---'
DOiIlU - ln

Cob! directed ten of the e film beh, een .\I....dl and \bd II Il: _ ~
- ~: >ereen romics, and Johan:! joined k f"U"" rom ~ ~
Ùlt1en BataiOe, ~CallDo~ Clement \I~". ~Utù .. Montt- 'Imnre ~
tr-oo" René Gréhan, ".\Iax" \Ill LInder, R _ - PruK"l' ~
Jabard Duhamd. Judo ng onl) from the ....nop>e> 1 the Db the bu cbaTa<t~
Uctuated from a henpec 'ed boUrt:eob to a lecbe ln tbaI
taI.I ~e ~ound out al a frenebc pau> and \\ ere \ n lmibr m spm the ba-....
-ntten ID the 1 Butthe\ comumed ail the tt be,.-ould
':lied to an . -rhi _ - A - . mdo
(1.._ . tmabon, thu, ploU.'ln p Jum ID the pTI."dJ~t.. . l''~''
"""IOn ho a1so had been ~Irn ed to e anlltlated lm onh m the mt~
lu other d.rectonaJ as irnment, ln Juh Cohl msd bis
o
dl and t-mMed on hort \ lion It enlkd ~\ \lbeD b<"
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------
EC I~ 1
COHL" hIERIC\ 19L-I!:I14
. '.

-\r1l3Ud probahl} lOuoduced Cohl 0 the dlfl!ctur Echi ~ .

Eotnne.~ -\r1laud hac! \\TItten to Cohl from .\menca thanhn z ~ fur JOUr)oo ln
fuota
Jllh 191_ l:e Cohl had hot of \maud Cath .. r I! Ula} Ime bee • ~
..".,eur ed D • tun.. th.:
I! \\4> >ul!:l!e,t
.",...,un ,t Cohl \\ added to the ro ter of Eclair em~ b.. L ' _~ __ L a ,_
In .\UI!U. . . uaa ......, von Je_
01e te r commerclals when the eXCttinl! ne.. cam.. be L,
[Yil"otl· . . , ,. U<"Wl: tnm.
krred to \\ork at the studio 10 Fort Lee, • "'" Jerse) He Ulled ..tth ~ and
UJdn' first da:. from Le Hane on the steamer La Lam",~ \\ben Ibe &mm dist-m.
b:;rl.ed at Ellis 1 land on September 29. <:Ohl had bis first e'XpeTIenœ ID
\nIenca. The 3UthOrities requested!kt, for sanrtan reasous he ...:: :he
eDt handlebar moustache !bat he had fint ::ro..n ID "m fi \adr€ G 2
n \\1ùIe in America. he would find !.hat i pt'Op\e ....re irequenth 1Dhnsp.:mIe .
. imers.:\ "" York e, en had a la,.. forbiddm" the Iunn!!! of zh<:m as -plCWJe
~ts'O
\e\ertheless, Cohl and the malI band of French ciMa; al Edairmmmeden
·;tic.about the prospect5 of .\merican life :\maud. r eump!e decI.:..d ""
rod:...., -a1together Paris \\itbout the Paris1eDDes Cohl t.xpbe-d the et: ,
::ml""" ..ttradions, such as Coney Island ....here he bac! a tnd: ~ =de <oc:
1 ~,

The migration 0 directOTS and technictans w the l'mted 'es.. a b>-product oC

...., oontinuin!! meteoric rise of Eclair The phenomeooo .. the more <Ur. ~

[
,• • (If~rTt R III f
OTIIFH"fj
o1 l Y 1\ 1) 0 [) S
• 15'1
- - - - 1 European, h"j!;an to /!:<'l lIind of \1urdrxl'. cl!Ti 1
t As t le 1 t1, he" the. th .
",en , Other American outlpt \1 urdock d('part ..d for Euro t reaten<-d
fi d an pr' 0 explam th t
to n, tacuh there But while hl' lia, OH'rsl''''' the compa d' 1 l' 51 uatlon
h' con . ' n I "'0 't-cl and aU f
ta' , in"estment, were lo,t \1 urdock fdl my\leriou.ly" 1/ ' p ' 0 the
Europeans d' h , ' m ans. then dlsap
It gether He reemerge 10 t e COIted ~tate, to I,et'Om d -
pt'
are d a° ,,.
1 ade as,oclatlon, the ,,",atlonal Independent \10Vlna P •
e preSJ l'nt of an inde-
'II'
ndent r , ~ IC"",,:, lance IIhich
pt' d bankrupl in less than "X month,. J 1 \1urdoçk a , .. Ido _ t d' d fi' ,
wo ul go dl ' ' m \ U le gure m
'ile and film history an a c asSIC wheeler-dealer hecame th~ nn ' rful
\i1U de\ 1 • " . .- Y" .. v. e manager
of the Keith vaudeville CirCUIt 10 1913 and, 10 1928, cofounded •. lù wlth DaVId Samoff
d 10seph P. Kennedy. 15
~furdock's
an disappearance so disturbed the European produt'er> that the~
dec.ded ta
tra,el en masse to New York in the fall of 1909 to iO\e'hgate the SItuation for them-
se],-es. Eclair was joined by representati\'es from Hala. Le Lion Pathé, Gaumont
174 Trick photo~ph \ "
1913. et promio, Théophile Pathé, and Raleigh . Ciné-Journal predlCted that the) would not
regret their seasickness.'6 Most of \1 urdock's former producers mcludin~ Eclair,
joined a new alliance, the Film Import and Trading Company. 10u1)00 and Vanda!
because the compan' had been founded only /ive years before, in 1907, bl' Charle>
retumed to Paris in November, depressed at the realization that onl, Amencao-made
IOUlJoo JIIld \f.rœl \ andal Iz Soon they had acquired the estate of Etienne de ].,.
films cou Id be successfully distributed in ,,",orth Amenca as lonl!; as the "'PPC was in
t-épède ln Eplna\-sur-~eme The celebrated naturalist had cultivated exotic planhnil
power. Within two months Vandal connrmed that Eclair was openmg an office at 31
that med as exct'llent esterior locations for the fust Eclair productions. Jourjon and
East 27th Street in New York as one ofLaemmle's Independenls , It "'as predicted that
\andalalsosho\led goodjudgment m hiring Victorin Jasset, who had been workingr"
"the Eclair Company should prove equal to the task of selling their OIm film in \mer-
EC~p'e ln ~eptember l'lOb Jmet'; first episode of "Nick Carter, King of Detectiles ica, where they have won general appreciation .. " Their first release "'as scheduled for
"as relt:ased. Le Guet-Ape,,, was an o\erni~t sensation.
February 7, 1910. The films were shot in France but printed and tiùed ln the l' OIted
Uke other French produt-er Eclair coveted the American market, which the Edr
States. When Laemmle founded the Motion Picture Producing and Sale, Company,
SOn Tru t-iOOJ1 ta become the ~Iotion Picture Patents Company-had sealed offtotM Eclair jOined, along with Ambrosio, Hala, LIL'_ and other European, \feanwhile,
smaller fOrEll!n prodlJcers in mld-19O!i possibly in collusion with Pathé, ",hich ben~ Eclair was establishing its reputation for films with no murder adulter", or seduction,
Sted from tin, bJm. to Ils t'Ompehtor»,13 However, by 1909, as the power of the "P~ "which American audiences neither üke nor understand." ensing a lack of comic
dramed a"..v Eclair films found their way into the United States via the Chicago·hale<! SUbjecls in the American market (since the old European sourt'es of comedie had been
l mque l'dm and (.orutrut1ion Company and Anti-Trust Film Company." At the!aiJII Partial Il' dried up), Eclair announced that beginning m 1911. the~ \\Ould offer at least
f e n"IWüatlOns were und .. r ""dY with John J \1 urdock of the Western \'auded~
tim one split-reel comedy (that is, six to eight minutes) per week. Th" declSlon wou/d later
ana~rs A sO<:Iati 1 dEI r ,nlo
Ameneau
. on t" sthe r~sultmg "\1urdock affair" that propelle
proout1ioo cru be strong motivation for sen ding Cohl in order to help meet the mml!; Amencan de-
mand for comedies. 19
Murdoclc had èI up the Int .' ln Feb""
lU) 19H9. wltl tl ~mahonal Producing and Projecting Company ad ~ AnnoUncing hi\ intention to build an American studio in the fall of 1910, \'anda! later
1 I~ "'rn 01 ""Il< rt fil pr uct (.. h0'. aita ln' Fort Lee on buried under the
,""'uding E(Lu d fi ) IO~ ms from uncommitted European J [/Il Linwood Avenue near \Iain Streel no\\ ,
( r, ln l' "nct' ,,1 tl 'f ' k' presSe<I approach ( h te of hl> ~mencan
'Orelgne" \litl h
1 U(,,"Ssr 1
Il' rust s quotas and tariffs. M urdoc ,m l '''''
1 t \'e \ lU" t d· ramp, of the George Washington Bridge ,or te" .
Impur! larilT "n 1 U (l1ngrr- sionallobhying efforts to maintain re a J _ho aJI'I • U 10 a d 1 h f It odem ucton lIas
L il! " a oratory. By February 1911 construction 0 an u ram -
des orelgn "lm stlJ(l, l. k . . , thoUp" progreS,,211
pIte Its appart Ù n Of)lIn to th .. European producers. h JI!'
" } strong l1 1 t r ln the 'd , h French dm'etor Gas-
wou a leI)' .haL.· t1 ",e(1lfJfls to H, F_ Keith and Carl Laemm e, .rt,r.st
l'.d; ·Y t1m'ortium ft 1
"m as "ell as If'ch al'
. , fi~ht
a(-d ('nOTlnou, legal proulems in ItS , eqolP'
J.- ton la ml st of shooting the first Eclair-Amenc-.lO fNture , t e d f J replatt-
nlf·"t 't'l'Y 'udd"nly di('d on September 13. It was the rt'sultm~ nhee l'~~tedtate,
21
nif Jl,,)hl~r'. " ec Uon lat brought Arnaud (and ,ub,equenth lm ' c'
ns ln SlJpplymg noninfringlJ1g pro) men d Cohll to t e
160 •

~I'
.muan 6 1912. and \\<1> tound to he .
,ed lfl Fort Lee OIl j ' . an Inter friend ' or •. the e'patriate American archlteçt d Fr
• 161
Arnaud am ->. .. _c IbM \\ltb Amenc.lIl l'u,tom, and mann e, ~ ~ "th "' . d. ,an om workt .
d thOU~1l UlUafi\ el'\ a. 1 h' "'lie hllll all a 'antage o\er mo.t ofh, t'Olkaaue< .h l' n~ 10
p<'rsonna~ an 1. d t and a man \\bo "ill readih adapt htnhelf t et h, tic<'"
cl T l' ,,' . , >." 0 re led on 5 .
he a qUic. ,tu en 0 ne" !J.,0 on . e1 to tran.late instruclton; and other communlcat . l' a "l"
prnm;,e, to l'~ lup the ,todlo ht'Cam .. efficlentl~ on:anized ÛI' '\)n(i,. ed GnS .. hl' Ion" me udm!!: Arnaud',
tlon
- r uder lu <,aurrs
b ontl of the,e
.
crattsmen were
c
.ormer Caumont
. 11n~ to
Ir.
0"'"
"hen he \\,1>
on the ,et d ..echng.
2S
0 s first dav of work olt h
.
.
IS new Job "il> on
d coonecoons t ~ lIIaj hl .. emploI
nau \ 1 r th menc:m brallcb is most nota l', reported .\torII p' kW her (6. F h 1
"Th p<'oonne 0 1> ' . Il F Ig ICI l ..)< a1read) a lar.ge rene CO on) III 1'.ew Jerse, workm" ~or Path' P 1
e 'Il th French" rel there 1 a OIo,t capa) e l'en ch man and 1\'1 Ur, Thert' \\, .l .. .... ~ eer es"-
\loM ,\ erem e . "'3 .. tl 1 . ler~tn th 'al and for Abce Cu)' Blaché, who was openlllg her Sola>; . ,
t th ft' 1 t he fi und a nattl e. - \\ 1 l t Il' nahonali;tic d . • ll'orld, R0) , 1 1 . campanllll Fort
Amenc.m ma' 1 . < 1 h' Il l"On li tember 1912. Among t le ot 1er French techntclans worklll" ~ El'
",p.I t pl ka French man hl-e Coh to e III\'oh ed \\ith the l' cl Lee an 5ep . . C . , n or C Ilir were
Iabor It" na,~" . ro ueh~ amen Henri t-lalre, M. J. IlIsac. Georges BenOit and René G' rt h
of romedl r Il'' ",d h beltf'\'t'd that the French had a ,peciai genlu ln th.t the camer . . .' uIs,a t e
Lucien Andnot and Henn Deau, and, amlln/( III '01 ember B . .
a5!1istants enJ3mm
domaw Carré. Carré (1883-1978) had heen a scenic artist at the Amable tudio, then the ~Ie.
EcLur i1gat a distnbuoon l'Ontrad \\ith Carl t:emmle wh en he fonned th, . Studio • which supplied sets for. the Opéra and other theat.. r> ' He had "-
lnl\mal Film \1 un Comp;ul' III June 191:2.-' B~' tI,e time Cohl and lu, ness 1er uefn
hired bl' Alice Guy Blaché at Caumont ID 1906 and had bet'Ome one of Coh!', friends.
famil mrded th Lomun on UI!U t 29 191:2, Eclair had ~o\\'n to he Olle of the mll!t
He was a neighbor in Montmartre and a Sunda)' pain ter "ho shared Coh!', IIltere,t III
pre< dp raus es On tbe-\mencan filmmakmg scene.
art. He was hired by Jourjon early in 1912, and III No'ember 1912 he amled III 1\e"
ln Oct ber Cohl rented a mode,t hou, at.Ji Hoyt A, l'nue and fumished it III th, York to became the chief set designer and art director at Fort Lee.'!Ii
fasluonahk 1 tli al tot.I COst of 230', The famil) settled in and qUlC~\ There were al 0 Francis (né François) Doublier and his "ife. who became good
6, 1ï5 Cohl ,poke English weil enough from haring pme- friends with the Cohls. Born in Lyon in 1878, Doublier had tra'eled about Europe and
Asia as a cameraman for tlle Lumière brathers. Between 1902 and 1911 he managed a
photographie manufacturing plant in Burlington , Vennont, where antltru,t Lumière
film stock was made. When the Eclair laboratories were estabhshed. he wal n.merl
head of the negative department. According to Coh!'s notebook. he I"ed at nearb,
2011 Lemoine Avenue. 27
Il'hile in the United States, Cohl worked on dozens of new;reel \ubJf'Cts and a ,erie,
of ammated cartoons called "The Newlywed ." \ 'irtuall) nothlll$( i, kno\\l1 about the
long list of titles he identified as "weekties" in hls 6lmography e\œpt that the, were
joumalistic reportages produced for the Animated \\'eekl) Thi new,reel "il> he~n
bj the Sales Company in March 1912, th en continued b) l'ni,ers.ll (Eclatr'; di ,tribu·
tO" Coh!'s titles refer to topical new. e,ents, and his contributIOns were '0 short th.lt
they lIere not e'en IIlcluded in the published Ibts of releaw, H,· delcnbed them ,n
1920;

1'hew Iittl .. film" only 30 Or 40 mete" long, almo,t Jlwu). underhned '010" l'Om'c
Or 1.lwnt n('w, item Vve ne, er saw them here [111 Fran(·e]. 111e\ Wl're too Ipec,ah,ed
and I)f'111 terest only where they were made They had nut h1111( III t'OmllIon neltlwr III

1'''rk
.
ri"
1 110r Itnportance, with the films of 120 or 150 mett''' that we urd lI1a. . film here
'OU Id . dd 1
a t lat the work was rather restful and 1 J dore d tlla.t' l,hot them e,e"
" ~ III ,,'W ,. k l ,~
1\ 'Or )!'tween 1912 and 1913.-
d Apd" on ~ do nut ,. . . cl Ùlal none e ,U'\I'
li5 Cohl ~Jth ~1J:ldllll( an bet.u.,o')('~id
l '\"n kll ow if th,>se films
1
used al1\ Jnlllldttun lt l' IJ l ' IlJ"ch would
. d d Ùle ar't It . t It'lrlU ' .
fort Le, 1911 l', t 1<' persona! amu,ement th,,\ .ù!"r ,.
 ( Il'PTfN ri' E OTlffR"H
o li. l' '1 r, f) 0 S
, t ILl CuJ,,,lc' tC.lt 145\. for i"'tance Was 1 • 16,]
1 Jt ht,tonr-.I1ID t<ce' . , re ea.,..J berl'Uld" ,tnp. whlch B1ackton had su pen 1\ d . '
00\\ 1><.'" l:I"t" ·aft th fthe \ell York \rmol) Sholl \\hieh first . '''tn , lum ,r. e at \ IIoJ1:raph '
13 the ermJ" • totrod \el"OJI 1 ted The Stan; 0) a .\fosqUila and "'as alread. 1 . 10 1911 ln
June IY ID ' c a \ 0 doubt the film could he added to the 1 u""d h camP e ) P annlOg his fa
Europ<"an Cuht,m to ,Olen ' Oog Illt of 1912 e ri· JI) Finall> sorneone at Eclair ma, ha'e ;u"" t cl h mo,t mou,
00 Gc IC· • .",e, e t e pro)e t Mt
raihnc; agil.tn,t thl' ne\\ m \ l'ment r,ll1 n.. mie strip to cinema \Vas an old Idea. There had he BI C. tr ail,
tin~
.... t t r e ' t F ,rt Lee lia' the creahon of the 'The \'ewh'weds '
eohr- malor ach\l ' I D ' . . ... ln 1911-
d
J ap
a co 1' ' ' · .
. " HapPY 1100 Igan senes. sorne ep"ode, of Out .. 1. en ackto n , tu
m-of-
. h h t~Ol'(' of th" ,enes ha., been um,·ersalh Ignored h, l, · t -ce"tol') 1.( f h ' <:au t s Buster Bra ...
1914 \Ithoug t e ell' , . IS onans. 11te d· 1911 David Horse} ote 1'\estor company) had c Ira d . "'n ln
. Chi· mo,t ambltlOu, project to date but would .Ibo pro, 1.' to b
It was not on 1\ 0 \ ,_
'
e CI1J.
1 ~ ' an F·10her for the ng . 1 h '" , : o n cte ",th c-art
lis ta IS .\1 utt and Jeff ch.racte 31 A oon-
ela/II JIlportant to the de, el"pment of the .\mencan ammated cartoon 1 Sud IS . d .h cs, S 10 the pre,i
Il F'sher's stones were stage wll real actors plaVIOJ1: th . ous
Irh",e Idea 1111' It to produce an ammated ,·er~lOn of the popular l'omic strip "Th, "lIempts, 1 • h ' .'
Eclair production was t at It was the ficst ta altempt t t
e parts. The real nOI-
\ elllnwd, and nlel' BJb,"? Perhap' it \\as ~~hl s toSplratlon. He would have k'nO"b eltl 0 f t},e . . . a ranspose a enmie
: tI sereen usmg anlmated drawmgs.
stop to ,1.' , •
the ,tnp JO lb French 'e",nn "Lt> Petit \nge. because It ran next to h .. own COntrib . ories of the cartoons were ta he very slmllar ta the "situahon ~ d ' " fth
u TIle st .. ....vme les 0 e
hum m \o.t Lms1rs fi~ 176 Tbat the ,tnp lias wellliked in hoth France and Amenea
.. al strip "The Newlyweds were a young nai,e couple ble,sed a - ~th
" uld h.. , e bet>n.l fal orahle factor Or perhaps the project \\'as suggested hl' the autho ~ , . r~=lma
r trUculent bab)' named Snookums who bmst IOta tantnum, if he did not get hls wa,
of the ,tnp. Georg.. \k\lanu, 1 &-1-1954, fig. 17i), It had heen his first real suceess
Cohl began the acttual work of animation in i':ovember 1912 But it wou not unbl Febru-
ib a c-.rtoond for the :'\1.'11 York \l'or/d. ~ Perhaps ~ldlanus 's mend and fellow COmic.
arl that Eclair was able ta proclaim: "Snookums Brought ta Lue."
stnp art"t \1 JO or ~lcCa, had encouraged hlm ta look for a producer. ~lcCa) hlmse~
Md alread, expenment..d ",th animabn~ sorne dra\\ings based on hls OIVn "Littl, This series will undouhtedl y make a genuine hit. smce the c-artoons are ~tuall,
brought ta life and made to move hy trick photography Se, eral uf this senes ha,~
LE PETIT ANGE SE FAIT been shawn ta a number of prominent exchange and newspaper men who "ere realll
PIlOItfENEIl PAR. SON PERE enthusiastie abou t the pictures, announcing them a real ·seream." .

For the Srst time Eclair used a term that would he employed henceforth ta describe
th~ new genre: "animated cartoons."

Il'e will present the comed)' Hrr of the )'ear-a series of arumated cartoon; bas..d on
the fumous :-Iewlywed pictures of George ~lc~l anus. J'

The Srst release was supposed ta he on ~Iarch 5, 1913, but it was not read, unW \larch
16. ln Il'he,, He Wants a Dag, He IVallls a Dag (cat. 1331the de,ilish noo~'Ums throws
• tantrum for a dog he sees in a passing motorist's car Papa attempts ta ,teal the dog ta
Olollili his baby, but the dog refuses to cooperate and tear oIT Papis dothe; \1 ben he
remm, ho S k .1 .
Th . me, noo ums has forgotten the whole thing and has gone to, eep an~"a\
e ulhmate futility of the fathers efforts heeame tI,e standard moral of th .. 6101" ib in
1h"IIrip.
e
hl TIJ publicit) for the series was the most ambitious l" er undertaken fur an' ofCohl's
11]\. Edai . f ti
r repealedly stressed the genuine no,elt\ of the techmque a amma 00.
The "e\VIVI· d .. h r. lI.\ \lc\lanus
"''1 . ' 1.' sare not real people dressed up ta lIlutate t 1.' amo . "
Oon\, but
IUcl.
J . h
are ( rawlIIgs that /llOl'e! The trick photograp , rt'l}ul
red ta produœ
III onderf 1 !Ii 3J
Ee u 1.' ects is the work of the "Eclair people .
Lura/so expia' d h d h lo\\er intel'aIs than
17, Gl'Or~,' \1c\lanus S.,II_portnut ",th "Jbt
"na! fil lOe t at the cartoons wou Id be release at mut s th
Ins bec ". h.,e
aust' It takes two week. to m..ke a .w ree
1 But in none of ete
""l)".d.: 190&
 OJ/tf.R
/tUltl Il ObDs
\\.1> Enn'
1 C<.1 hl\ nàlne e\ er mentlOnedh hhtl'ad, all th l' credit r. • l'
ad,ertNI1 \1 "ho,e popularil\ , it \1.1> oped would attra 1 Ot~
t tn \Ie an"' , . " c the
-ene' "en . on thl' tactie would hl' called a he-Ill to a .. Pub/..
ln mod,'m ad,erh me Jan! presold"

L_"à1n~
xllh
m'Th ~ ,t'nt' I~ .. an lIl,t.mt ,ucce" Coh!'s animation techmque l'bcte<! 1 ~

Pf3l't' fn"lm rt'\ Ift\\ el'

\l'hm ht " 'a,,/> a D e He Il'onls a Doel , , is a unique litt~e coltll'd\' \\'hich

been 'en ce' e\ldenth ",th pastl'board deSigns and fi."
1 t' rl\ ' ,'Orked out" , , ~"res.
b., n..
ptcUhar m nner of il> pro!!Te' ion and the \1 hnnslcal pla) of the different de~
winch e,entualh re,oh e them,eh e, mto the figures of 1\\' 0 me n, a woman, a b.b.
and J dtc "iU no doubt pro,e mo,t entertammg and laughter prO\O],ing.3<
nu, d npbon ,ho\\" that Cohl had adapted orne ofhis transformation and metant..,
pbo l ",ffee!, 1 r use a. tranSibonal de\ices bel\\'een scenes, Re\'iewers of the s~
film, Bu.\ \Iu,r :'l'of lntt-rf. re ,cat. 134, a1s0 singled out it unusual graphicqtah.
b",

\ ,ure 1 ucb·pr.Jucer Drawn by George ~lc~lanu , creator of the Newl)~\'ed~,

toon' The kh, ~n""J...um" is ,een JO ail his glory, and the eccenmc effectsor tIt.
hne dm"n!!' m m~tJOn are lITe istible, A splendid little no\elty, 35 " r
171 tillifrom 'ihe Newll'weds," 1913,
l otil rt'œnth "e couldJudge 'Tbe :\ewlyweds" cartoon only from sun'ivingstilli
The composition of most of the tableau.\ appeared 1'0 ha\'e been transposed from tIt.
onl:lDaI sbips for Cohl emulated ~1c~lanus's simple linear style (fig , liS), But in oth-
e!'> be reJected \1c\lanu, s influence ID falor of a wrute figurai style that more doselt

re ~mbled ,orne of hi earl~ caricatures fig, 1ï9 1, Once, in He Doesn't Core ta III
Pho!::rrrpW
1 t 1&1, he mal' bave "<nPrimented
· · rwith . modeled figuresfif
-full\'

-Tbe r=l discoI"n of the tenth film in the series, He Poses for His poriralt :rJl
153 mdJCalej!ha, G o h l · h '1 [, "";n~ l'
. "a. expenmenbng "ith new techniques w 1 e o,~,
UD ...
Co comprombe ,,~th \1c\lanus' ongjnal smp, The film 1 relan\ ely "ta1h ~
'U!, ..,th much of Ils .b be' , h balloo 05 "
rd _L' eIpo 1 on mg dell\ ered b\' dialogue in speec . ,L, ) H,,.,
I~ Lts 10 Be Amused
o er 'UllI\ "bo the 'peak
entire oC
'CeDe wUS hl1!hlichti
er 15.
th
C °hl"
ak
med the no\el approac 0
.
h f darkentng U'
tt!
d a rt'Curn •
"'" 1913.
t.ble uthatcouldha ng e spe er The film IS organized arOun ntht
let!. nool.:ums IS le been dra"ll bl \1c~lanus , ~lother and Father are shO'hl'O °ril>~
TI. In an arrnrhatr on th _L h ter al l' II'
'ne entlre film 1 .L l' n,,"t, and the artist i> III t e cen
1 O. He DOI.sn 1 Carr la B,'
~In~tl . ~
and Ihe 3lUIII>.ti IDes on black fro m printing th" negatl\ e as .
1 e PltolograpllCd I~atIIH 1, 1914
TI.. on. a combmation fi
'Ile plot 1 Impie th 0 me and cutout work. ,1 C'
bun acat.nthehnpeofd parents Ir) t qUiet °
.
the screaming Snookums ,
the artl
cIJtSI
of <Ira"en FUlal!. the par trac~D\! hl Snookum imtead ch~es the cat unde~; """
m
l'nu ea\e the studio ln frustration, ",hile the aro st
 lll
166 • ( H , PT/Rf
• I~-
. d ~10dng Pic/urt' \\/orld aho mentioned some dra",n "'1
s blase ' 0\ ml! d,.,. •
bl seau cups. peanuts. rro~ , etc Some .mu lOg "a~.:ts L~
< gs.
....e les -
"' c ar~ iO('u..... ed.
nacted by the young (mlOns Was "s~;ally fi,nn, '"T.
JI' . geta e, "'" .
na, of' e
'" 'e drama e .. ' ..'
The 10\ Me/amorph oS1\ cal. 161 seemHo he Cohl 5 lost.-\merican mast
. e views. MoLing Pre/ure hor <:al ~ It A h,ghlvOria;naJ and tertai
, .",eseen , . " ld- -'I d'" erpleœ
(n}o
. br Itsr . . . . ..,. en n-
JudpOg f veable drawmgs. mtroducmg am mals, stn'et parades fiiuit d th
'es 0 ma 5 an e
Ing seo f h best series of this kind we have seen.' In tl.p '~qlJen(~ th.t asto ded
f

One 0 t e h d od.fi
hke l' hted viewers the most, Cohl a m I ed a tethmque fint
'. un
u~
in Le. Beaux-
181 He Poses for HIS Portrait (cat 153), 1911 and de Ig é' x in 1910. Photographs and moving-plt'ture ("otage somehow Iran,-
Arts myst rwu Ives into unexpecte d scenes an d a bjects
formed themse

. very many beautiful scenes of""ew

Agam, 1 York 1s watemont and """ ' le] of ioterest
pleted onh a sketch of nookums s face (fig. 181 ) .After tellin~ his a rtist fneods h.. throug1IOU t Ùle country are Hashed, on y to reso ve themse"", ioto 501Jleastonisruol\
temble tale and wondenng about his sanity, the artist 15 shown m the last scene belJ]~ shape or "rorm . From the flash of a gun we see
.' a canoe . OO-abng. peaœfulh:oo..n
, the
consoled by lus mends . Throughout the film there are seemingly gratuitous intrusions water an d th is disappears to be replaced b} a slDgle Ime, which forms Itself lOto a
h, animated metamorphic segments . For example, Our first view of the family is mtro. beautiful prism and then gives way to something equally startling ..
d~œd b, the Image of an eye Ùlat becomes an octopus, out of which a blob materialize!
that gradually forms the outhnes of the family members . One finds almost no traces of II:'U'II
l' 1 ur •
HoUl'wood c1asslclsm mBuenclIIg this film , it is unrelentingly nonlinear, and ils im-
ager)" is ,ery dlfficult ta interpret. Although the film must have seemed exceedm~l
TAU ABOUT

stranRe ta ils origmal audiences, it ne,ertheless received good notices and the entire THE WONDER OF IT
't'ne) was a !Jucce~~ .
AND PACK YOUR HQUSE
'The '\ewlyweds" W", the first modem animated cartoon series . Each installmenl
presented a self-contained episode in the continuing adventures of the same characte~.
aoalogous to the weelcly comlc strip. The signi6cance of this innovation, as we shall see
AVegetarian's Dream
lHECOMEoy NOvaTY HIT OF THE YEAR

-
shortly, was not lost on American artists and producers. But first it shoulcl be noted th,l
the ,eries did not consume all of Cohrs time. -- .........
...... -
- ---
- --
Bru.'itched Jlatche, cat 142', the only other Ameriean film by Cohl known to hal:
\url1\·ed. prO\'Jded some di'ersion from Snookums as weil '" the opportunity to pu
--- ....-.-"-
..-- . ---=-_--.. - --
-0.-._
.. -..:.-:.. ..... ...r . . . _
1'b-'_

1", fu'onte matchsbck figures through Sorne stunt:. Clara and Her Mysterious Toy'
Icat. 156) "-as a veh,de for Clara Horton, "The Eclair Girl." The toys were sho"~
_--
,........
HABITS OF fmJ) ~
--:; __ .......
rt._ .. _~___ . u-n.
. ____ _ :.= ...... - ..-...
reoombtuting thems('lves out of tom bits of paper using animation combined I"th
rev~rse-motJon tinematograph} This film was follo~ed by the remarkable A \'eg~~;­
:-~
~----
........ ~-:.-= ----::-:..=..,
.- ......... - ~
. ..:..-..=- .........
-.. - :..--=---:
~n, ~ream Icat. 159), ln which frUItS and vegetables acted out a melodrama (fig.
le m was arcompanled by hyperboiJc advertising:
-.-. .....
11- ... -
- -_. ---
!::.- ..............---;. -
•• - - . . - - . - ,
_''l''~-_'';:: ...... ~ - ... .-
....- - ':..::.. ........ - -e
.... -~.
_ _ ........ ":...

.'::.-;~
n. ....

A hlgh-salaned rt 1 b 1 1 /IIonlh -='------ =...-_ ........... 1

._,

:::..-.. --~
~~_" III' . . , . . . . . . _ . _ . _

to evol . 1a "t a ored patienùy with the pen and scissors for a u; 10 e iqu'
'e near y 80 000 [lJ d r '
reel. 11lus . ' .
h' h
''''ngs w le were required to pro uce
d this un
.. f th' oaDIlt -..u.os OH AI.L FEAlUIfS J
month. for ;ho"uh~~~e~~n"der "The Vegetan.n's Dream" a " bonus offeno7e ;,<1) $2 " THOIJSAHD
Costs dose to the production figures of a rel!:ular slng
 l ~ l' I l JI 1 II~':..~I_ _ _ _-
Ihlf • 1 I - IJ 1 Il f H
1I0LLY
D \
Ihl,' lU III Hi Il hi, ,',In't'I , ",Illy Proltll'" il A '" (J ()
• 1 •
ft 1 Illt' 1\ \\Il\ 110 1 1 Inl'"
l'a f~
1
1
1 II1i 1111 III Il 1 l ,1 1111111 Fllrl 1A'I' 10 ,III "I1"IIIIII'l1t 1111 1\ Ith, l,
1 l "clll le IIIUH ( ~.) .h A\{.
1111,,,"'\11 T , 1.1 1IIIIIt ICI IIhlkt, fiI.m 1111'11, ,tlh'l il ,ta~ of lit'. l "11"11
1 l 'lIl lU 1'" '" "'" , ,Ir Y"ild
()dll ... 1 ' 1 l, l ' 1 lUI 1 T,II Il''' Oll La SIII 1111' UII \1,II'('h II 1fJ Il 1.1,,"
Il,\ tlw 'jUill \ 1 t p.u t ( k f ' " \(}(}h <di
1111111, 1 1 ~ 111111''-' JII"II11 Il i, IIUt nowlI 1 (.ohlllll<'IId"d t 1 l"
1 1rI1I1I~ 11111 ( "III 1 ln Il. · { (·Olnt."
" J'I.k hlll III lad III' 111"("1 thd r('llim tll Amen('a l~k
III 0''''111111' lu, 1 ni \\01 •
1'1 Ih'" 1\ IIh'l h" ,In"al III Lt' Ila\ l't', ;\ d"",t"1 O(','une 1 h
0" ~I .... l' 1l " ( t UI ha.
Il
(011(11 1JIIIt'( n '
«(l"'" ' ,

~
,
".'"I".,t ,II ,1 Rit" pllH1t't'r
,
hil .c
k' .
III 1
hlrl Ll'l', il A.r" hroke aU1in th
• '( 11111")1"""" IIJ Ih., El'I.III" Illhoratom',.. T 1(' \\'oodplI-lram,' ,tud l '
JII""llg ." 1 ~ , la I"IId,
11l~~ Il' \\t' . Il "JIIII ... 1~"I"\l' JlrllIl' 011 Ih"
.
pn'm""' , Wl'rt' dl"lroyed Franc·
•
1)
I~ 01/.
li"," "l,"'" ,III t'liorl III n"l'u., 11lt' 1H'~al"I" , but mO'1 of tll<'ltl \\fl'rt' al;o 1051. Th,
d,II11,I~" III Il,,, ,llIdlll ".11 ' 125,IXXI, huI tll<' ,alul' of IIH' lo,t films \Vas Incalculahl,
Il,,, JII" 111,"1 h,III' lUlIIJllde" dl"tro)l'd .111 of Cohl's Ameril'iln \Vork, Includin~ 5..
"1,,1111 ,d \IIlft,11 ,l\\''' Hlim III TIlt' NI'" 1)\\,,<" " 'l'ri", (fil(, 183) Charles )ourjon left
l'm, III Il,,.·,II~.I!t tilt' (,,,lnlOlt\ l pun h" arm 'ù on \1<11"('11 30, Il(' announced Ihal
I.d.ur ,,",,1.1 Il,I,,,,lel ih prodll('tjlln hl('llit",; in Tucson, Arizona, and restore the Fort
l "" "II IInl. .11 ,1 I.hur.,ton \Il"r rt'u"urm!( thl' ,tockholders in Paris, ")our Ne.
\tttk IIIIl"d, hil' I1llltIllU"" to pro!(rt'" normal" in 1913 and will continue ta do so,
JU''''JOII """.,d.·" thul Ill<' li,,· hud rl'tardt'd business . Ne\erthell'ss, he prai,ed th,
,1"lult," el'II~'tllr' III lllri L""."
lohl.II111 "cl", "'JI",.II to fincl thut I1('W. of th~ fi l'e hud d isrupted 1he nOl'lnal routine
.11 tl", hl." ,1",1.,,, .,"U h.ld It·n Ill, oll'n position in a stute of hmho, ln April 191i h,

11>1 Cohl and Eclatr 'laIT, Epmal, Augusl 4, 1914

\l'role JO hi, diary, "Help From JJ, final"! Balard Contract . ") ) - mean, )oWJoo, "bo
",as shll in America. Bayard was an assistant manager of the ,tudlo e<.'urt' a<:am "ith
hlScontract. ohl commenced work on L'En/ètcl1Icnt dl' D'1anin Goldcbcl The hld-
napping of Déj'lnÎl'e GoldebOlS, cat 169), L'AlClllr dt'Loi/é par If lie" de, pieds The
Future Re\ ealed by the Lines of the Feet, cat. 1ïO . and Li OULlfItI de Toto Toto"
"titi [10 on kl'y ,] , cat. 1~d), ,\gain an une'pected d"a"ter
Ilfil. ..~ lI1tenenro Th t' 6r;11\'0
ml would not be relea;ed until 191ï and the tlurd "a> neler .... Ieobed al ail. The
re.'on, of ' 3. 1914
Il'he COUI le, was thnt German) dechu'ed "al' on FranCt' on AUI!Ult
I(r h n the" a.. hro!.;e out, ohl and se, l'rai memher, of tilt' Ed.l1T ,tJlf" ert' pholO-
'p
mat cl ~cl to 1 d
gN 1<'r on il ""t 111 Epll1il\ (fig. 1 .\1 The mOlle m Il,tn I!rl'J , Il
tl ndert"b- .
e th" l, 1 . e Ecl.ur at fir;t
~n!(t 1 ,uld ""\l'nn of the conRic!. .L' dld almo,t l'HnOn '
>
!Jeh", .
ed th 'lI t A 1 F Inth ,offiCIent re-
Ita\t '1 S Ilwrican brancll ,vould he .1hle to '"PP' l'JOel' , th
\ 10 carn 1 . 1 tecl ta an el!!ht-mon
\"pp" . t lem through Be,ide" th", confident' P"1Il Th"
, of unrel d . dIe hl' \men«Ul 61m,
°Phm l'ase French ne"all\t" \\ hich mdu e< 0 , all'~
"nt !Jt . kl ,.. . d f,rty-fi, e \\J><- <'U
"P JOUI] I~C) dlS\ipiltl'd \\hen e, en .1hle-hod"," m.l11 un er l 1~~th The ne"
"n,ou nl1 1lIm,l'l1
. . in tlll' 113th n>gill1l'nt .1Il d \ an dal 1n the J'o.'
 CH,PTER rll f
'0 •
OTHEH H
. I·· r office bUlldmg on rue,
Ecu.<
n .•LétudIO' \\ere
al
GaJUon \\aJ.I!i\en 0\ er to the Red Cro~s. The c .
' al ' .urno
"""Ul'Ihoned a;, hosplt s, By August Il the film' d ntiI>rJ
So.... . , ln ust
- - - - - h rd L'On,idl'rdbl,'
r O\er e.l ~Il,.ssing
amone: th .. audi.. n(~·
t t' h'
4 "elt 5 BIjOU Dr
h le\ er tramf"rmaltons "'''rf- acc"mpl .. hr-d C a u '
o L L Y 1\ 0 r, 0 S
=
. '"
e ""ar 1)II.f~
l1W' ' _ L nt 10» of ,taff .\ctors were gt\ mg their autos to th \ e il<
~ red an eh;ut\ -perce tO ho\\ t e c '7 mont S man 1 IJp to aU the
,e 1 _~ b t cinema;, continued to reshow old films at reduced P' 0, .... , \.. of the camera,
!t1C'"
CJli;, \\ ere c O't'\!. u ,. Id d n<;es fOfl'
. th R'> Cro" Iloun p Picture \.or correspon ent John Che
~
... e espagnol reeei\ ed one of li.e most unu ua! r....,~..
benent of e eu -' 'd' r relJ(lN.... clair de lun 5 I!l\en an\ produ(1Jon
that audIences, 10 the theaters ,at throul!h the films m epressed silence" .""
of thl' period
t old to sen e \\ith the French forces , the mobilization of
° """
Since C hl 00 " P~ The man who prepares the play. for the Gaumont •. r" th .. onr- .. ho selects th
the eobre 10d u> m pe",onnel assured hlm , of a Job He had tned to enlist bu~ ait" seems alHicted \\,th a perpetuallt\ er dtfficulry and sel raU em,
L'
",,1D~ UIDUcce, .
"fui \oluoteere<! to en'e ln , the Red Cross" After
. the initial shoeL"-'. th- perhapS, . l' , t-< ~en,. y 001,
those mO
re or less lugubnous y mcltned Perhaps thlS 'nltn) was c""" ---100'ID \\1'th'
out
Eclair-Journal newsreel reumed production and Cohl reJomed Its staff in late ept"..,
his knowing it. If that is the case, more snealang should he dOIt,. It lS a ,,'ekome
ber 1914
change"

OfGtnératlOn spontallée it was reported that "the Gaumont studios b.\e sent out a
Dumber of excellent picture. of this character of whlch the one shawn dus "eek lS not
Dnring the firshears of\\"orld War l the animated cartoon was transformed fro ma rarr the least."" The animation sequences in Les Lunette. féenquu "!"Te -an v.'IIrIœd ou'
nOlel!) Item on oœasional programS to an important ne\\' branch of the film mduslt) mthe admirable manner for which Gaumonts films of this character are Wnoos Some
_\Ithougb the gte of most of the acti\ity was in the l'nited States, the importance ci of the magic films produced by this house rank among the \fI} best aoywbere."50
Emùe Cohl s contribution must ne\"ertheless he emphasized. Cohrs films attracted what probabl) were the first notices eI.,r ID the !rade pre<.< Olt
Cob!', Gaumont films had arri\"ed long hefore he came in persan . Fantasmagorie ... the subject of animated cartoons. In August 1909, for example. The ~""Lkdodl'On pub-
relea>ed m the rummer of 1905 under the title Metamorphosis. However its exact d.tt hshed a strange StOl·y.
of enm is unknown because Gaumon!'s importer, George B. Kleine, was then ell>
Trick pictures are rather expensive ta make .. _ Furtherroore. mam oi them espe-
broilOO in an important patent-infriogement trial with Edison 44 After K1eine's import
ClaU, those pictures of inanimate objects in motion, reqUlTe a cre41 dei! of lIme lt 1>
agreement was worked out, Gaumont films including Coh],s) were releasOO \0 tht
reported that one French manufacturer con umed sel en months in woOOn!! out a
Cruted tales at the rate oftwo each week. Le Cauchemar du fantache was fiTSt soo.>
"n~e tiick picture and then was O\'ercome b, a mental malad) due to the COOllDuOO
Olt October 16, 1905. as The Puppet's Xightmnre. Un Drame chez les fantoche••"
dose application But this. of course, must hale becn an exceptional ptcture SI
sim:IOO out for special mention when il was released as A Lo~e Affair ln Toy/and 011
'O'oemher 11 ThIS apocTvphal anecdote may have been planted in the Chica!!?-ba..sed joumaI Il}
Kleine as a publici!) stunt to caU attention to the sen>ational n"" fi]m.; bein~ aplrtOO
,\ uDtque and exceptionaU} attractive Gaumont film It cannat be described. but'
hl' Gaumont. Two months later Coh],s La Bataille tf."u terlat: became as iâr as we
= e <ommrm man> j'ears ago koOWll as ~ geometn at pla\''' cornes nearest ta l't ' Il"
htO\I. the first ammated film to hal'e an entire article de\ote<! to Il ID >li JllphlJ"
funO\ and in uch an d '.
unexpecte and unique way that it wins roun 0
ds f appla""
It "as el'en 1'11 ustrated with a production stiU and was th e mo,t lDIportant "recœrution
where\er ,t IS hown, '"
of Cohrs earl} career ill film Equalh important from the ,tandpomt of bis mBuence
Cohl hunself aise noted the enthusiasm for his first films, "as the re\'elation in the article of all ~he techmcal delai]" orlu 'incle-frame arum.ltiOO
It "as around 190Y d th
cio 't h an
' , 'r arounC
e Amencans were still searching for thelr \la, tbt
'}Item Wth h
Il " 1 t e obI ious popularitv of bis films and the nt
"as Inel'It bl th . ' e d film
1
=b ofbis techOlques.
00
u1d mcrease
em. OgTap y The) re(.~' d - 'th d cartoons C hl' a e at commercial intere t in ammat ,\\0 h H rttI-
anhedfro m France.46 I\e ", open screens" the lirst animate Q stech . ,
book ,r, nIques Were dlsseminated ID an earh 0\\ -t h o-do-tl, mannal. T Il
aI..'t"
DJ /(In", , tt d ........ bed bOl\ to m
Cohfs amlnalton tncks , _ Iea.~~ self_! ' natograplty. \0 1911 The author Colin, B,enne , e _ d .r rrm c to.
°OOln,," t I r a . an ,rele •
and bis nlms ilddOO ~ere qUlr kly recogoized as highh .uœessful audlenL-e p , .rf& ~,fi " I t es. how to use tlle "do\\l1\\aro poIDbng C'ame
to Caumont" r ' . . , york" C Cohl III h " ",,-t
tn2 of Japvn de' t ' , 5 eputation. A reviewer attendin~ a .\ew m, Ow to achie\e the ",tep-b\.,tep eu..--·
Ja" a, .. reported
n.. paTb
cularl} PllZZlin!( and odd step-h) -,tep elf""t "ilil bIt
cd b\ the film of the
 =:anoo~
-trIa
V4:~F. ~ J
CJDe a thé l=er: B,Iack:= p!="'"

b:l2;J!, 1ft June I!lU "" IL CkntlCTCn Jc"dl":SS:::s o=....~

P • nen' COOl
1
pen...·."·
me the

en "
 :...-:;- --~----------~

part of Jt1.U.41 ~ ' .. al JUmme~~m

pié ruaW1ll%.S ha.e ~ ev.
.. ~r ,y;nnom and humm
. retraci!; Z flll:"tW 1 as tœ d a~
)Q ll!IlCb blood A= there az.

1DOI1CF'~~$lus probt:Kcu on .. ZlClll'l<.IWJœ

D~ . che: let ftmtJxf,,~ and wœn the lM"C expaods il
er.c! cA FlJr.14Jmat!one.
c:onip'.etno d Uttk the spnoz of l '.Ill and the releast: ri
etnrJ
br'n 1913 the OI1ly other alllmated fi1ms on j"""='
Eladttélll and Cohl JtilIm circulation B} 00fl~ os_
};zw-...,- 00 KT<:eQS "'-T(l55 the countT). tbert li!
~U1nb!~ ci otkr t::i<rtooni5t1i ..&ptinz their worb fur tilt
Henry ·Hy· la)for Life and Jruke ml ser<:t
':artoocll!t; 'tydirK1 ~ r~ th«, TriJJUM. Cr!4T H B'Jweo .... nd) H~
( a'P'lrt cartr'Kl t ,"Jr he Inler-Oœan
M A) bad J"'t'D at w',ri: (Jn h f rd and m0'5t lDernorabit
id "'" ~ 10 'h ~ bn .. ., this on.. was aùo lOtended to bt-llIt~··
. h1~
tauldel,,],,:oct J W)(F- he left f(Jr Fral'lte. Emile Co~àt
.e sensatJ(ma1 .hlm was f~ured. Laler he d

W"Tf;,d r-LI d· 1 . . ..• ns for tbeJr--

"" y ri<WJI 'u One of the pnnup", r~
/ .. 1
[ l ru,r ln wt id tl "'er" prt'Sellt.. d to the puhlic .~
th HaJtl1IP~_ .
~ at !nlf! of l>t')l: puhlj,· performances a l "
Jf;t, [d",

.. a
ew Y!JO: Th" PI" .~.
01 lat> mal ln ·...... -1 hould Jay. the 1J00que--< arat: .
h 1er III
the

• beg; • a r.d ,i mr rously largP. d.plod()CIJs. befort ~

W 1: <.... a 1n.. With f(J(:J.-.s and Ir"",.5. (Jn tlIl!~
1 Wr Mr<.ay~.. ers "
-biF ~
l'Y f ~I armed with a short traID
 1 -4-1 _'" borD'" \lontTt"al, ,tud.ed ,lrt m Pan, in th • 17j
en '01,1Il and Barré' Il would seem natural r 1
tnhutu tt o.A -,;11.' and othon Hlu,tr.J.ted nA el 90, the se III , l o r t lem to ,,' h
, b, ".,~nO<L""L Ile ré tor of the most suecessful senes, especiallv sine th, 1s to confer
,-ed e\\ h" .' bopes 01 bt-rommc; a 'UCC(> sful ""l\ G h the crel d' . e e work \las he d
. h 'oah • 1 " , COIll Ill ",1 fe" nll'l's from the Edison stu lOS , lt is also entireh' po 'hl h mg one
,m r " _ '\.r~ l'Om'l 'trip, Which h e~ I "
on \"h \ e kmo','e'.ch other b) reputation in France smce Ba é
, SSI etai Barré d C h
an 0 1
",th \\i1ham C 'olan 1 9+-1954 at th E eSI~ed , , rr \S'as COntnb '
e dl SO ",as . l e r " Slifflet at the same lime that Cohl was drawin a a t' 0 uting to the
;uh errumg Slms \.bout this bm", he 'n SIIJ. _Drel"Us '-'<' . ,., n J- reyfus cart ~
sa" his G pro Parole lilI/st rée. If elther party was aware ofthes e pasl as " oons Or
cartooo-,.'b~erb, or IcCa,., unknown-and left the theater deteflll ~I [;J Libre r"
been cause lor ammoslty.
sOCJatlOns, that alone
Did BMTÉ' ,ee out Emil", Cohl fur adùC(" This Intriguin Ined 10
miIœIJ:JllIu!!:>l:'II, oJi~hl h.1\ e ,
aD an<~Jte oh! t d about two unnamed '\e" York visitor> ~que,. r'1le technical strategy that Barré devised was almost the inverse of ChI' 1
h d O s, nstead
cutout figures , e use a cutout background Coh!'s m' fi
of '" n aki g . . 0\ mg gures were
1 m mroenorsthat 1had toadmlt to m' studio a person till [. photog
raphed on top of the" background drawmgs, Barré on the oth h· d d
. ' e r an, rew
, .e., around
en '"IJ;portmt Cl the indu>tn .\fter hemg mtroduced in this rath er hrob] ,
,,"'p 1
[·Red Iinear backgrounds on wh.te cardboard, then cut a spaee 0 t f th
U a e center
The moving parts of th~ picture were drawn on separate white sheets bl the retracin~
U ,

bituon he lloid _al nllS c:un ln ronœrrum: m, "orl and ofhis impatience to lm
accompamed b, a) oung man ,,;th glass es \\'ho did Dot sa~ method. The compos.tion was planned sa that the drawings would show through the
t behind those lenes no aspect of m\' equipmenl~.. baIe in the cardboard when it was laid over each one during photography The ad\an-
burned up \.nimated films were popping up here and the", lage was that the background did not have ta be redrawn and , unlike Coh]'s s)stem,
1 Lad De\ ertheless protected certain methods and delil'tl romplicated cutout figures did not have to he made. Howe\ er, the system had the
perSOllal ,~llO:rtI\ aCter tIu:. recrettable ';sit, 1 sa" that a new series ci disad\'antage of falling in to monotonous compo itional patterns because the moving
perœcttd beme; distributed b6 figures tended to remain centrally located. They could not obscure an) of the back-
ground Iines, sa they Boated in large white areas , To ensure proper registration of
background and drawings, Barré used perforated paper. Each sheet fit over pegs when
placed under the camera, exactlyas is done today.
Barré and Nolan reaJjzed that no single persan rould produce cartoons m sufficlent
quantities, sa they established in the Bronx what would become the fint animation
-studio." Assembly-Iine techniques were de\'eloped in whlch employees were tnuned
for one specinc task. Barré himself eventually acted onl)' as coordinator and supenisor.
Illth many apprentices wor!dng on a single cartoon, It \S'as nece>saJ'\ ta schematize the
dra"ing style to main tain uniform consistency, Ta sa\e lime, each drawing \S'as some-
bmes photographed three Or even four times ta "stretch" the footage. often re ulting m
Jerk). and repe t'.hous ,
movements on the screen
Despite these production shortcuts the Arst 111 the "Animated Groueh Chasers"
"'ne, did no t appear until 1915 67 Each ' one begins "i[h a 1I\c-action pro1ogue and
mdudes t h ' 1 C
ree Or four short animated sequences. Cartoons on tl" Beac l, lor e,am ,
, pIe
m,1ud.·, fo
litll '" Ur separate cartoons, Barré's debt to Cohlls e\ ident
Th b b b . n The
e a l 0) 1
Satld' Y K,d s Bath' d k
IIlg A Lelltl/re c10sely resembles Snoo 'um' 1 g.
fi lb" The stars of A
1
Ion,
MICrobe FI Irtahon are relahves ofCohl'sJoycur ,Iflcro {'san a ",en lI1S1de the
' . b d re
Je Clrtul . B .' films \\ hen he
1t{:;j]1'ld ar vignette (fig. 1(:S8) , Perhaps Cohl was referring 10 arre s

1w~n tin tl l ' fil Mri\ e 111 France

aft., Il
If'W
", ('il\t surprised when 1 saw short funn) Amencan m;
1 r
.en
f redilco\enng e\ ,
ar ln w lich 1 had the rather melaneholy sahslJt'tlon 0
 [ • JI

....".'"' ..
l rllml!!ln cn~1Rt;s Ù'
..-b,,_.... C2n'"e'r bad ~....'> The ooh anlnla:
.m1J1Dn1Oll. &rré returned ~mp"'".Ir;:-r
~Ie,,;oeor llD .......,,..,.! -Felix the

imporùlDl poooeer • Ùl~ anilnmœ

Rmdoljlh .aS barn ln ~üchi_

Mlrrn.'ll1>t
apUNted "' ....Y ...

r.--...I bim - a COIltrac't t

S\~!2Il s=or tll Barn> ~ met' ' de'lD4I1&!
. own method reodenn _ the h .....-m:~'
1 œd DO 11\ '!U-'
la borro.-.,d Jdea,' m \1 S" pr~
p;orelltrda Lui Hwd. who Iud ln JUIW' .i >dl
UI! =:~.. uadust:U5JilUE'!!!' -:hs:silM' ,,"ould t" 'eotualli ~
..... \:;~..,. , œndered nonnalh. ln C
oatheiodn-.d cleM ~ , Th<.
HunI,

•
, . compll'tio n f h
p 1 11It'r.. \\ t're olten long del,il\ behH't'n
holtl1t'III'" , 0 t e"1
m"nn_ , EdJlr,limllerh th .. ,hinllll( ,tar 01 the smaller Fr h "lttt ....
tht'Ill't'Ielht bt't. u, e , ene P'ad '"
u
\\ J.' ~,\\\ln d",
~n fin.Ulci.ù lhfficult~ . ,
\, \ 0\ erw.-r ~ ,1
L r . "1
L_ 191- C lhl had to 100"; lOr a pl"n~1Cl,11 III . , Ice )l'l'au;e

' . fro iIIl ilIne', H.. retumed to Pans III Januiln and res
" "ullenn\! UI " .'
Ulanne r_
"U\I1Itt
Utned 110"
-
n th .. basl' of thelr title , ta ha\e been httle more th ," ott
fillll' that 't'('111 l' an Unl
aumont nlctures The,e hart made al the ailln" El' n p~ p>"da 1.. 'ùa.", A_
\~r-lon' 0f h l~ G, l'. _ . ... Calr stu.l .
. h Il h e been an in"lonous end to hl. career had he not recel\ed
mIl! t \\e .1\ - ,"
1916 a letter from Benjamm RabIer sanng. 1 have a proposItion that \'ou , 1
.
.....
on Juh l'
r. Iii!
.
10 tert"stin!:
" . may 6ad
,ii ~ -;-l~~
L'-_:';-~-..JI IL PlIIUC
COHL ,\0 R\8IER
PlIilK

Tb" \\ \t'of enthuslasm about llie animated cartoon lliat s",ept the L'nited tates
"'e. .r =-- ~I
IL REJE.'tllll'" OIE.Z .lX3

1913 and 1914 reached France in 1916. Eclair had begun importing Cohl's l
, - .1
,,-ed, on the e\'e ofllie war, renaming noolmm " Zozor, " rhe second Amencan en.. ! ~I
\\'3>tbat of Barré Gaumont had purchased llie "Animated Grouch Chasers" &am Edi.
on and ,cheduled llie Srst of lliem fnr .-\pril ï. 1916.,3 l'nlike the prewar day .btn
l t 1
Gaumont had ad\emsed Cohl' animations only as "scènes à trucs" (trick shotsl, tbt
De\\ tmporu were l!I\en unprecedented publicity. IIlcluding full-page ad\ ertisemen,
,,~th frame eulart!emenb and a portrait of Barré (fig. 190), Priyatel)' Cohl must ha,e jjl G.umonl publici!y mate rials for "Les DesslOs animés de Raoul Bam!,- 1916
been bItter about Gaumont" ad\'erti ing carnpaign. doubl) so if it is true that Barréw"
the cartoonist who bad \~sited his studio III Fort Lee.
Cht= le COIffeur former!) Cartoons in a Barbershop} met with immediate sutœ» ,
,\pril ur la p!a/:e Cartoons on the Beach •• said one re\ie\\"er. "attests once mort •
the \irtuO'It\ and \aried imagination of iliIS able artist:'74 Barré' "Crouch Cbasen
~ed the role m Franœ tbat Cohrs :\ewhweds" had in the l'nited tate. '!be-
tng,gered an Immediate rush to capitalize o~ cartoons whûe the\' ",ere still a frt,\
OO\eI Item Caumont, Pallié, H.C. and ollier distributors signed con tracts to im~
·\meneau anunated Sim, It \\as lOe\'itable that France \\"ould responcl 10 Ihls sud '
lm lOtI ln IDltiatin do . d " 1ad ,h<JI"
\m . !! me tic production , Just as Cohl's "!\ewlywe l , '\JI"
. encan cartOODlSts the pob l ' f' , A ericJO n
timulated SIl 1 ltie, 0 ammating their works , so these m ert
Frenoh caricatu . ts fi . de Uka •
mterested 'tlun ns ·.'I.t rst only minor figures like PIerre , ~ 01 1
.. 0 11: IS koown abc t h' cl tI e openl n ,
tud.o al 6 ru S 1 u lm exœpt that he announce 1 platll'
......,Id, re~ ~u n:.~~ to rompete "ilh, Barré's films. Like Barré. he conte9~'
."
- . ut "" first 61 ~J b (fi!!) ,
apparentll also bis las :; m. anus Blagford et le serpent Da . UqUt
I~ t. The cari !uri . hurnon'
"ee"" humor revif- C
.
, ca st Sea\ois began a "semaine
" ' .leatunn~ an'Imat""
_~ ciraw1ngs
al't' s
. in the Gaumont-..\ctu· 1eL.,
n""
ree,\ III direct co ,~tlr
mpetition "ith Cohl' , 1 DOUnet'"
1 artist, Henn O L S Eclau-}oumal shorts ,6 Le Fi 111 an . ru~
e"",n lreator of . , cl al~o a
caricatures of mOYle personalihe' an
 TIi~ f ,\ t, Il L 1. Y y, C) f) ()
. on f . .
(J

hl$ O\\ln ~eries . The mcreasmgl y nationah~tl·

bout to 1aun ch l ' c attit
~1or w~a d cartoons ID partIcuJar was revea ed In th e ann ude~
C1n~l11a in !rentrai an ouncellient <IQ
'e v.iU ee excellent on es appear saon and m cl .
rd cartoons: \, ' a eb
AllllDal ' no clou nt. because until now the Am eri ' Ya "'reu 1
niJIt LI a surpnse, . cans hav (li.
maIl h ,. " rtoons" that are noW 50 much ln vogu e here, Lik h e llIade
'ait)' of! ~st' ca e t e oth i
bpet1 ho France' ifs time it returned. 77 erat4
thlson e was m 10 '

" cl French origins of the animated cartoon, th e autho r h

llv empha5lZ1n~ le , ' w 0 ilia L
. , D Il . IOdirectl v paid tribu te ta Cohl 5 Gaumont film s and th E y '~\'e
been LoUIS ~ uc, J • e clair fil
th lad been appeannJ?; reJ?;ularly before the arnval of the American impoTt Ill!
al 'l' ~ al,le about the French cinema still remem bered Cohl' s work and s, lhoS!
knoV. culle recognized
It imporwnce,
allo in 1916 that Bf'njamin Rabier decided tbat he, too, wished to ha
It W"~ ve mOlle'
\er'luns of hi!> works. Rabier (1869-1939, fig: 192) was one of thos~ artists who, l&e
Cohl, had reahzed th" potl'nlla! of the expandmg market for chlldren s literature at the
tUnI of the ctmtury, He wal the lirst to transform the Caran d'Ache album iuto a rorm

dlretled t<lward il ~p('cifically juvenile audience. In such books as Pages folles (Richard
J&9~), Tintin-LulU! (juven, 1898), and Maman Cabas (Max, 1900), he adapted Ca~
193. Benjamin Rab,er Tne Portée mUSlcale:
ù'Adl!'\ predse lincJr style tu his animal staries. The traditional imagerie d'Epinal (the
Sans·Gêne, 1904
Impular Fmwli plcture stllry) was another early inBuence,78 Rabier' s drawings ap.
pI'Jwd III many of dl!' best saUrical periodicals, where Cohl undou btedly Hrst encoun·
(m·d hi\ w(Irk ThelO histoire.! ,Ions paroles still show Caran d'Ache's influence in their careful redrawing of each panel from an uncbanging point of \;~. Rahier used the
elfect to signify the passage of lime (fig. 193). His interest in cinema ma) ha\'e begun as
earlyas 1910 wben he wrote cbildren' s plays, sucb as Bonhomme de neige; ronte féeri-
que en 20 tableaux lumineux (The Snowman: Fair)' Tale in 20 Luminous Tableaux),
which were influenced by Méliès's films" g Rabier had already been honore<! bl aspe·
cial album in Juven's series "Les Maîtres humoristes" and was Dearing the hei!dJtofhis
celebrity at the time he wrote ta Cobl in 1916.80
The discovery of Rabier' s intact correspondence with Cohl pennits us accuratel) to
establ'IS h t1le chronology and extent of their cooperation." Rab'1er, pan 1 "'<15 that Cohl
would allllnate' his drawings just as Cobl had done for ~Jc~lanus . Rab 1er ' w;as ta take
care of tlle bUSl11ess' aspects of the partnersbip, leadng the arti.tic. SI
'de to Cohl.' The\
, nal·
needed 'ta! ' ehed Fûm );atio
w'tI capl and a distributor for the cartoon . a Rabier approa th
~ l the id th · lB ta acti\ ate elr
U

d.. ea, suggestillg ta Cobl that be might pas bl' eu 0 ce . d

~ISIOn "82 B b ··ti Gaumont lDste., ,
Il'ho ' ut Cohl demonstrated his independellce )' \1.51 ng d d further
ass' , llIuch to, , cr
e\ eryone s surprise ad\'llIlced an ouer It \\11> reJecte . an
,
Istance d'd • " e &om FantoIDa>
Il 1 not arrive uutil eptember. But ",ben it dld. lt t'am . , JI-
ené Na\ a h d \Iarœl .-\lI.lin en
~ no 11 rre ad brougbt the hero of Pierre ou\estre an ' n 1913 and
1 \ (> a ta lit . fa G umont ,f'nes 1
914 ,. e on the SCrt'en in Feuillade 5 moUS a ~ , _~.;'" bad
"avarr '. d . . . al aster 0 wS~~
es a rait depiction of the sini ter cnOlln • a m
• ~H • l ,'
tle to attract the general public, who no lonae L
Id d0 ltt ., r rememoered h'
e WOU l ne an anon\"mous filmmaker. Cohl' raie in the ad lm
pJfI' 1 d becn d ' d '
ce he JlJ wou Id be properl~ cre Ite m the advertmng ,. . pr uction . Rab
1er
,tn
ItOUe<I,
((l0 ons that :\ a\ arre gave me which 1 will explain ta \" h '
me reas 'bl b ' . ou. a\lOg )Our
for 0 h film will not be pOSSI l' , ut you Il have the satisfaction of tti
e on t e l r . ge ng; VOur
oam d There will be a p ace IOr you ln the ad\ertising 1 \\il! .. .
in the en . . d d ' ' gt\e you sorne
1111\ h t "ou'll be satî fie . An something more, we ha\ l' to do gond h
~nce ta. USlness
J.lSU'-· fui S5
d be succ ess .
•UI

hl ",as 1'nfun·ated. He protested. to Rabier, who sent the

.
letter to ~a\arre .,
"a\arre
'
Co nded by in\~ting Cohl to hls office, where the artist must have been placated
(tSpo ,k on the film continued. 66
!Jecau e "or '1
Trade editors recei\'ed the news happl y that a ne\\" French cartoon series was in
production.

\l"e are happy to leam that some excellent new cartoon \\iIl be presented saon,
thaoks ta one of our best caricaturists. Il is astonishing that no one bas thomrot saoner
of putting the remarkable talents of a great number of artists of the pencil iota the
194 René ~a\arre, 191ï. senice of the French film industT),. S7

l.t Film a1so thought the announcement of "Rabier's" project was - excellent news.'
made him a matmeeIdol. 0\\ ln 1916, the actor (6g. 194 was a producer and became But there was no mention of an)' collaborators.
lIlteresled 1Il rooperathe \ enture between the popular children's arti t and tht The project proceeded with a c1ear division oflabor. Rabier negotiated "ith ~avarre,
fil whose rt>pUtatJ n still mu t have haunted the Gaumont studios when " •. designed the preliminary drawings, and wrote the scenario. Cohl \l'as responsible for
me t: tht'Te ear the end of eptember Rabier sent a message to Cob! ail the technical aspects, including the photography, "'hile Cohl worked on the graphic
reqtl<l'StIn~ ad
art in hls apartment at 4 , rue des Abbesses, Rabier would occasionally pla} the roll' of
.Im--t to he \\orking out. \\'e onh need to work out the pero cheerleader when his partner did not seem to be working fast enough In the /irst week
\ "bat shouJd 1 for aboH' the 2.500 fran~s up front? 1 have to phont of\O\ember the)' were read}' for the photography, which had been contracted for "ith
~ ben. and 2 2.'5 wlth an anS\\er You could say ifs urgent' Come m the Eclair studios in Epina)'. The title of this 6r t film \\ La Journie de Flambeau
udonnatvm;r that 5 • probl m end me a pneu [pneumatic telegraml ",th tht Flambeau's Day), and it starred a dog that Rabier had introduced ID an album caIled
Flarnb
ha no K1ea what rovalt) ta ask for. '" . eau, Ch'len de guerre (Flambeau, War Dogl.,9
:-;avarre prO,"e d ta ha\ e transferred sorne ofFantomas, . ch'11'\ ou, tnuts ta hi" own
' ml'
Rabier returned Cm lus Id ecel1f
2.500 francs meetint: wlth the conditions. The 6lmmakers wou r . .1, rtaI lUe Wh en hl' saw the results of the 6rst da~ ' shoohng
. h e \\TU tl' an angn' letter to
mmlDlu "lth an additi al d reO{4J Cohl .

_.
~ lirOuId t.._LO "_LI
•... 1lWl '-UIIJ "lth th
n 6, l' percent ro, ait\. on sales an
. , t d !hat t,",d demandinl!; that the main title be reshot Had Cohl included his 0\\11 narne ID the
- - "VuId be com-I- 1'lI\\ tock for shooting. lt was expec l' cl -''''1(.,,' It 'b h h0 uld appear on the
15 POSSI le hecau e :\a\"arre tated preciselv w at
aad ~> l''C"ted ln at le t d th the R b'
- the contract. Inun. SIX months. Rabier was please \\1 hl fi !!en eith th
er l' series title Les De sins animé de Benjaman a Il r or
the tiùe of the
.
iablIIed ~ that edtatel thf're \\ an ominous developmen t for Co hJd Ctrcl
d
1 ualfilm fi Il " . .. '. d
0 owed b\ Par BenJamlD RabIer '\a\ arre tra emar ,
k a harnrocl. an
beea --..._>
~._-
Ob 'IOIISl RabhlS Dame \ \ dnot gomg to appear on t1le c redits,'(t5I,
.S.
i
e Wa" l ' . ed h' rogatî\ e li.> pro-
"and a so ta be included in ail title . "a\arre exercl' 1 pre
\ ter and a\ arre felt that the addl hon of the caric.;lltu
u~t'sted chan!!:e 10 the content of the film
 pTl~ fIl E
15 • CH' r OTH~~ H IInII'
, , Id he mterestmg. at least lor the first film ' • ~ , Il (J 0 IJ S
U th k Ù1at It \\ ou d .? 1 10 lhe \
DOlI'tlO 10 h Ihketching a eSlgn, , . am \\'riting 1 elle, . h lilnir work. Rabier wrote, but rather that \ala .. .r • l"i
'B njamUl Rabier Im~e lin} to ask ~10 te l 'It
, <' sul1c'ring becau~e of the war '" On Decembrre ~ Wllt"' W,~I'II and
s~e . d,Jpr~ ,,,,iO sln
.,'eS5
\\ IV." er 19, Cohl Iab
~
' ,
J cln1 bu fil 's ready . and Navarre m.. t wlth them the folio ' d an-
opmioD about th". " , and 1 am certain that ";th )'our callab
bna on ùus ,enes.
,
oraho
1
the JIced "your m J. b \\'n~ al to IIC\\t
1am coun , "!Xl
attaill perfecbOn,
n IVe ~11J n e, on the film was found to e unsatisfactory. lb releas ' ·d l,
pOu
som
reas h'l
ke revisions, but meanw 1 e work continut"d on th e lias elayed to
, h t bath Rabier and 'IIa\'arre ).: new that the} need d for11 hl to ma , "dd ' 1. e next one. Les
,110 ' Co FI "beau (Flambeau s he mg). Ra )Ier \Ubmitted the sk t h ,
Il ,eem
s fmh c1ear t a
. k a his interest ahe. Then
th
ere was a disaster F
e Cohl b
UI ~ '!les de at
Fin"ÇOl e c es 10 Jan-
'ous about 'eepm, d 'or Unkn
were ne, n fth (ootage that had been shot was estroyed. probabl d o~, ~ 1917. for the health of \lme. COurtet ' 'h
ail or part 0 e h' 11f)
e ",as ana ther move ta the so uth
reason;.
clerelopment
,
at th e Eclarr labs. Rabier tried to console 15 partner.
y Ulin
g,~ l'
Ther b'
" .
vas pleased that thelr anlmator mtended to shoot the fil th
.'elt er \a-
or Ra 1er \ h . m ere and
""re 0 'sk should be taken t at would Jeopardize iu quali!> Rab
1.m som' abou t \l'hal happened ta .,·ou. 1 hope that there is. nothing mOre th an the d Ihat nO n "95 1er "l'ote,
Jf1(ue . e • have to knock them out. He also passed on the producer s m .
neghgence 0 fth e companl"
. or the subcantractor
' and
. no malice. . l ' tllll \\ e " . essage.
You are right. It woulcl be better to be~n agam and not to compromise Our ar.
T."s·arre te Il s me again that he 15 countmg heavlly on the third film i Les Fianç'IL al es de
rangemenl,91 f~a\
lambeau. e
H hopes that il will conve)' the impression of absolute perfection - ,0; E
. '1 ·th h . . \en-
b
1 alll' Ra 1er· realized It was fuh e to argue WJ Co 1and
" reSlgoed him elf to >-.-ti
U li> ng

Sa the) aJ(reed la work quickl)' on the proposed second film in the series, Flambeau ~ .. "50 do your best, your renoWJ1 as resourceful will not be diminished b\ thes
au pays des surpri rs Flamheau in the Land of Surprises). Understandabl y suspicious hlm, .' 9; There was a dela)' in installing the .camera. in
erent ~lonaca. causing further anno\-e
of Eclair the)' decrded la male the lab work to the Paris studios of Navarre's dis tribu. anceo t Navarre , who urged Cohl to work qUlckly ,,~thout saCrificingqualit\'. . - l'm reh-.
tor, 'GC, on rue Gran~e-Batelière Despite shortages of coal and electricity for lighling, ingo n you dear friend, to animate as man
1 •
y of Rabier's drawings
'''98 ..
as po ible \lithout
Cohl prepared Flambeau fur the underseas ad\'entures he was to have in his second fulling into the exaggeratlOn of the Amencans. At the same bme \a\'arre asked him
lilm. Bul the amst \\aI russatisfied ""th the drawings and witl, the story. He criticized lololl'er the production costs while increasing the length of the films
Rabier for being 100 prosaic, and his partner agreed. Les Fiançailles de Flambeau and Les Aventures de Clémentine were campleted m
\Ionaco and screened for Navarre in April 191 ï . Flambeau au pays de surprises re-
You're riJ!ht, we hare ta be a Iittle outrageous. 1 think that the shipwreck scene needs
mained unlinished because Cohl still found Rabier's re\;sed sketches unacœptaille. In
ta he more exaggerated, \lake the waves higher to carry Flambeau to the top oftllf
\creen then dash him down until he capsizes. mid-~lay the two lilmmakers \Vere given their first parmen t after in I>ting on it se\eral
times.
J'm gOlOg la exaggerate, overdo it and enter more into fantas)'. The next film IIlU
take place at the bottom of the sea. There will be a scene with Flambeau, a saw Rsh On June 15, 1917-almost one year From the beginning of the proJI'Ct-Lc ..l.un-
and a lobster The sa" fi,h \\ill rescue Flambeau while sawing tlle lobster's c1awof[ ture.! de Clémentine, the first of the new serie , appeared in theaters. Guillaume Dan-
If" summarized it:
etc, , , . See lOU later.~'

OU\ioush Cohl Was ot ' k' . ant Clémentine is a mother duck protecting her ducklings agam,t the dam;ers that threa-
. fi' n \\or mg as a passive copyist but rather exerting determlll
10 uence on the final prod t La Ra' h' If from lell them. Great Success for Benjamin Rabier's cartoons. \lhich are the funniest. It is
C hl' '" ue , ter bler protested again defending Imse
a s cnhclsm, that there wo Id b l ' l t filnl. agood beginning for Our witt y caricaturist's eries.!19
Flambeau daf),j 1 l ,FI U e P enty of opportunity for fantasy in t le nex 'II be
pennitled."9;J a une 1 am beau on the '>Ioon): "In this film ail extravagances \VI Le, Fiança '/1 l ' d "t _
' lV t' e s ce Flambeau \Vas released in Juh'.
Ille • Both film; \\ere ad,·erh.e ex end
Flambea . 1 Barré 's cartoons. There" ere dra\\lng,
, b\ ' nd
D"b'1er fiaM' 195 ' an,
u au pays des s'Urpri.! h sent 10 tle ' h'0 l'Ompel
, ng e Wlt}
the Iaboratory, Inst d fies was s ol in December 1916 and the footag e 'd 1 'lam Il IS smlli . 1 . t ' clude Cohl;
ea 0 t le expe t d k dl nO e ln' th d Portrait, lut Navarre did not lh e up to hl, prollli e 0 In
receÎ\e any Ward at ail Fr , c e congratulations, the two filmma ers 1 er It ~ e a \'ertising.
Dlet . h om thelr prod , , Ra )1
WI! Na\aJ1'etw k ucer, Nor did they receive any mont) oJl
'101 foual the
l
ra" 'fior t1le rapldl}
fil last st· . . l'up, an d C0 hl quit. He had
deteriorating relahon' th
le'~ni(
a Wee s later and ' 1al he Il
Was ,l(1\'en a cool reception. It was not l 1 r In\, but only t"o of them \l'ere 1'\ er rele'l,ed, RaI))er. \\ ho had leamed e
jUe 01 animal' ' a k h\o more filIn- ID
IOn IrO!}} ohl. eal>i1~ found an asslst.1J1t to m. e
r
 11'11 01 Il
- - -__.:.:...:.:..:.:_~
C~'~
' .!..
' , \\ " " 1) ~
./ '1·"" t1 Ih.,t tl,H'rt. '"'' ",lIch fn"IInn III Ih"11 pllt 1
",- • bl rr ' klll'I'l r ,n",'nlll( ,,1111,· ' (.n,II \\ .l' .\(Iam"nl " I~"'I h" l • ""1\ np Il, "" •
pll illd (0 111 , \ 0\\" t'tH,n'ptiun ot
,,\l,l' , , Coh l """t,·cl that 11ll' p." l ' nf tlll' film, Ill' l, t dl 1
,~r( ()dllctlon , ~ \ .ln 1\ l', I{ühl('r
i
l',lI
~",n
(
pr ' l 'nt to h" , I()\\ ,UlO nalllr,t11\t ...
l ' 111 0 \ (111
"'K" dt'II1.'ntl , \' '
11lJJ; . \ P Ill'N] our
\~J " It'd 1" l ' "
hL' Ill' Ill .., out " eotJlt'Ch Coh l ""nll'cl
,
ln '''
, (. 'Pl ,t'th bl ' o r tl ll' (1la1OgUf.
,11'10,1 1
"",,1\ 10 r,'c" ,n CO II" C' , tnp, hll t H"h",r pn,I'·Il'(·t! ln h III' tl" , d 1
jlll r in Alli" . " . ,, l 1.1 OJ{lIl' apPt'ar
("S III IIIU/ge, 1(' d LIIII'CI/ ' \\ ht 'Il"'"r C' 1,1
I..I-r Ih'" 1
bl ' 0\\
11lt' cI " ",',n gs li prll[lO'" d .III
,n.,r.'I'III'"t , Innovation , Hab ... r ()Ppost'o ,t w,th .1 '"Ol'(' ,on'I'nat"" 'd , ,
'11 ('Il or ail , 1 ell vi\ t'n
1"I't'I1 '
pernJllell ~
t',1 difli'rl' I1('c's b!'lwcl'l1 th e Iwo hl III 1lI.,k,·l'\ , ,t "Il Irdl, Il'rl' ' II
" n'lJl~ 'lat
Ihe If Il' \Vere ('omp ld l'd ,
,o"',\1 film' , ' ",ke ld,cs ,rom
re 01311l1
1l
t'! ....
r
_
1 ,.1.'/(1111 1)"/11, ha,,· pn''''r'''d ,
1~('.\ 1"' 1lIl1çat'//1',\ ' II'
_ • rt,'(.'Of(
1
how C01Il ond Habler macle tl1('1I' film
or The ,IlIJ Thl' I,'l'nJl'I() al!l'l·t·d "pOli , Ibb ... r w(luld

195 I!rnJ

Ih sm Clhntntw' tt flamheau rdca" 'd September J 9J i ) an d Mil li Il' 'wl" dr/a

for t M, ti, the '[roll 0 \(101)(,1' J9J;) '('Vf' rtheles, Rahie r apologizecJlo Cohl ,"
October and 1OI ,Ied Illm to r~J()Jn !JUIl on nl'w Ic rm \
[am aJ"lI) wdlmg 10 R"I I.oICk tOl(dhl'r w,lh yOIJ , as soon a, you have lhe meunI 10
('ompo$<' n"" film C'·rt.unly, ,1 y OIl "clUld lik(' 10, il " wilh you lh al J woulel IIh' lo
ln oui wme Inler !lng ,nnovaho" Bul 1000 Ihal we l1 have 10 gel rid of SOnlt' old
hm,t
he IDIL'IIlt'd a cart,.", y leOllhal allow\ ml' 10 shool a ,(,(, Ill' 'al fUIt UI ,1 ('Jn he
drawn J Ju 1 hol20 m, le" 'n li'I IIIÎnul!"!) Bul 10 cOllhl1U I' '" lhi s <i"ec'1I1""lu
tak~ {ull lIChanllig
of my ",mellt"", " 1111'1'0 a" IOl('lIigl'1I1 ('ollahoralor Thul", wh)
1would brfwPPl 10 t h.1 w,th yu" 011" 0/ lIH'W u'lJrning, if ,1 ', 0 K,'011
Altbough Cohl 'us Il .. 1 l'II ' hr
urt'U ,al 1101 un~ Il'roa'II\ 01 our pn 'v i"m t'OIl C ' ono,
_.1

~rned Ih oIIi r He Leheved Ih.1 III lul"1I11rad bc'c'l1l'xplo,tI .d "ucI , wl ... " hl IUhnnl'
.... an advert'lem ni 10 th JliJ7 A Il ( t'a/II I
trace 0( L. ~ "'rua/,,· I!/'Ilhoi dl' l" d'H"ll/II/V,",' 01' , l' J' 1111 ,
",Herne 1 IIll!red 1 cl " ) "(' hl /. YII
IItItlal knowled u e 1J'l[l11Cl1l (Wl'Illl'" III III!' Ihinl [Wl' V II' : A' Il
""":'IIL
bi.frlendJ L_~ahl~, 'If-
IIIelhodltlllllllcl.1 /.tnl.lsl\'
...., Il, _ tbrough , "10,
Il "hUI ' "IIt'YI'loIWdiP l'~
Rabier (QUlJnued 10 mIlr~ lVI ud "oIiI
lIIIIhJnc lIIIm! !han '10111 Il~'"l(],,\ " , ... w" ft·d""',"I' willd, ,, '" 919
II~I...-
-poeNJe..ed U /1•.IlmpliHed
•
,,- v r '011" / C. .. ],I '~ ""Ioui sy ,tf·", (l',1( 11Jr)
,l ,
[,,' -II
n _LI'
hallellledlOlneo(f' -lApin l (M""l')
1 l-ajlJl<rIl(.'· I},· r' Il/IIl/II'/1II (Ap""l ,"" h n""" 1fI
"UII 1 1/16 foolll cl ' ,,1 H~ "
~), Mil (flrUI/J,.[ (M" y), A 1',,/1,(. " " I<'S
...
lppeaqJl dUr1nllh
early Iw IIl1e Url IUh Iklll.l1l1ln ni1lU r ,t ,nHl ,,,, d t'. ,h 1
111111 U\IIt N, III hunlt lU cI(" IlIIIiitt hUi I IiUt
t '" HW)
 H(JLLT~()()rJ' _
• • 191
• LH\ c 'hirh Cohl would render a back"ro
chsct'ne,IOr\\ ... und ln
pMta' d e"~ for fa
,~FI beau JO
a vaneh of poses ta demonstrate th
. e ra
qfl':,~
~I"en'"
D'b"r,ketcheu am f ti'on fie: 197b--cJ, Cohl was Fre e ta ~od cn~eofl
ha>es 0 ma , . ' " 10, n. '1
5100' and the p b 1ôere was an exchange of ,deas du,.; . •..b,,,,
e.tpre< te the an,ma 00, . ' ,n!!; the r.
clr ",n~s
d"
to taetllt.l h
film li> , 0\\11 .
b, the sketche, of Flambeau lO/latin" a <..'
, ... 'nend '
0""-a,
hie stage' ~fthe ' L., ed on a sue:e:estion b~ Cohl and are remlni \\lth.
blcrde puInp· 111e' were """
. ~ t..-a"ont' fie:, 19, -d seent of th ~
. ct' to ra .. ~, .. ~ 1 b '
toRatlDg ,equeo rLes Fiançailles de F am eall (ClOémathèqu F
unl' to~ prtn 0
t
The 0 "ni fi were e>ecute d \\1'th great "Imesse, T heir mol' e ran"". ,...,.
th the cutout ! ! U r e s , ' . ernent;
,ho'" at 1 and coo\IDcingh Pupp\·-hke, Tlus re/lects Rab ' on
are BUld <upp e, d" 1er s ..~
the ,creeo . 'ti to a,'oid the "exaggerate movements of Ame' ~ ..
's admoOl 00 ncao b
and \ "am" , ' ,hallo\\' \\ith no attempt to show depth reces ' car·
, llIusIOOI,bc,-p.we lS ' " ' ',' .. SIOn Th.
(000. " b" 'mal, ,which antiClpated Dlsne~ s st) le) IS offset bs the
'cuteoess of Ra 1er> 3DI , 'b b . co."..
'd;h ofhUl1lor which!S perhaps attn uta le to Cobl. In the sce
ne and marbl " , . ' d '. ne for
,,-loch the setche; remain, the dOl! mlschiemusly. gnn S up a friend ln a sausage tnc.
clnnf. a ~ that Cohl had used in He Poses. for_ HIS PortraIt. lO 1913.'GI But gen elG.U~ _n
,pealanc the quallt\ of the cartoon is supenor lU both techmque and COntent to One li
Bm", "\nimated Grouch Cbasers,"

Throughout Cohl' collaboration \\1th Rabier, he had continued to work at Eclair, Dur.
mg 1916 he completed about one film a month, but the company was sinking mto
e:rrater difficulttf> and could not release them until191'ï. There are indications that the .- l

quali~ of the,. filIn> "as oot hie:h]ew: de cartes Card Cames. cat. 19 J, far example, - a..)IllIID Rahier, Drawiogs and sketches for Les F"lrll;ailk. rk FlamlNau.
"as cnticized lor poor photoe:raph\ 116 Les \ 'ictuailles de Gretchen se récoltent (Gret.
chen Food Rf\olt> cal. 192 elicited the hape for "something more substantial ' ,
Theonh Iilm to recel\e pr31se \\as Lkenir détoilé par /es lignes des pieds (The Future .~good little film that should ha\'e been accompanied b~ one or two otbe~ Ta ration
R...'ealed ln the Lines of the Foot. cat. 170. which was inspired b,' a 190ï Gaumont the pro~s Iike courses in a restaurant-i it good commercial pohtic<,· 1 think
Jilm of the same tIti- 1 1. 1 . '. not'!!;
, na neBr, comp ete pnnt at the Archives du Film, a man come!
to COn utt a lad, fortun- ·t II h . , th 1
° rIt'et 6~ 198 Th di' e erruIl 0 practiœs the unusual specialh- of reading e <II, e! The sad state of Eclair was a reBectian of the general \\m1ime crui atmoo;phere
d . e ent sture is displaved as a series of animated transformab<t
rawmg, There lS to be a . • , 'mIering over the French film mdustry, Once the upplier5 of film to the world. the
ltudio, nOI\ struggled to stay in busine~s, Theaters were ordered do ed e\ef! Tuesda\
mother. .Ia. marnage, but Its hlissful images gi\ e wa) to a monstroU
ln \\ apolIceman d th h ' h ne>
:of COUrse dUring BIg Bertha's bombardmenls, ~Iean\\tllle, American movies-
of mantll bit" fi--" , . an 0 er arbmgers of unhappiness, But when t e sc<
UAlJV returu the m ' h ~ teller
Oh\lOush ..n h _~. ' an IS 50 appy that he proposes to Ùle lortune-
. er P'=Rtions wÛP--- , . . th', . UC' st al! feature length b, now-f1owed into all of Europe m unprecedenled num-
ce prO\ed th.tt E L uecolIle self-fulfillmg Le Film reJOIced that 1 l'l III Ra ' . had
Cohl badcompletedL C"", was stilltn b . r thaI Il stock Was scarce but e\en had it been a\-ailable, demand for el.-ports
befo
j

,~t llIr r/;r lé

re the war As often b
Ecl.ath.tt \leek D'ft, "PPened ID 191ï, Cohrs film \l'as the onh- one relea.'"d
~ersouFil r
USlDesl. The editors dld not realize, howe\e
le' ,ybtf ~} <hsappeared ,109
QI par & lll!nes des pieds almost three yeaJ" e hl
the end 0 f El'
or
. c rur .s hislOT) as a producer. what \\ . po ,SI'bl~' on e_of lU, mot
.
m, re3<.tl"d ta thi' situation:
- _~.",tin_~ achie\ement~ took place-- 'Lt> Aventure de Pied :\Ickel,ts The>e fhe
Illa~ alsa ha\ e been among Emile Cohl l!Teate,t accomph~hmenb-
 (JIIIII\ Il
- 1) 1.. 1 1 \1 '10 0

~- lt
-- 1 1- Hl}~ Iii- ,,,,,tlllllt'd tll "'nd dr.""ll'"- IrIIrn 11Il- 1rOllt
Il''11,,1 1)1 Hl} .l, d tl
Il ' l ,1)11 Il ... hll:hllrlll: III \1 ...11",1"1,, Ih,- nnlun,,11
\\ ,l' I.e
~lln Jtl)lll (
1 ,/Jalanl dral\ln o <
l' \IC~"" Il ))' l,..t"",·lI ,\1111:11\1 1915 and JII11I" 1917 J I ' "
'!t'(h . 1 11\ ,1 )111 . l1\t ~ t){" ...lbum
1
rt r'
'l\\llt'
fill11 ,,'r, JOli 1>"11:.1)1 1Ill" 1,,)1I1l~ lia p. rft"l
r
\\' 1. (tlh \ Il Ih Il <II Ih, "lIlm "'nt" 01 (artoun ar .. 1\\ h
n ' 11I,lÎ)1'
"( ,I~('< 1h il 1 1 f () art fr.~.
, ".~t .. tt.ll ' Il ,nd h"('JII\" t Il'\(' ràll:ll1('Ut ('untam tilt' h.- t F ' 1
flt Il'JI t~ dou ) ) . ft nl \ ilmmdhon
111'111 ' 1 ~etl IlHldt'"
'I 1h,,,1 I,·t "J 1 eh ttl Forton\ ,II l" , a~ he h.ld \\olth 1)) ad..ptalJon, of \1 '\1
",1 dl 'r<' {' '" . . _ C .ln",
(11h lll l'' dnI WIll d, l'Ill' art )Il tlll' ong)ll.ù 'Inp lia dl "J11 10U h '·h-Id
, ,.,·, _ 1 lS h an d

•"1.1 H"lll,'r
1 Id 'Jllllt'i
, t.dl
tl1<' !tHOllI
"
uf illlagrnl' d'E pinai D' wnfillllll\ th, pl(lur, t 0 '1 1ttl e
Q
,

tlln
ftlf lJol\l'S l.l110\ (' ,,'rho\{' ('JlptlOm _
Cohl s n'ndtmng of tl" (h""act~ri "" ....,
,I-~tl
1~1 \
1Ij"~\'l"\ l'nile. t1111n Fortmù . bllt the" ro~u"h n~turt- \lil> und. I1gt"<! Th" m)1I r d,a -
UJt"r-
If")" c 11I1 tIlt' adll'ntllre, them't'he,
Wl'(t' loUI1(
,urt", '" li e n ' rool t'd III th t' real wor/d . Contempo'-JJ"\ e'l'nl "~rl' IDro"""-
fort""' stone d' f . . ....
l > ,trip and impartl' tu II a 'l'me 0 Imlllt'dliln and r.. allh In th .. film
trd IIJ1<l I Il , l '
" th,' oth,'r hnnd , the c lilra ter> '\l''re tran'ported to hl" rld ofr..n ,
\C'rsl(ln ~ . on . Id - h " -
hlch \\ ,h Il nhke an\thlll~ -
the, \lOU t', er ,1\ e l'ncountl'r.,d lU Forton s tnp ln
•~~ 1 rd sr disli/lgur (cal 221). for {'\ample, the, lllain" a,leep m a room!hat fill . up
19 L',~l< rur dt roi" l'ar /, Ilgllr, .In "U'd..
\ral 170 ', 1917 \1 w . l e rb,
\ l1l \(lIccolllplblll'd . menn, of li tramluœnt 0'_ l'ria\'. fig 199 ..,. he Boats ouI
thr\llndo". Filochard li"" hi leepin~ body a; spnngboard He 1 und mlo the au
r.lU'I11~ a \l'oman to t'\chum, "That mu t ha" e been il 'b'Kh [,('rman] pWt"I HIS M

It \\ prob;)bl III' fnhtrahtlll '\llli Rahier and "a, arre that prompled ohl 10 b"~n ai~hl ,\t'ross Paris t'Ontinue, lInlll he i snugged on the Obehsk at the Pla, de la Con-
"urking on. Ilr\\ "n" ,,1 h" 0\\11 III D,'t mber 1916. He t'ould not ha\(~ cha,en 1 ronl~, wlllch ,\l'ays under his \lel!(ht. El ell her... he escape. From a room h, curllOg
mOrt proml'ID ,ubJ' 'La B,nded~, Pied, \lckel es" (The Leudfoot Gangh.,t\3
mlaa seroll and shppin~ throu~h a r,l k in the shutteqSg 199h .t H Thl ml d tro~,
> ~ otronlll stnp .d'rDlur,' Ùl.1 Ot'I(J./l ln L'Epatant in JUill' 190 ', l1nder,t,lndin~
th,illlllion tlhlt the Sl(lIr .. , art' .ln) thing but hso-dimemlonal cutout ln oth r film, 10
th naturt' 0 thr penodllal heiJl III 10 Illldt'r,tand that of the, trip . It \la" publi,l1l'd h, th, \~n,". Filoch'lrd\ proS le matt'rialize ' a; il pil'Ce of string tlmmhm hl nase 1 a
Off >(idt f rt'J'es • /inn '1)('('1:UIIIOI( lU Jm enile ht .. rature Til<' (~)mpall\ al,o pub,
police m'pel·tor (fig. 200;1), 1none remJlrkable moment the, illam ",truc h, plet'"
h ht-d Lr r. ht Wu Ir ,Fillctt , Cri-en, and /.'lntr,pidl llch of the,,' \la, dlfl'rtrd
tOWlrd. pecûi drmographl< marh'l, and L'Epatllnt \1 a, ;umed at the duldren of Ih ..
P..... laIl \\ rlJ n clis ~ m ~or part 01 Il> appeal \l, that Il wa., ",tittl' n 111 arj(lt B.-
U5e of! dialo '
d e Iret I-'mart "Iuahon-, and anli luthontati,lIl ,lttltud,', 11\\.'
Un <Tcon tant atbtk b Il '1 1 rd
th I.tr: 1 le al III Il P"''', who, ... 01\11 duldrt'n" nJ.Ij(,l7int" ('l111llt' l
''1 vuèIl lidl i l.<JuI F rt r
1. Epolollt • un, l'tlmll ,tnp I\à, consonant \\ ith tIlt' j(,,!lt' r.11 tellO' 0

It PM ~Ulli 1", rt' thr!'t. II. Id

hlOlh.u-d Th 1 (nI,,) dldfa'h'r, Il.III1t'd roqllll(noi HlhulIldilH(Il'·. ,II
\ roug lllOu>ed tluo 1 1 ., 1 11<1 j
dl turbUI~h lni\f{h ug l '1 1I,'h .Ith ,'ntlln', ln Il h.lt ,0111" (~lIl>ll r
"_1 _t
~'~JUI(,,, n~ th
1 t manne.. Gro r , 'd 1 .. d 1
St ',,1 IlU apth d""lTibt'd th'I11 , 1III lll) .
lIra<'
tb~ P, d ~ 1
chù1 Bonnot gan ,.. III \lib l , '"tr. J ,ort llf('OIlll('. " ,,"))1 tli -t1li' 1~11:tr•
Ullnl _. 1
ouu ts 10110\1 d th
ough th l'Un Ul' , t'np lia, ll,t,'n"hh "ntlt')) 1<li _, 'Inlclrt o.
~ gang! 't t '. 1 t "ttf n
Il 1 It Theil Popul.lntl Il ,h ,It Il- h"u( 1
 -- fi "01 l' hn.111I thl' "ar ('nded and III De L
" lJl" II! - . - 1 1 'm""r 191 JouI]On
"lr\ 'l< IIIct tl rIl t () \\01 J,; l,.r I.l alr-]ouma III LPIll4'
Ilr lb,II' hl r d IInhl \ 1.11 l'ilO "h .. n 1.. 'IOn \\or" 011 fant h L-
'lUIt 10 1
,t" ' II ,t,)\ <' OC Cnrrc
!Ok lor .11. -\p.. rtml·lIt
. 11'< fl·t"· PIIPP'" t 1~. Il "i< completl'd and ,1 ed b
rt \
j .""",,tt r. I,tocllt' (Tlw Puppet HouH' t :!.19 III \pnlI9'1 Th _'-
/li •. l Il
d /1 JO . 1 - ~ 0 .... ,
'C' /,<, ,ld . '" horl C.l . rtoon \\ ,.., 10 tIlt' forrn 01 t m-, "urd III (In -Jou 1 dlIertu-
flUI
.aWt1,,<, of the
-
. ," '.1IllU ing ca.rtoon il \\as hl la t Il:tnn ant film but no"1 t LS
m l nlt'S
d l"'1,11 1 ~ ~
,Jllt ..

Li
,..1' d nt re t1ft,from nlmlll.ü;lOg,
, but practICa)"
_ pt>a\dnl! hl car<-"r ~nd··~.. nl \\1
th
Cohl dlThen re,I\OI
. "are . not d.fficult to ascertaJn
d Edair 1I1:'\{'r r.......;unl'd Il prt'\\;u-
the ".If
M p,te t 1le r l'orgalllZ.l
tion of the tud 10 as t: mon- . Wrlll lQI The COmn>n ,-.,1
de
_tn . ' .)\ stud ios and concentrate on mdnUfaltunng eqUlpment r 19"20
,e"">cl 11\ EJlIn.
e
.
\1 ' de, igned t le
1'" 1 "h
aJl1eraec aJr, t e prot 'lX' be Eclur =era
Ch,1fl ,. en I:!O 0 h od 1ed b
"hen· 0 111 is no\\ known t er pr uCt-rs rI:' 1 ealù' nn \mencan im-
(, "hlCh the nr . .. d ' B " b th
..r tead 0 f'III l e,ti
. n!! 10 domestic pro uction . I:'l!lIlnlll ", remœrporallon
ofport, 10'
ralhé Frè re,'lS• Pathé inéma in 191 . the maJor. tudlO_ mpted cut !he1f

,
:!Ill l"rudentified film, m ~ p,,,,,, \,ckelés >enes.

ilffailme fenet' and momeotaril) tum ioto a walking "Cubist" drawing (ng. 200bl. ÛlItl
u,ed rom,e- tnp .peech balloons to indicate dialogue, but the action \\ as pnmarih
nsua! ln th~ final ,hot of one film the three heroe are walking From a strange mau
I~um-hk~ ,tructure 6~ 200d . To ho\\ their progre h e foreshortenillg. Cohl Ul<'<i
cutou!. of steadil\ decrea>mg 'Ize.
ln contrast to Les FiançaIlles de Flambeau . Le Pieds Sickrlés \\~ IIlnO\ Jtl\e and
IInpro\1'idhonal The fi~re mme qUJckh Il;thout too much regard for " natur~h,m
The result 1 a Il\ell cartoon that captu;e the spirit of the original strip. Tlm."
preasel, the qua!lh that Rabier had IIi. hed to banish From his 0 \\'11 cartoon "hen ht
told Cohl '"\l'hat Ile ,hould do il 50 far From Les Pied \T Icke lés "115 Cohl's pnnlJJ1
mterest dearh " f FOlIO
J d fro ID creatmg a procluct that \l'ould sati f, th e amateurs 0
u gm~ m the,. lU" Îlm &a ..
Perhap, Ùle u1d h 1( gments, he \\'3\ suœessful 116 fi,>ti
re Il 0 al cl . t I1l1t' I1"
InAu~t 191- Ù leen more than fh e episodes had th e \l'al 110 .,
. le Eclair-Jou al t d' . . r Jllhlc ~'
!Ces of the •
~m(oncan arm, u cl
rn 'u 10' l'cre occupied h, th e CI1lt'matoj!r . , 1· ~n(U' , ..
CourtetJOlned the ~ n er the direction of one Lieutenant \1.Il, r ",'
he 0 mencan as 1• . . 1 III \ (
r n Mal Il 19b an attac le to the Transportation DII l'lOI tht ~I l ohl a., l ' \ ml' \
fnlll.· Cohl al . 10Ilt." r ln
10 offered thern lm sen l('es ~., :l 1 (l 19 1
 &..-f:1~:t.
." CJ
#J(J, (,21Jll)œt 0lJW
sm;aIler
hl
ibu
19b "PP'
l'S nd tntejUating WI h (j
c . _•• ...À th
~~
'Jr
.. new IItuatltlO 'J1., ~
. .:

~.~rr a (ev. r aIl ""th equal \-nan,.. ar. If.... .

. . '.... c .. ,.. d--.l....4
/lOI" "1"""....-- 00 amas IIll! nUI!f"
t
caplt4l r grJ!"..iIl•.j,.
~:n. .".... <on et Îf
\' • • prodti<:el'S \A l'rI' hardly inter<' t ...d·. J Pr,,.; ...
~ ln "''Hm«t ~r..
~
J
e ar>d bad h
-e:-,. /-1.1 was
promm (JI cmnpeting y,ith Am<-rj _
-ooe )ean old ID 191& and .suff"r<-d
. '1l ...
L ,{4n
t P"J(j'~JrJl'\j
h
li II> i
he ~ Iahorl'd wlthout as l~tantS. , . () lon!!<- illr.~ rtr..
"JlLU'< I..CUJ . I}{)lJ

freqot'll . for [l'ti

))('~..,d hoId tl-!e1I' OWD on the market against thos<- of Barré r '.:tJu)d ~ ,
JDd~ . lM!int I,menClill HMutt and Jeff" C4.rtt.JQnSwer. • Br-d)',
. irl(j,..t ' ....
frarK* III April 1919 fl'rar.: pd HDd et Jeff," they would b(.'(:fj}me one , Intr(..,j,~
of li
popo1ar amm,te<! tefl III the ear1r tv.enbes for reasons that Cine· 'JOUrrud "lnl t};t•. ,.aw..

n- ca.'tOOIl rornp-:t'= "'lth the ben of their kind; their extr'" . ~

,me on~naJ'
~, • • UlJ~
r... and the
_L
IITesli' e characters of Dick and Jeff all show th J~ fi,.;.
hl
~& taLf'Il and unmatched \Ait. The sp<Jn!aneous com d . f e alil~
..... " . .8. _ _ .Lo.. l' } 0 Our 1:1.. b
~ ..," wc uwwv.."" i Ul4l our !>est humorists might ima' 19ne. It! 0 lft',-

~ freq encv• of the cartoons enhanœd the If

ODœ-il. . " ..l: ' aud'lence appeal
tmt 3lJ Emile Cohl HfJed5 ïdaM" film one third as long co u Id be Te1eased only
. ln iter
001-

• Pour parattre prochainement :

,
La Série Comique

:CHARL~S CHAPLIN:
# ;?~ ,
•
~
//7
~
1

•
, 1 _ -
" .~,~ ri T. K'.'
C O S MO PO LI S· Y I L I>f ;A,IJ
o 71 /,0 7 24 R u . ~' rr t fJlI' 1 •. - - .,..-"
 •

w CO,hl-.,. ",rr.':i!erl
~.~

cm[..(lub 111 l' rfp1meI't'~ Cc

llI1nU~..d ." ~ r l-:o • A.Ddrf ... eT
t" ... ~ !Wnr II>- •

..
..... te .n Orf'

.,
,•
Id

- S

a. i
li J ...
'Zp
~calI

t' ,,"pla::Du:
an ~

or
lare
...
Cs f"
.- "'p
fantarmazQne-fl
of p%'

...... ~ eU
4.ed.
.. " CenJC li

--- -
tille baU;

d r_œ
fi
- •
 F A 1 H f. R 0 F T li <,
n'R,I\ • ~"I I~T
H\P ,
:00 " ( r. n fIL \!
t find a particular ,hOohng angle ta cl' . d wlth a Ii,st of my intentions for the next . , • 2Al1
'h le techOlque a . d th ' 'S('O\e 1 rtla
'Jôe.... wasa \\ a d ethme: ne" an at was an a~mplishlll t. 'lÛIt e thl j
l erel l '_L
rI! Drama t lan one ml",.. t think. Here It i H
lear n'''re. Fanl4.~y
But we ha ,am ent. ~
ID tJ" etc, 'd b 'd h ' k cl ri'" l J. nd mO s, Pr Pearl 11 1H
.
' fi rJu,t one
61
m \1
ere laid s. e 1 s. 1", 1" JO '1" the, 1\' 1
dT ' l 'ou d fa Co ",ed ' \'èp,ra , Th e FrenchuoTTum ,s Dauf!.hter, etc. ' 'P, opl
Olll
Ifthe dra\\1ngs a th ough the Arc 1" n omp le on into th 8 . l'II) an,.. Cttt , k about the cl ifficu lties of findmg a producer reH·t b
ère-Cméma r ft " e 0.\ cl •...."
tram the PéplOl k that he wou/d a en repeat: For the art" e a" nous remar s. 1 ee pro lems \l.ith r _
11 h .dded a remar , 'III Ist, the . u, ,e 1e which \Vas comp ete. Or nearlv so Il IS Cu ' h LU
lo."e, .en the· th leads nOIl'here" 'la 1 m \l'TOng, It " , ead hi lll ta Ch !l" d fianto C 1 • 'fi' nous t at he did
aren teso,,,'
r:
doesn'twatch out, ,
',
more thm\(, J> \fier hl, talk the t\\'o films made ID collaboration \Vith Rton if~,
ablet~,
\lo~ on P [!,cs
)II
" 0 11 JI

enti a
d'H'· toire a mystenous lm known onl\' bu a p , t d d

(3) Suppose
w ' " ' , nn 1" a vermem not
d to be about th e relgn of Napoleon, .t \l.a.s only 200 ent
meters long, no
projected' t G een', arhde appeared in Ciné- Tribun e, Cohl' '
'r, 6~ 2 " eleas e exists,
" rdo flts r
rh h' respon,e or s lehe rfCO
1 en J. 1 fu, \lit remamed sharp, He maintained that the in cid Illenc,
\\
as tooed dO\ln , lut ' , " h' h h' "r
1 fth famous "American ingenUlty, w .e , w .le] eharm in ' On,
ent Wa,
more eump e~ be an almo,t complete misunderstanding of anything happg, .~ gener,
alll .ccompanl ,
l 115 con'inœd
the arrTI\ , C0 h \\ _
, ' . d 'th A
. ft! l' ïed tates."9 \fier hanng h, e ",
"deo le 01 , d
of theu eep-roote .
.
" .
prol'lDelahsm
'
enlngoul,
men eans and ser\'ed \I~th th
d 'l11io
' h Bert
of wh le u '
PAGES O'HIS roIlU:
fi

5 MAI 1821
:,,,
-
..
5 ~AI 1921
'--m that \lcCa,
Green ~ C.la1 IDl'ented the cartoon was sim pl)' another maniC,estatiOn . _~ _ C CHIV4Z" • c.., _ .. E- COMI.

_
. ' .
Once aJ(alO he chafed at the American studio system :
--
\l'hiIe we \\'ork on our films a10ne in our studio, there they work in teams of Meen
or thlrt) \Ibo eam 50-1500 francs a week! My god, how mueh these cartoons must
c. .-~- --
.lOO.--
_~""",4
.... "'
~T"", ...

....
",.., _-
__

............... ~

eam ' Enou\(h to make the French chstributors trem ble and to incite the pOor artisls
here to pJCk up the timetables for the nex! transatlantie boats bound for this dreum,
land

Cohrs articles and lectures caused him ta be grouped among the "most notoriou,"
filmmakers br the end of 1920. when CinéMaga::ine polled severa! filmmakers about
the" proJects for the nell vear. Cohl answered ,,~th a bizarre letter reminisceot oflus In Jaouar)' 1922 Cohl entered the hospital for a prostatectomy, Complications pre-
IDcohereot"' davI, lentecl his leaving until Mareh 15, but meanwbile bis œ lebrity mcreased " ith the
publication of Le Cinéma pOur tous, a book by hls friend Etienne :\ maud,lI which
What am 1\\'orkm~ 00 for 1921? Weil fm embarrassed to tell you that several serious
deloted ten pages to Cohl' s work. As we ha'e seen, It "'as Arnaud who promu/gated
projects are eoe:al(in~ me: railroad CroSSlDg sehemes. a way ta imitate fake Gruyère
cheese and a sc'heme for h}dropathic devulcanization. Business is business. As lon~
the story (probabl) apoeryphal} of Cohl um'eiling the secret of .iIÙmation at the Gau-
mont studio, Arnaud quoted extensivel) from hi friend '· article in Cml-Tnbun~ and
as Our Frenth movie; are almost completel}' in the hands of gents as circumlocuton
as cucumspectt' d,œ 1 C , fi da a!!leed I\ith his pessimistic assessment of current French animation
" • IS uncu t lor a trick speeialist, sueh as me, a!as. to n
recepti'.oompan, Th r . This attention ushered in a brief period of optimism and ",a,tisfuction. as Cohl round
' erelore , . 1 \1.111 By with my own wings. JO mse
&~~~~ t
Iu lf basking in the unaccustomed limelight. During this penod he relied on bis
elpert
exploitation at the h~D1I}' to repeat hls new "title" and to attribute his difficulbes 0
ands of the Americans:
10
ger Ile as a stamp collector to support him elf -\fier 192-1 when the cinema no
th° provlded an)' incarne for him, Cohl worked in the POUIllet tamp boutique on
Creator tha!'
'
ing from Am'
s to 5a\ Father of'
'.
d CI': .
anlmate cartoons, today 1 see my onlpnn/(
' returTI' ofe A'enue de l'Opéra and remamed there untiI19:!9. "when 3 discussion between one
,J IllI' coll ed that
enta rl!3urfat dlcl cl floof"" ot~ ,eagues and me made me lea\e" \\lt11 ail the nell pubhc.!) , Itappear
by the manv r ' :e ,g. e thanks ta the fabulous Dollar and 1 am
,~ mu'
1 s
t h. cinl' t l ' .~
. eject product th t Il . ma O~rap lie achlelemenL \\ould he recogIlIZl'U
resist. , , , Weil th' , a are o\ersaturating the public, They sa) 1 I~ on Ciné a b _~ • ' fan ma=e ,
, '1 IS what 1 d' 1othef IilUled E " nell pu lication b\' Olfen, tadt p.lttemt'U on ."mencaD , ; un
am Omg, and sinee 1 do not wish to he a )
m.lf;' Cohl in its inaugural isue of Fehruary 22. 19:!:! T\nœ referrm_ ta h
 F~THF.R Of Till ~
1 1""En F
1 LI •
10. • • /1 , 'Iu aooounced that he was neanna
rt' he "gn .. d the p,iece uJ -B de Tronqui~ Th
.' 1 daton a ", . ""'Ill 1 , hmen t " ,res e am .. .)
th ance,tor th,' dU -JOII mal aho anoounœ,d that Cohl, hl'a1th P f"on,", l
",rnP " "he d ~ "" seri'" of drawlOgs (ordlOarih~ of childl'k h IIlllt"" car-
as e fil "Cllle- "ils ' "Ir.. 1 e c aracle"
thret'hundred th 0),' "deheate operatllm ..... He "as Rattered onc'l' Illo "OPt",
re
11,1("(;
", "p des
cn
en etC. J, that anal) œs the ph",es of a motion and th t i elP<.l1ted
aiter ,"bmlttJO~ oon·
to hl' d "our dean " There was a1so the ne", pr a,., the .~
an "' elnatu ~
~hoaJId. bru,h, p t'ars to ha\e ail the mobiltty I)f li\lOg belOgs" Tha ,,, 'en lilmed
th er of the Carl h d contrac te d \\ith a large produœr to make SClent,'fi Ca dte, a. v' d prOjet , ted. aPP
d'
d , 1 f
'en and e' e opment 0 anlmatlOn "ith t'Ond bl
ere \\"" a bnel
, q
~~ d t that he a Il 'nSt
~
'" f the ISCO' , '1 C 1 k' " era e s~.., de-
Ion a , 'an artist, Eml e ourtet, letter nO\\l1 in the il] lrat-.)
ttonal fil"" l ' "1th Publi-Ciné, an Old'ertising agenc\ fou d hl' " a pJOSI . l ' m "" weeklies
tJO> \\a.'" . n ecl b te<! ta d y'm Emtle Coh. He mentioned the !,\\edish t-artoo' ,
~ctualh hll 0<' ,0 seu on fr . . ", ns 10 passlOg but
rtat From Decem
ber 1922 ta eptember 1923, Cohl made d
f
y th,
ozens of der the P "the best cartoons come om ~e" )ork. HIS aC<-Ount of d 'al'
"O d thJt . " , 10 ustn lZed
ammJtor Lv,
.,
1 1.:00'\11 onl .. b, the names 0 the products ad\' '
merclal trat ers " , . 'fi ertisecl
th,. ~ocede JO
LV •
. Anl erica rehed on Green s desplsed article tymcludma.... '"Th'l~ T a\ I '
onza-
a!ne," corn. ut h" the,e \\ere probably mSlgm cant potboilers Coll ,such ProdliChOO 1 elease of one film every five Or six days ,h He al 0 de'Cnbed th " f
d5 J><'Obl oo \ "mlo " f t "'5 l qUit 'n .'1 \\,5 t le r , r e use a
"dtfficulbes a paymen . tionil' 0 . ' sed the process as too expensl\ e 10r French ammators' "lt' f.
]9;!l oser \ome . rded him in 1924 when the ~I usée Galliera ask cl ' 'ce ls . but dis miS . . d' "a aster
ù,er costly, and It IS an expen Iture that for no\\ onl\ Our form alti
fat hooor \\ as 3('('0 . • • . .. e h 5 but ra , Il . er es
A~ , 'F eoch Cmema E'-poSltion, He ex.lub,ted an initial sk t hlill to pr<JCf's ... Cohl finished bl' describing L Orei e (The Ear cat 242 and emphas1Zed the
rtlcipate tn lb Art tn r . . d bd' e c &0
pa f t d cartoons "hieh purporte to e a rawmg fro m Fa t III can hear. of such films : "Ali the phenomena that are impo>sible to film in nature are
ÙIf creaboO a "nuna e ' . . Il asma~..
nE IllcorrecÙ\ da e
t d 1907. There is na proof that thls was an ongJnal drawing cl
'h, ". . an no 'il\ll,fican~ ted into , ery clear, anal)'zed drawings .. Public instruction. not entertain-
'fi hl "al- are now known to eXls!. Also s own was a Stnp of 16 cl~ . here trans a fu d' .
'ertising, was the Iure lfection 0 t e medium,
f h
,en d e ongm > • ..I\'n~ Olent or ad,
n' representing the work of the
,..;tatuette re\O 1\ Ill "" .
artist
.
for a one-second prO;e~J '"lion

fi~ 145 There \Sere dra\\ings for sorne of the dldactic films that had been announced ide from the amusing fantasies reser\'ed presently It seems for ad\ertisme, lt is
As . that the future of animation will be found in education lt \\ill more and more
'" 19~ La CirculafJOn du sang chez /'hamme The Circulation of the Blood in Man. fi~ certam
204 .md L'Oretlle Comnll'nt nous entendons (The Ear, a.k.a. How We Hear). M,pI
be a clear and precise adjunct to the teacher's \'oiœ .
from Th Baftles afSapoleon l 'which ma)' have been an altemate title for Pages d'His. ln the same year Georges-~Ii chel Coissac singled out Emile Cohl in bis HistOIre du
tCllre and 'orne "Studies and Projeets for the formation and growth of Paris before the dnématographe, the most important work on film histol'} to have b""n "Titien by1925:
eves of the speclator Paris through the Centuries" were included. There svere three
puppet from U. Tout Petit Faust l' ln a ,'ery special category of directors , we mention the famou caricaturist Emile
[n JanuaJ) 192.j the Larousse company asked him to write an explanatory article on Cohl. oicknamed the "ace's ace" of animation. He had the idea of putting art to the
animated cartoons for thelr eocyclopewa, The 2500-word essay appeared in the La· seniee of the cinema before anyone else. 18
rotase J/en;ue! in ,~ugust l-In order to a\oid appearing immodest when discussinghti Co~sac ooted the explosive rise of the American cartoon but mamtamed that. becau e
ofCohl's parentage, the medium \Vas " rigorously French, hke the cinema:
The follo\\~ng year brought further recognition , but not related to hi! film,. The Hi~
Ltfe Tailor, whieh had begun to exhibit Cohl' s dra\\;ngs twenh n~;m earher, held il
retrospective showing of its best contributors. ~Iany caricaturi b,-Ie~endary or fOl'l!ot-
ten-1lppeared Witll Cohl: Albert Guillaume, Charles Uandre. \I oloch. and Robida
orall ofthem, only Cohl was still sometlling of a celebrit) The eiliilution l'as undoubt-
" nosta1glc
Idlva . event, 1mt it was soon followed b\ a more toue h'mg one.. th e pu blication
'n 19?7 of Ch les Fontane's deluxe I",o-\'olume ' monogeap11 on t1le I,rue an d \\urk of
\ndré- C'U 19 ar Cohl assisted Fontane, as he had Amland Lod, mil, . - b) supp ling
ni 1. y
ll)n' Ion and documents from his collection. He \\rote a letter 0 e lea on and.
°lTllat' f d d li
a drawing of Gill' s tomb. ~Ian\' of the item !ited in the cat,llogue r;tisonne
ut ed
t lrifrb
te om Coll' II . ' . . d d edirated the ata-
,,,.. 1 S co ectlOn. Fontane thanked him III the te\t an
'o·e 10 him
 l.~TIIIII!) 1 III
'1 l " ':..:I~\~__-------:--__- - l.-\SI\'\Tfll~IL~ .
10' • ~•.!.--
---
(}n 1
1""1I11lt'1 l'. -"
. Il \" 111\ Il.·d 10 .ltI'·I,,1
f Hf'9 «(11 \ •
Cc.'c)r\!t''' "
• U<1"I III' TIlt'
.
llffiur t'd
Ih .. C.d" \1,,1
t'hralt·"
'
11.,.
1(', 0
Il
• Ill(h t
t R"." Il,..1
'~I
~,~t'I 1 It
1 \\11
t L'"lth

1ll~ t a
IIJ'(" h .. t"' •• '11 1901 .lOd 1906. L nfnrlun 1 1 \
Il 1 thl' ,.IIT'" .
d
tlllll'. ail Ill(' Imld,'n ri,koflh
a f- y uoth (
h
eM.' ('nwl)(:
·1J.~It,· and
, 1C,I,oll •lIul J,·.III' , " \1 ,"" Ih.ll hJd Iwlolll:"" 10 \( 1)111.11" 1 II "1"«'111 ~ "" 1"h,'(',11
,pll,I 111 III t Il' •
l , ,,tif" cu Il' 'l'llt III , IIIdudllllo: Cuhl" ,han 1 1 h ,('ameo!wl_
' Il Hl. ad I.k
1.111' l "In,t t 1 1 1 . lt.~ II
Ihl'J', ".11 ",ld. ull lu P,t, 11.1l' ,",'dital ~.p~ , fi
[1'4
lYlllh.' Gt'()r~t' . . ~Il' t(' , l.ll hl' l )1l Ji\'I l1tr Irll"i)I.tl .\' 1." '11 " . f'TJ n.,..,.ly
lliS<'O\t'n 111,1 t M,'n• (. ,hUC· JTlJ.. • . ' 1 ,.., l n III If, ,\ tn ~II n'e, 0 ", IIU dl
1111'\ J, parl""" 1 19"0, \\ hdt> tilt' 'lll.. r " ." t'arl1 l1l ~ . l't h lit III ,11\ y",lr' . , CLll'cl Co hl ,,,II. " Job olkr '" \t d'lh 19.'30 1 l " an Ils
l'("n ( "hl (llInn~ t 1(' , - 1 .. a PHt.\f1 Or~ ,.\,' . J urJ"" " ' I I ' lut Il- hdd to 1
"h'Cllrlh 1h,1II 'r It1111.!1Il·j}T1lh ,tand ~lt t 1(' Cart" 'I unlparll.\~, t't~ <lt U 'I).lfIii"' 0J return 10 l''''''' in Apn . lt't.JU\(' ~U''''""" \lJ.' nO\l 1:. 1 Il ea'e
"1'"''''\''' "1" • 1 /. . . P, \1 he " 1 dt. ra\t;' \ 1
,1"nll" "'1',l Il 011 1111 Ir.1H'I, tll ill" rom S .lllll - ~I il lld ,; \\.1 '"COli '. iI"\ .111 1 COllrlel-Cohl , "llU la 1)('('11 III Jl<l<)f hl',ulh ~o
, ' ",,"le"~ 11111 . k .. 1 1 1'·lh . ' ~ 1" Dl' p~ r ,ome hme ed
1ll1l,1 hJII dll . ,
J ah, l' IIJlf\Il()\\ •
Il \r,lhlll.l f"\1 \IN'" \11I '0 .1 10 pUId hO"1
•. • .
(, Coll
ngt... tn C Il .
""r
\11 1•1 1
·
S' )tt' "1 II
' r 1930 1Il hi, nO I"'>ook. Cohl "mph "nt,'r~d 1 h"
, ' a OUt mg \ t...,.
M
pa."
ft

.It nd, dt Il Il' /u ("IrlllO II Il lIill Illt fi"l 11Illt' .1,,' nOIlI ' 1IId l of! . ohlin \ ,11 ,n" , ' old and" Ithoulre,ourc .. s 1"" \la, lortt'd la 1", 1 \ . .
thrt'l' , 'l,li a\ e H!) tontma.rtre
i111 JftU'k 'or [,0 /l, 1 III ,
11
. 1I1 R ln" "olt! .lI
\•. \",,11
. nt tu t\ €
. _
1 " w,lh 1", son , André, hl> dau!o(h ler-,",Id\l .lnd
, 1 .
"'0 n d h.1
~r-.m t: t dren III
1>nn .11""'1 ""., t' II ,Ih \lrl" \ .1\ il '\Llrker IJI . IIIl·" t 1omatn . of . 11lt' IlH . 1 ~1'lrllllr fS · ll _ ~landt> . A noIe !lets t le lone for Ih" final Jl<'nod " \1 ·b 1
\tlrlol d.I~'l·U , (1 l \\ . .. 1 .. 1\ t' Oll ~" , 1tlrb () n1l d r i' - ~ tn u .allon~
l ' t nH'. l 'IiIS oblt~l' " o m 1 H> moment 10 hear the burd.. n 0 f ÙH~ ad \en-
l

' lo"'fUn,,,'r 01 11lt' >l'flt'rll.llttra pOl'll) of \\ insor ~I . ~Id Ih" ,U'

'JlIIII<I he \1.11 1l Il 1 .. 1'1 . 1 ren\' p r~,nl Ill' 1
c 1 J) FI'I\,·I"'f Thl' 'f"nhK' Il' 1 IllI "l'rt' lI!(hl, Plllt wd 1 .," hl" II' "
'ull" ail . ,IIIl ait , , lUI -\Uh~ 1· 1 Ilwft'1I me ,
lurt' t III
I... ~ Ihr art"t Itll,"~ lor ""ng <ulouh
, T,II
l \\tlfl\'1( l ~l· nl'r •Ilt'd ra(lId" alld ~.l\ t' blflh
"CO H L CHOOL"
TI .
10 arltt'ulaled t'hanlt'Il' J" ' Il Ilh t1ha~"'l" , ,) \I<\.n o \ " fR,, 1. 1 .
.bl. ~"."I' ~",lUft·' \lhn nWH·d .ùl of.l [l"'('l' Tlwculnu!> \\t' I'<' no longerc.lfl.lbl,
. Il1 t"I)l'eI ,Ull. Inlel'S of Emile ohl's IIlBuence on h,s own L'Ounlnm n 10 ha'e
ollh (Itanlllll~ hll'likt Il''\ln~ 't"'11 ln tlll' ,magl' h, III1~gl~ IJ't'~IIIll "nllhal Il l' .. dmu" (lnr "II~
"",'ndroll'll'd mlh .. ,e'l of Atnl'n can cartoon t hal 0 ' en' helmed France iD the 'mme-
IIIlhe upplt- ~IIJ ~"IIII, \'JIt'fIl'an mrluon, .lnd \\ h,eh E nllll' Coh 1 u\l'd 10J' his f"nl ,
d"Irl1O,11I1lf Jlt'riod . Bul Hl fal't ÙllS " nol q Ulte the t.l>e His frequf'nt pontiliClltion
llS
IIlOi.l!UlI tr.lll\hlfUIJtItHI\ !% " k II · 1
" Ihe "Fullll'r of Ihe Cartoon 'l'pt 0 l Hl C ose pe ....on,u L'Onta<:t \\llh th .. pl(1n~.." 01
I1tr11 ~1I11 tlu ,,,rpr'''"~ ,I,l!t'Illt'nl "Th .. ,m,mal .. d t'aJ'loon h'IS b""l1 losl in FI;m" Ihr ,'ru~~lin" mdu,ln , althongh hi actual phn leal conlribuhon; \lere mm,mal. Hl
'""'1"1·11111, ( ,hl "l' hh", h.l\t· dll.lpp.'art'd HII imilalors Illl'" 1lIl'! wilh onl) medu, nto"lInportunl t'Ontlt'clion, can be traœ d bac!, to the prt'war da, "hen there " ere
". Ile(' '5 \''\l'f IlI'fort· h.,d ,lit) Ultt' 'Ug!(t'sl .. d 1hal Ill' lIill .'1l('h un impoJ'l.lItl fi!(w onlr hi, Glllllnonl and earlv Eclair films to l'nte rtuHl French l'artoon buff,
-Illn,,1 l'OlIcI"u.·" \l'Ith Ih., ",~~,·,litlll 111011 Cohl !llwuld fOllnd u ' l'hool : Cohl hud kllOIl" O'Galop ( ~tarius Rossillon' "hen hl' '' li populM contnbutor of
p,!'IU'" ,Iorie, 10 L(/ Ca";ralllrt' , IR Rire, L'IIIlIsl r, \ 'allO na/, and oth.. r humor ma _
'Ii Illd nlll Lllllh· ('"hl 1... ahlt' 10 Imllld a 'Ol'll'I) (IJ"'llll,,' lhill~ "\('" murr
nnt·'1fi~. 2(5), Ill' IS no" immortalized :l!> the reator oflh .. " Blbendum tire-m.m. Ùl ..
1r Ile h_ .d,o"l. Il h. ft Ih"st' Il 1", .trI' lia" ,Int!(!(ltll!o( tll" pl' rall'I) and nI h,.,., who
m,!# p,,,rll hl 1",., ''''''''IIl''', l'
IruTtl hi, .tdli," ,'Ill Il Il and hi, 1I1!(t'IIIIill . nll~hl \1 01\ \1rrhrlinlr.ld,'marl.. 2J fi,,!, ohllefi Pathé in 1911 . O'Calop " "nt to" "' there ani-
m:lIJI)~ '1 ,ene, of didll~til' film The first \\ a, U' CilTu,l d. rall'ool The COUN' ot
ln l''' inti '1"11'1'111 a h."iI oh\urk un Il hil'h ",. l'allnol rl'\J!(1l Olll'Sl''' '" lo ~" r up'

1l1l0r••tlt l, "a, a hlltll~ ',II"III'\( 10011" nI th. , 1I1t"t !(,alifllll!( d"t'lld,', ufC"ht'l
• --.._... --
•• 'Ut ""
.... ,.. ........ . ...
... t .. ..

IiIl 'l;ow lit 1\ 1 1(' '" 1.111\ , W~III1' cl .t\ Ih., "Fath"1 nI' Ih,' C;Uluull .. l'nit', ht' had
,ai; Il Ilm,· ItÙt-rl\ \\ Il 1 1 . Il 1
l Rc"d; lor 111111 hlll 'It~, "' "1"',1,
.IlI, illld dld Ilot nhft't'I 111,,'11 nlh,'" Irll'd lu rll'"
. 1
kil ' • 1I11l1') .1~1I1~ .11 Ill" . h" Il t'Il'OIl It'd 1hl' n'laI"" hnppllIt'" J"!
'" 1\ Il l "'1 t d Il li", l '. 1. Id
Il,, 1l)'CI 1"1'11"11'''. It Illlll!'d 0111, \\' lS 011" 1t' llI J)( Il lU ~ , 11. t' .' .111""
11 ~. 1(.11> IIJI 1", IIld", lill"" '" tilt' l!l'lO,
Il' Il 1"1\ 1 101 •• 1.""" \1 1 Il, Il''· . l ' ulhlul
III,lihl h. ha 1 1 ., Il lUI' "11 1.", 01111, ,Luilp ('nll"I,tlolI , l " III
, ""'r,., la'itlOlIt d Il. ·1 k . l , ",,1,,111
11I,,'I.I,IIIt·,,<I\, l i t \1.1' ,t, 1 IHI\\JI III phd,ltt'h, t'Ir!' ,'l, 1'1 \ 1 {
l
'mlxllt.III,,,II, l·rr f("I>IIIt'"1 ' ,1\\" Ill "'dl',llt'I \rthm 't"(\JI ) h."lllt'qll'" Ih"lh '
(dll t '"lItU( "hl III I~i" Il k . l ,,11111111 ...,;1,
Il I.d "'II,I. IIIt li 1 Il ~ IlIl
" 1'0 ... ·1'"" \\ Il 1
'"I:
th.ll h, \\'.11 IIh'!.ill!!., \t'uu' u" t 1
h 'II 1It\
1 Il l,II olull uld ft" ut! . ,\11"'11 C(l' t'lit Il ,
 fi ;, \ _ _- - - - - - - - - -- - - - - - -
,l'TI -
"'" • ' JI 1. fd III 1912," The film ,how ; 'Om
---- 1 ch \\.1' n: t..l' 1 (~ l(./.(:h
l
1 Il ',1 fic ~(j(;I. Il 11 k l'h ,d ('(,lIahllrated on t " e wnt<,nt a, weil "'1 n'4 1,",
h" h..J1 h'" IX fh , Ile '."~
fùhl. Il 010 1 h h m-W:L' ont' 0 "r"('lIrnn~ tlwm ' Uh]",
t'PCt CI 'Rf.('b '" a cO n!'l " .. F l, b t:'\ alld 1......
1 f tht' palOtrnc; Le ou a t'I,' d "art.. \ Ih ~ ~I
,.t'
1 J1 e/,,,erJ!J1t rka"'" ,.,'Ie
."d, IIl,h ,1 rem.l
r
1.
, 0
1 tu """ old comrade. Co
hl r • ndr~
the ,nl!tator of th C'II ')
, ~
d Ill' r.'I"'( , . CI b O 'G 1 t' ~
O'(;a1op, l'J' d ddn'" to the Cin~ u, a op agrt'cd Witl enre
(ln h" fnen ,J 1 d CI 1 the
(OInmfnlme
. 1 Ihat ,Uluna t Il' n l"lUld open t le 00r> to.. l<!renton , "Ob \' . Illela"",
d",h (1lOl' lI'"'" f Ju,t a httlt' a1mo"t not at aU ohl , h", reported'OUsly h,
1·,.,Jtgt'ralt'd a h!fl 1e Il '" 'lt work on hi', 2-15th Blm and "still ha r ' \ho"~d
d O("f' !>fl'aU\(" " • s a rull cl
'"' ,,,elI1Ùtt'II Iüll'II
t'
u>rtac l "
1%+-19;31 the other ,mportant Frt'nch anim t eck'
1 d a Or {fig 2
CoI1 • '0 .• e "as a ;tudent at the Eco", e, BeauX-A.rt. br ' 07.
C Il.rd Ihl\ r..... nam t'rare cl
Hohert .0 1 conCJtllre, Cohl and Lortac met for the first time b ~d.
10 del'ol,· h" (.Irt't'r 0 . d f h ' a Out 1916 ._.1 caricatu re of Lortac
mg h" led to~ether on a few eplso es 0 t e Eclair-Journal ' , "nnnru.
. J~I.'r< ~
208 Lort.ac StudiO, lA Tubuculo.. ""
ca. 1912
L
nac. tout te monde,
and thel m~I al e "or . h' r newsreel,
.f 1 to '\ 1"\\ ) ork and upon IS return rounded the first A " •""" Coll ardl ,
ù,rtac made a Iml \ 1\1 . . 1 . rneneau
d n \/ontrouge ln 1921, ,""ting Co 11 to parhcipate as " t h .
," le a11lmallon ,tu JO l , '. ec nical
• Th .. ~ pnlbJbll httle more than an honoraT) deslgnahon for public,h ' ntuall)' become an ideological tool for promoting Fre nch ~'Ulture <l'" th
adI"er 1 no', 1 fi' ') PUr. houl d) el e ."'ler e
1)O.'!e"\ Il t}\!,t'\rr·
u.r!J(''s team comlituted , ...
t le rst generahon of .
commerCial anima. sh i ' ned that entertainment cartoons were be st left to the -\merican< H
war e c aIl . . ~. lS expe-
tupj 10 "l" lilIlCt" \ndr.J .fu~al , . . . Raoul Guenn, Ca\'e, and Che\'al tramed there . 29
, ces on the Animated Weekly and the Eclalr-Journalled him to write that it was th
( hl a~ain when he founded Publi-Ciné. In addition to adverti . neo . . e
Lortac I.n-...l
-,.-por'" ,. ... . Slng domai n of the newsreel that was proper for ammatlOn , and this ,dea was drummed mto
films , the studio produc'I'd Le Canard en .. ClOé (punmng On the famous radical
mll'ounger colleagues, The journalistic-didactic emphasis was a dislinctll French for-
p"!,,,r Lt (Qnard [lle/raj",1 Tl", seri",s, "the first animated happy newsreel"JO was muiation of animation in the earl y 1920s,
mod"led lII' Coh!', \nllnakd \\'eekl) and Eclair-Journal shorts. The "Canards" were
ln ail his printed and spoken sta te men ts, Cohl endea\'ored ta differentiate Amencan
l"Ued Irrt'!,'Ularh unhl1923, but the extent ofCohl's coop e ration-if any-is unknOlm
and French animation on the basis of fundamental economic and cultural factors , He
l'nahl,'It> ".mpet!' \\lth the \mencans , Lortac quit in the 1930s to pursue painting and
paintoo a picture of Easy Street for the American cartoonists , focusing On the Bray
\\ nt... nll\ t'h. J1
studio's practice of "in-betweening" (the animator sketehing the beginning aod end
It 1S leelhm"lt' to 'peak of the animators c1ustered around Lortac and O'Galop as a
points of an action, with the intervening mo\'ements dra\\ll b\· assistant. :
C,.hl ~d'OOl·1II the 'enSf that tlle) t",mpered the American influence with his melh.
1",
ods and fundamental aestlwhc as,umptions that defin ed the genre, This partiall! The minds of the artists and the understanding of the public fil\ or the diffusion of
e'plJIIl th. tensc,tl of Il.t' tutout tethniqut' in France . Certainly there were shorta~es animation bette r in America th an h ere. Since the cartoomst has a comfortable con-
uf l'rllulOld CdU".,) h, the "a, hut emnomic factors alone cannot account for the faet tract IVith a production company, he can \\'ork undistraeted . He ereate or borrows
that ail hui "lit .lnllnator ,tIlI rehed on ('utouts as late as 1930.32 La Tuberculose meliGer a popular character. furnishes ideas, th e scenario and and a few dra\\in!!" then a
10111 le Irwntk (TI Threalen E\el)'one, li g. 208) is a lilm From Lortac'~ stud,o Ihal leam of six, eight or ten artists set to work based on hl model, and directions Differ-
dt'nlOnslr~tp ,b anathrOlIIstit re/,ante on Cohl's system, The cutout ligures of alllt, rnt parts of the story are done simultaneou ". Then the cameramen photoj!.rnph the
turer and an artlculat,·d \kelptnn are the onl" moving elements. After a didllclic 1", dral\;ngs piecemeal in the order in which tile\ left the hands of the \\'orkers, The
gtene lecture dp". et! 1 1 l' "the
k1 er "ltl t "'aicl ofsp!'ech balloons as 111 "Les Pieds Nicke cl, dirrctor P h tS
reserves " seretllty and respect and'.l ,way,
al ' a good mood tork
m 0 \\ .3J
S e rItH," mj,oj,ealll' k -k 1 " 1 from
ail das' 1 . "'K 'Ol('r 1 olls III a 'icleshow booth who represent peop t'
se anl O({'Upatlllnl Tl ' 'cl
teenth-c.-ntu d
'1
, " , l'a lIla} lm'e been II1spired b)' one 0 0
f ChI'; nrn" H,s Pictur
e 0 f t1le French animator, on Ùle oÙler hand, \\'dl> e>sentl'all1 roman . li E
e co-
, 1'\ ral\mgslng 2(). lIOnt'cal!,' cl epnve
. d, the native artist had to !>tru!!,l!le to ·ut'(.... ed 1\1t' h th1" pu bl'le.
Cohl s 1n8uence Was cl ' rtOt'O

J of th~s~ ar t ts . 1 h d' ait to the ~':llnera

'
a. a JoumaLstic 't e\ 1 ent 'II the Il 1 d
unusua y strong t'mphasis Il ace on the r:J
1 Edth · •.
u b nngs
'. .
lm partieular still'. lm \\1/ , li' an lCr.
'rIO ln fal·t l ' , Id ( ,lt ka'
• 'e aPP,uPlltly (',IOle to Iwlie,e that it wou or n rI rl'\ ' " " ;malion
' (<ISe We ha\e a work that is a whole, Ihat relleer- Ih autlur al> an em
 F~THf,R 01 Till. ~

. C",prf R '1 \ lM \TEil fiLM

,illlert \ 1 _ ",th
zssisW1l CL 1 1

ofhis personalih .lJJd rus indindual onginality. It"s a consolation for the French
.rtJ,t ...ho al"..., ha.> had a hypertrophie<! ego and who woulcl rather drink in a
mone ,tudlO 3<

Finall) Cohl ln /us elf-appoioted role as spokesman for the French animation indus-
Ir\ was c:illuJg for rus countrymen to resort to their traditional national genius, Hu
.utument" a .. mon of th .. old cliché: the worse the soil, the better the wine
In the mld-twenbe promLSmg aOlmators were at work in France, Foremost was
Udislas tare\Jtcb 1 2-1965 the reclush e Russian emigré who Ii'ed outside ci
Pan and had been producing animated puppet films SlOce 1919. The iUustrator Albert
Mourlan 1 7-1946 set up a studio in 'Iontfermeil in 1921 fig. 209). His first fihru
"ere apparent!. sold to an Amencan dismbutor and ha\ e disappeared , During the
t..enbe he ,.,orked ln Lth d . and puppet animation
' . mo d es, but \\1t' hout Je h'leI'
uv rd\\mg
mg an) u~t llCCeS>.35

F The battle aga;nst :I.mencan domination was lost by the mid-twentles, Audlence\ ID
c;anœ- dS
e,ery,.,here el-!'--(.ared onl) to see more of Felh the Cat Koko the
own and. aher 1929 fi l \1 . , the
THE 1930,

De\\ h ( e}, OUse. \\ hen French intellectuals began to nonce

genre t e films of Cohl dl' bered The manUSCript &om whlch much of our biograpl1\ h bet>n bast><ll\l' u ends
as prehi tork fossils an" follo\\ers were forgotten or at bes!. remem ~ruptl)' 10 July 1931, lea\'ing unk"llown most of the fact, about Cohl\ ubsequl'nt pn-
One of the 6rst Important Du \ële lire , at 1l'ast 1T0m
l'. ,
this primaT)' ource Hi Ilnanclal con d'thon
, l'on tinued to dl'terio-
,
Des ln animé 0 th asses m~nts of the cartoon was Gus Bofa"s article ri. Qte as the w Id 'd d .11 h bec-.une more bitter
the art llla2azine ~ Ce n , whkh appeared in the special 1925 cinema l"U f IIldfe Or \\1 e Great Depre sion took its toll , Cra u.u ~ l'
It ~heatl'd when he Il as ignored b, the !tOI emment and thl' 6.lm mdutt: , .espe-
Cartoo"

, a Ie~ du \f' B e , d n~'

OIS. Ola, a cancaturi,t himself, ad,ance a 1 afttr C
l'orges \ Iéliè was awarded. the Legion of Honor Dl edal in 1931 \\ hen a
 ,f/H 1 - -------- --------- l ' T H ,. R " f T Il
f,A~IM'T
f.DfILM .
10 • rI "
- -- . to ,.dl Cohl 1 a d"01,,1 pn'd" t,
J1I.'( ('
pour \ ous (.Imt flU
JOrtl r Irorn
ftl 1 ft at
d " 1"'''''''''''' ha\(' "mfint... d this_ that 1't \\'Or '
UI ~umf
l ,tn,"~ \ '1 1:' ch WIll "ot kno" that \fa·kt·" Fhp tl", l ' th" ,
Illltli t 1 fi Il r0l( a, 1 .,'<!
\,.If ",,,, 'd tnaJIlI'''' dl',ef'lIdant' 01 tll(' pupp('\, that al"dr 1( 1"1,\ tl
h the. III IJ' , l\la If
( ut UTt' fllI . KIt ~t \t1IdlCl lU \lontrnartrt,.I.. n (·d.ll{:<tt
J t 1I\t'd hl Jr.l\~ 10 li m( lIr

, 1 ,f h('l/1~ forgottell b) h"toriam ln a I(·t t(·r \\ ntt •

H, r... trrat,-d l11 ,Off0" (n to tl1(. Il
r Pan ·SOIr /II 1934 ("'~
1"1"'
mult,pl,,~IIl\ mern dollars. h,a,e acquired \0111(' de,
nlf':\e dr.l\ung\ . _ . erved
,'1 tl amI hall 1.. lt hchmd tll!' old tnchter who first una", cl P"pul",.
,II lmt ,u 11' ... ne th" 1
{Ir ('lOrm.lto 1rdp l1\ '" 'r'n'h
TI" p"~ht of the ag,"~ (".. rtooOl\t came to the attention of ]ean-\farie (né C
\1 m. Lo Du", and 1" \'Oun~ fnend, the animator Pierre Bourgeon . Lo O,ulepPe _
Pr"panni! 4lx",k on th. J'l'ton of ammation and was producing the films of B ~ilI
Ourgeon

10 Cohl ~l,h Lo Du
nt« Il "'" .tud.o, ~~d P.err. Bourgeon
 -~ --
Jto< tJ' .. nUU'
b "",r 11' al ,111<
h
----
'ATIII H IIF
--
d lIto n 1 ni th. ,an\(' 11Int" tl" h t
1 th, ullprobablt, 1
Illf
- ~ .2\'\Tf Il f i l 1

r Tht·
--
êlmt' ft't-hnn,
• 211

thr ,lll Il ".:'" ,(lllll puh],c,t) dra\\ 11\1: 11\ Ill' nid l ,
1111"\' lllni!; CO t. dnto<. U" h )(_ fi~
~.I ,c"
l"" dh ~ .t III ,allll' lru,' ln Ih .. 'pn,,\!. of 1~3~ \\h'·n U,," (
lz",n . "Ir ...ull U h
llIJI .1\\ anll:l\"ll 1\ t ( ~oUH,' d LIl('f)ura~,'n\('l\t '" '·1 d
, ,dumont nOmt_
0:,,,,0 , 1
JlOIl C r the .l,II 'II ,-IUr n Ih.
~(:ohll" \llrth 13 193, trW .l~'l'rn) \ """t'nt'd i" tl", dmt. dt
-

1'" 11 1- '12 On ' . 1 d c ail 1 onum at

\,, ,1\1.1' t > \d1l'rt' L.uIl1l ... r.. la n"l proj('lt('d ft" CIIII'matOl!rapht, fil
rue d,. llenll .' nont I",cl cl l'nlOmtratt' d h·" C'I , lronop hrllll' ln 190- Th m,, ln
~I ·rt' (,.1111 t' p"',,, ~nt
~5 J"d " d1l Co hl titi r!'e!'i\ ttlg th" me . IOr t le ) "ar 1916 and pr('\I'nt~d 1lIm
dal r i '
,,~ . '\lth a
111"11"
~r.1 ., 000 franc'.
d~·· ..
211 (..,1.1 "'lth 1." J:ra"d ",pt" "d Ihat our Societ\' . " weil wlthlO
. . ,l, tradllton, 10 ""Ul:mlln"... tho, , "r''ator 0 f
Suzanne and Pltorn ca ~ 80.,,"rh of 10 . d us'lnl Ihat
'
l'hIle flounshtng
. ]
toda) , ha, ntlt rt'ndt'rcd "'1 th.t It ,hou Id
abraIlC
rd he WIO!1;1 ale 50 much to ,1. But a as. ,uch " the I:lW f<Jr a grt'at numb~r ot
re \\ onh Ime" lum when he Wo1\ alrt'ad~ (Jld hut"'lat tQ\\a 53
prt'Cursors. .
" ' . V".. , di<! h(' not am am1hml: bul lit' ga\ e awa~ Whal he had
Drame c1le~-1esfiarttoches and Les Joyeux:
d .\t,crabe.s
d \\ ere \tr~f'ncd
. for the as~t'mbh,
HI' W S hmid huI a marn-lotlS ('OnVtrli-
n!id OCt He wouldn'I ,il down without a,kIng"h•. [n
LUolled h) D ,5 ney's TftreeLittlePigsan
, Ame ee\an Beurt'n,Sunlhrnr lIakl'r..-..to
trate the industr} s progress.
t tht' tablt' Hp re,l:ularly drankcoffetor
a" hlm drink .•" monshapprnes
11te . s brought by thjs award was short-Ii\pd ln mid-Apnl the new\papers
report ed 1hat Cohl had been admitted to the hosp.tal La Pitié for hum treatmenl.
.SII!:ge'ikd that Cohl" dt'\elopmg a mild persecution compl,.
who pent m.lIlOn to have me shul up. "'Y He aIso
le burden un hls famil~.
rcd hlm up ID 1936" hpn the) mounled a celebration 01
!r cutoon. LlirtiM:h IIlnn nl~ dated Fa'lta'mUlf!,one From 1906. Actuall)
1 ID promolt DAI: produ(tlOns, but Lo Duca had disco\eree!
li] 1 Ro e "herc tI.e C.. ntro Sp,.rimentale was jusl he,n~
ln ludt'd ID th" proltrarn (1 n 1930 Auriol had belr., rd
<0 d lro\td in tllI' n'ar 0 IllE' di covery wa, imporLmt

u d nt lied SIm II~ a',;IPI" "at 77, pmsibly the Hm

" U r H!d 60th acc.~lTdlUg 10 1.1.1\IJ , "art' wlul .. 110'" OD 1
and r fui n.t'" "a also thl' iJl~('rutahl(, rl'mark that
Iblian mlnt/tl, '1 ,m tli,. Iwo filrn~ will 1)1' fI,dune ln
8QU eon"
had tllCOllnte IUt!eriD~ 1et rio Coh1pr dldm/!, thp eud of th(' grea l Il1)11.11<'1' ht
bu u1d
Il1 'JU 1 b('mg credlt/'cl Wlt hl an III'" nlWU 1IIIW
l
thr
" rd hUI aho ",th ha\1ng ,1:1\ l'n th .. (artoo" Il ou

h) Publtc,t} drawlIIl( for lA C.1"b1lllto~rophif

 F ... 1 fi E 1\ O-f- '.~~---------~----• • • • •!!!!!
f r If f
A~II.IATt[)
rTf. R ,x -------
.!.!-rJ!.~ L.I ()('(1,rrrd,UII~nO\\'O vut Il,,.re an' '" ('ra! '" - - - - -
""l\ ~
3
ber 19 1
.JIl'r ,ix
1
monlh~ lat La P,lIé '''a.~
Cohl '
transr '
f II. 1 •

~u lurh or \'illeJUlr' Th 1\ "'as(rn-cl to Il'~d ',!lartrn

1$

[ xact ..""', ,..

h ' car. \I.md Il'')Il~,1
1 t1lai C,,!.I !..cl l'lr 1 "f "1l ", 1 In OCIO1;1 pau I.Brou\\e ln 1 II'
, ('Ond,t,ons ",'r .. ,.~en WU"" than ' 1 [ , e. ~nllall~
h III Saml'
""",oeta " f ,,, ap
r offI' jJll'gln' cl per .~llon
l "'V h JhO'P' L'(J.
durlOg ~nl 0 1
,,,., (""' Il h·n·n'Pl al('cl \ ' art""., .... 1" ,1 ,,'h . • .... P'llé fi an Ind'2
bdc l '1 ' ,-",,, , f "'In l PCiJl,I' ere
1.01,
1h ,et /',slo" flt)\\ln!:'1
12 c
"n(1nrl \\I II ,. \\'or"onl( "
I } C.llldl,1' Il,,. "(\1ci'II, rt " . ",1'h a nol.IOO·lhonl} w,lf'cl Ja" at Gaumo n t , g 214 , Robe rt Andrf
etll
tl ken du"n!: • \1 fi 10 \Ii· ", .. t )r l p am ) sh,,,,, (fi" ry
p,dllr~ 1" . 'RI" L ",1'" cd l'hable 10 ~tate that after ail appt-aIs for th dnt.
br#r nca Ily tnrnrn~cl ln Orl!(1ll ofilli' \I<>f' l'an Il/' traC'E'd to" a ruc1cly·f I.ul,ll '1>11q4
"', -1.3. rOUI
iS trU}tP~ard
JI "",leu a corporation Ihat owed him so mu t 'I1 not
}. and that
1 s, the OhLt
1<." word
cl er<()ill' "ho all.OS' dh told Il to ~ Journal,,1 named Buland B
0 a
ac(.c1 I"t! 'u <ng ~ <ndivldual
InID,n ' 1 f!\O
pLu,,,!.I. ,"5Ion 1 Hobert ,,"dr 5 HI ,(' ',gara, TI", fin' wa·,
Oll\ard"
"11",
"1(1
~ ~hlm
dt',. , bl' defending his cause. 59 .
"o~
y
tumed ",llaml' ud,IJ.JIlp \\, n ,llllu,,·d HI "Id ,,,hurba,, hou\(,'' (a"\I'c1 ollly p" b an 0\",. m'I\\
\Jlpea 1s
for help also came from an unexpected '0 '
(6 Il ' r R urt( L Intennfd '
, des curieux u elm ,or esearchers and th e_ ' IOre ck$ Ch
I"r ,1. '''t1t. and of l'Our l' 0111amI' \\('f(' \\'1 del) "'('d 111 tllC' 1930,tu, oIrtralIh"<,j irt<'rI c " Cunou), . er·
10. I",,,,,n~ fu' 1.pr cl 'lu,,' kl tu """ ,papt'" an, d curtaon, III CIl' UI 'm laVe Ill" ~
1
jIISt'er ?" cl b ~ reGû'"
cd (and still does) esotenc questions submittecl b, ad s, a penod,caJ th
ers Th at
Cohl \\ plJl-rd ,n • ~ rII·I ..." chant)' \\. rd 01 La Pili« eall .. d tl II' ~all,010B ~ rhe O tldes parisiao, was answere Y Charles Font
60 F cl ane. 1s b,o
e question "\\,.,
h
~np
0
" ulfering fmm, t n J\(' 1",,,.. "llI(h made ail mo\ement ' erg,<, 1. . d s'n Ùle 19205, ontane use the question as l.r er and Coh!'
• Ù 1 h ' agonlZln~
,,€
", JrI,n 1 ee cl a p auorm &0 h S
I\ohert An,lr 1 arn no 11111: ",I a roken manonette The 4 (JOO .fra ' As her0Id oze eoh!'s pathel ic con ition and to appea! for a place for h' m" ich ta publi·
~nl qUlcUv bul film h, 'on.II '!arecl Laplt'rre made an app ea1,Or r a,d . lnnep, .ward ".il! dustr)"s retirement home at Orly. La Nlaison du Retrait cl "m. ",th ~Iéliès
at the
l ' bl' u Cmema H k
ln new'pu", n pohte" ",d, all·d Ihal Ihe farmh' wa~ pO\ert\'J'~ t nc ken and ans·
W
Ih SOir • the unsrmpat letlC pu IC: e tao to task
( ,urte! ('{lU Id d0 1lit 1e 10 1wlp l"' falh('r 110 al And'i
o~e b~
lbe oldest Parisian, Emile Courtet, 50 esteemed sol' d
ail who
sulfering al Villejuif on his bed of sorrow, It i5 no; onl } lor the film mo"1him. is
indu~'-
U) 0 come

213 Cllhl (ri!(hll ,"iI"'~ Gl<lrj!" lit

Or!} 19,37
214, ohl ho'pltahzed .1 \llIeJud'. 193~
 F\THF.R OF THF.
\ I\I\TED
ri L ~ • _1-
• h j URlO" hr whom ail hl of hHn un hl 1972. \\ hen \lad .. 1 lOe \ lalthéte_\léll
L., ai<! but !or .II Pan''''''' l'
d hearJ
).Iper ,
ton \l onlal!Utdh h"d Ju,t Red H3Jtl- d"<O\ered an
~ed of ,y, dl
III '''' broU fht a little comtart an JO' ..Ji "
~ •"e" '1 1Il ID": the
RIchard called !or ,tale rerot:TIItion of Cohl COntnb
< DOC " Du' J.her'6/}
r rJP" l ,ft r ,,"orld \\ dr II thatthe~lI} of Pan d I~ ted
\1IIu/taneou,h -\ .p . ullon. '" nU ;u 1.' ,na • httle k
- ~a1 of the) Ledon of Honor, if one can fil '" oot LI ent the quare Emile-Cohl Located acro '-_ par In the
;ta! thal the Dll"U ced fi 1 1 alloch
It ~ ndlssem . l ' u um the
Let ID> e rulIon ,hould he pla rm ~ on Ihe breast orE. , ...Ihh .~ . ., t is used appropnatt" ~ , as a pla)l:round b, th ch qua,-.
1"""' ,,\Iéhè . 1 s e ùdren of the
\II1porW1ce to du ,IInc . mile ~ [.t<1 - - ,d fig . 2161.
din"" ,Rene Jeanne, a , oung Jou rna],st and IUtu :/rVO rhOl hl dre l l are' eaIing self-portrait for Le Chat ~·o" ID y, hlth h
U,)=r the' .-eh pon ~ a bene6t ,creenml! at the Champs-Ehé rehl,to....,
of e<&rh CUlema." (lOTrJOI . > es Clnellla lnJ''" n'CO d future stages 0 fh·IS I,r ue (fi g. :'~1-1 Agam he e epltturedthe
ed
,l'nt. an . h H . pre hlS LOI l'for
19m . . - ni;!. pre d h·s commltment to grap ICart. e y,hlm lcalh s~~ hed th
]anum bl tance te. ulted from an article m L Epoque On Cohl r cU an 1 • .. Pantheon
.~~~e~ s~n , 1 t' g place b\ the time of his centenan. l nfortunat 1 th _1
IIIZ fi .ù rI.' 10 ' , ' e , e >;JOr, and
condibOD ~, lu' 0 fa hich he aIW3'-S lon ged dld not matenalize uow after hi d th
itiOn r Il .' al .. S ea -\s an
Il bumed m a nre in Ill' modest apartment. Poo rh treated ",'t"!I' , hlms elf in Gill s fin posItion Olercome "lth an-er d fru
He ' h . and, he sali . ' . - an trahon,
.jJ1\1,11l _ ~ b . his friends . and Ignored by hlS profe SIOn.
atrocIOU> .
,uifennl: he cao no longer plcK up the pencil b~ \\ lm he earned his 1;, lO g <;1 L..ndOOeu ) h th
"'"" f C hr misery was not so muc e result of male,olence _...l him L
_.l;~ Dr Raoul Lero' read this alarming notice and ca!Jed Xo"'" Iluch 0 0 . li d beca "'-U U\
-\ hum i'<'-~ . l '" ,,,,,1 . th. ~!"on51D
. the film iodusIT)'. as he Imp•
e . .
or elen
_
u e ofhl IDd""""de
"'ru
t
n ~\e
.
author ,dunteer hl. ' f\Ja' But Il was too ate _,orpOl \\Tote 1 Rather it was the result of the tim e m wruch he \\ork"d Ifbi caJ"eer had bel:un

Doctor RaooI Lero, and 1loo'ed a= alI o,er Paris for the old Parisian. We learned :;'eoded earlier. there would ne, er ha\ e,heen an,- expectation of on because
that bronclualpneumoruahad taken him at the al!e of eighty-one, Dolorous pleas.,. co uld ha\"e dreamed of the future Importance of the CInema. \ if\> 'ear; later
no Ion _er neœ>'>.1I"\ 00\\ that he is dead . The doctor who made this mOli ng gestur. ~ -
and be might ha,·e emerged from the anonyml~ that was normal in the film busine.·
,

",'e hl1ll cao feell .. , bItter for IL&< itfore 1915.

Cohl dJed dunD!: the night no Januan 20, 1938. sbortly after his eighty-first birthda\
and \\ crematecl at Père-Lachaile four da) s later. Elsewhere in Paris. audiences we~
attending the 0pen1D1! of note \l'hile and the Set:en Du:~rfs, Disney's first feature-
le !:th anJIlI2ted cartoon
The tr.Ide pre expresse<! Its 10\5. and notices appeared in the S eu: York Times and
the joufJ\lll tk Débau,65 Le FI~aro's obiluarl echoed one of Cohl's refrains . "It is the
lot fi m\en/on and thinkers to die poor. At I~ast it is here "'66 L'Illustration and maDl
other penodicals oomblDed Cohl', obltuary y,ith that of Georges ~1éliès , who died afto
hours er Cohl on JanlL1l) 21 l!)'~ ."
For lm I!Dennl( fami!. the SuffenD!( did not end lI.ith Cohrs death They were the
\"lCtim 'the • cruel S\\indle ~ committee for a Cohl-~1éhès monument was established
of
un der leader hlp of Jean-J o,e' Frappa. y,ith such notables as Louis LumIère,
. 'Abd
Ganœ Jean RenOir G . fh r
c enname Dulac and ~Iarcel Vandal on its committee 0 ono
anmoot "'as a major c o n t r i b . ttf<
commlSSumed 1 utor and Walt DIsney sent 5,000 francs . The com ml
ment wJuch lbscu ptor 1 Amen~o \1 on tagute II'1 to make a plaster mod e 1 0 f th e monu-
u mat.. "'as to h he fi ~ 15 But
pbns "ere dl\rupted b a\e en ereeted at the Porte Dauphine ( g -
ID 194(ht "'as learned Yththe outbreak of\\orld War II and the death of Frap~ :
al !ontagutelli hac! absconded ",ith ail the fund, \0

216. quare EmJe- oh!. 1~th atTOnd

ment l'an>
 "an hdl1n' lu,. l'l'nt~n:lf\ 1111953,' Emile Coh l a'·1 li,·,
. l'Ù
~"\'l'rJI Journal"l~
• L
, IC" '

" '",lenb and r<>lltrihutwn' . of thl' who h·a Ù as· \°ln,. r.1(..,
heN't 1.lIer chronld,-d lu' Jl'hll',eml'nt> in thelr book- on F rendl,,,teù ~llitll
fi l h, III 1111 '" '4
)(1rL1D 't' oflu> Far" waphll' art W~ hl'lO~ as~essl'd h) J
C . '
ean Adh III l,·Isto II, "1i<I
l
~ _E____- - - - - - - - - - - - - -__
Gth.......II~ T JlR__
- --------
l
\ ,enou' ,dlOlur,
11111 . ' .lane.Thérè,,: Ponl'et b.l'l'um
. e Inleres ted I n Ills fiémar
l andry
a lone ",t of htJe, zn her "ook D,..".," amml' art mondial (Cart
~!IIl't' . ha\!: heen screened \Vith inc re~
then , his. film' . 'lng OOIlS,
rn, and
~ • th!.' \f.ublllh
.,
'0 1 ...
-~
d~'id
\rt, ."1 .,
ec
.
tlonal animahon fesh' ah zn Annet" . \lontreal Ottawa N ' ,ew Yo k
rt quell ,. at lr ,.

pordenone, Ital" Jnd Chicago. Graduall) Emde Coh!'spIpe ' drer , Pari~
'~rpp "lem..
fo Wllrd an "Incoherent Cinema"
fulfilled .b,' 10" ebation
. f to a pantheon
. that did not e \ e n eXlst
. 111 arn of glory IS
. 189 . Il;nilll
b .
to e pIOneer artlSts 0 the cinema.
th
s-"ne d .• ~dl<:at.d ,"~
!II •

2 1~
1 Self.port rait, Le Chat Voir, ~fa\ 4, 1695
~~----------
Hœn r an

c
 C.R\PHIC' Hl\lOf\
\ -.; 0 E
114rrE~ \Rll CI
puoo ~I the 1\\0 art!. were both bo rn
EM \ •
• ,ch P Feil cltcd formai COrre ponclen~
ed the prrsum ~ arolllld h Irn Bu, ~~ ln c:rarnped f
Horn ~ ~
of! beard rompan D J ue comi come (1
r
and added the c eD-... It " the same a5-um. phan Ihat math O;"d to tI,plllt.u .
~~~"~ d~ J-- , "~
.,r.A:OP \ ,l e
1) 0
f kngt
h a commo ll pool of gesturing and po tu .
. .. h
"t plCai tnlroductron 'ot For Fe-II the
nDg COu. eoti
"
Tômln\t COm-
Ons and the
h
-thé-<:eDtul'\ roml slnp: ID 1 H. toire d .-~' ~I, use a h d h m~t C1nelllab ~
tban laID' -"~ 10 sor \(c{:a\ , tn w ose ra",ng, e foun. d truckin u d . C 2r.!ph1C
inJudeachopler~th sta men bas alread} heen demon t" C", tt"'"
.1 ~
\l'ln . . d h ., an ""rial sho
uences that pre ate t ose 10 L'n Chll'n andalou 10 '" "'ell
Tbe bisroncal Iili ....rut hi n of the romIe stnp, examined t~ rd.;'e-d b} D. ,ri'
rPD"tI ~e~eq . ··fi
al simtlanhes slgm cao t- D h
0 t 1", "'en e\ut'
[uS ,,-ho, ID te Dth and n~teenth c·"nturie, 6 E, en If one ob e 0lln ,,+,~ 111 Il .~e forro ...
.ut w ' . LA'IC level , the analog~ bemeen the mdi\JcluaJ pan 1 f
f
..J.. ed the 0 el' P' ~e~ts th ~
wn> onI at,,~ ~ most 1)<» I l e 0 a COml( sin cl
dtalinf , ..,
th the mode . COlI1IC tnp then one must c'Oncede th
1 at ils t
v th.e an ord'IDan• film is c ear y erroneous. The panells co nt-ep tuaJJ \. a " pan h
.L_.1 ,.,d pread h, th earl\' l '>Os. at east a deeade and lIlaQ"t • <hot ,n ted action thal normally obeys traditional plCtoriai nOrm -f b nap Ilt
fonn w """"", d fi' th a haif l -
Ja te PrE'sen point of ,~ew . . s 0 , 0\\1ng 0
t
ue 101:\ If ooe 1051 l> on e nmg e comlC strip in th Uf1r", rn one lDstantaneous clance.:\ hot fil ne
mutJO -picture . e rest (rom one . d'. In a m ma, share th
erms of 1 Ame
ncan lie" parer , = 1 onh theo one arbltranh' ignor h n(fl' e
- es t eVi ~ tiaI properties of a raWlng, but It alwa, s ha!. temporal cl .' e
of puel r Je Jud e Punch FIU'(!.ende BliiNer, and the num 'cal and spa . uration whether
__ .l,
tBW "'J' " . erous F,
gOtlJl4 optJ h' g is mo,~ng on the screen ,. It also possesses the pote tial fchan
_1.1.... """, ..inch Cohl cootnbuted ID the ellmtie and mneties. An .. encJ. oot an,1 on f h ' . n a IQng the
h1 empmca) ct ' . vithin the shot, or 0 c angrng the spatial representati b . .
1""'--
,_,ftO It earthat th romle bas a mue onger hislorv than cine e,-
vphcal \le" , on ~ mO\1ng the
~~ . ' ma.and·L .
most of nanati e co' lion .. ere fulh established b} the time film w '
_ . .
UJiI
as 10, enled. ~:ider Emile Cohl's stri~ "On Fire," co~tainin.g nme panels fil! 11 This me),
FJ",bn ed dnmIatlC oorratwe techmques from camle s/rips Horn ptcture story of a man awakenmg to find the tip ofhlS nightcap ahlaz.e .. as published ~
. • sUCCinct1\
Pnlressed
--r
t ''lei' that man} techniques wh,ch ha, e come ta be called .
_ clOemabc' 1\91, sa il ob,;ously predates fi~m narrative ."DIe champions of fonnal similaril he-
ha>e on m COIlllCS .\mong these are montage, cutting framing y
, , panmnt tween the romic strip and film , clted above, mlght analyze the stnp as foUm. • It sho"
and ...d,o that oopated the sound film. '.Iore importantI}' Horn co b one 'sœne" that Cohl has divided into Iwo subsegments represenllng the cause and the
J n nues.
Elen the Ç3IIlmars of th com'~ and the mo\ies are almost identical. the COnee tsof effects of the action. Panels one through three are the causal establi hing pictures.
bot as ~ to the statie ":.cene' and of "sequence," and the attending~an. grouped together by the formai device of their repealed ,iewpoint. :\Te we ta inlerpret
.Jlions of angl.... and ~rspectnes the unlimited possibilities of tracking forward and this as forecasting one filmic shot or as three?) The remaining six panels sho\\ the
bach-ard are present ln bath forros. effects. Unlike the first three panels, each one in this group show the action from a
Law ID bmulatiOD l 'ery Imllar different "iewpoint and, although the acti\'ity is confined 10 one room. it woulcl be
dofficult to reconstruct the floor plan. Between panels tbree ancl four there i an oblique
10 bath ClDmIa and the comlC Sir/pl, the language is composed of a succession of (hange of angle, and again between panels four and fi\'e, when \\e ft' the bed in "long

;;r: !bat to sa} ..,th 'ariablp framingl in a syntactical arrangement or

Images
~conu( trip demonstrablyc'lrresponds to the film sequence ortheact
...: ofthreIL-rpt !bat the background tends to change more often. The clail)' comK
mol" For this reason, the strip might be cailed "cinematic" b\' the abo,e authors.1I
Perhaps they wou Id go 50 far as 10 suggest that the last sLx pan;1 forecast fast cutting
nos several angles of view, in six brief shots of the sort that one might fincl in a miet
- '1' or /Our Im,uA 15 hl rontage sequence of the 19205.
""'" compara e to the cinematic scene 8
For Win the t'lem 1._ Isa "fil ... . . .
p.... , CODllc-strip art! t was Christophe: mlC prachce, Cohl' s comic-strip technique of changing angles \\1thin a sœne
ija(l.ancecl· d d h' .
" 10 ee . T 15 type of editing style as Barn. Salt has documented. was qUlte
This lIIUCh Il certain It Ch aD "'lII' to d l ' .
the n..l","~_ was nstophe who between 1880 and 1892. di5covered ~ eve op as a film practice. "It is also possible to break clown a scene into more
...L";'-"""'~e the extrem 1 la j(uage One Ihot by h . h h cl al cl . h ed .
w ...... the CIDema did e c ose-up and low-angle shots-{)f a n deI\' fil. c angmg t e camera angle across the cut, a a rea) appen m
lIfteriti birtb not master and }'et claimed to have fathered) for mann eatl 1Ii11 n1llS 10 the previous period [pre-l906] This kind of cut rontmuecl to be quite rare
,1·3 uni 1 'ght cl 11
'-Je ID hi. ...L , e ill:1 b ~ eS5 t le camera was forced away from the tandard ma' e stnu 0\\
... .t.n.. -UID to Lacass ' " "pans But th } the Physical nature of the set or location "11
-.or - . c1-ened &0 ln S article,
added examples of "c1o,e-ups,
ID c....ve Do.i Ht"~ hlS tud}' of Rodolphe Topffer "subjecti,e came~. ~els ere 15 sOmethin!l; wrong with our breakdown of the trip. If the fir t three
-..,.re de la s . '1 p'" ln u~ ...
-Illat 1
t'an stand i fi . 1· al he repre l'nted
n or one film shot could not the final SLX pane s 10
amte Rut.!ie, and "extreme c ose- U
e y by o n . ' Id ot ail mne
e cOntmuall} moving take? Or. for tha! matter, cou n
 ,filnwd \Il (\Ill' t.lkt ,a the.ltncal nl\ ~_ -.
tnp lIl " . ~n-, II~' 1 h
01 Ih~ , , t"~ II' 11111 d,'fillllt" pll tun' Il i Irnpo II n ot ~r \\ord
, Inp \!l' 1 Il ~ to \.. 1
:olt lhe ' pre,ent> . ;\ p<llenll.ll fi mma\""r mighl wond 1 t \ hO\\
, Il rt' ~r on~ and bard
,c!l,'ll' Id be .ldaptt'd m one, h\o. Or '1 '\hot • \\he-
\ lnp ,hou . "' h '
th l' ' f"('lne\l1,IIIC 1; not t e comtant un hllttng t~ th
;ttf 0 IllOn 0 , k th • rm ~'e duthof\ Id
11tt,k"1l In,anabh the, l"oe ,'c1a"K-a1 Iioll\'\ ood \\ou
bc'he' e, ' r , \ Ctnema as th
U' III , on> ta t'arher cmema lOnn, and pracltct'\ re, al b ~Ir
1 cotllpan> , th ~ pro lem~ Rath
-"" bll , b of, tell .md ma' mg e camera the fint l(ent'rat f fil er
",.- lh\l~ p'"n . , I O n 0 mmaker
ft ,hl 1 continuOU actIOns ru. a elf-contalOt'd tablt'au regardl f

~I
J to ,ho<> , al' '. .." 0 wheth"r
ttnd"" rce mal en al wa; "origm'.. or1 a comle- aki
trip adaptatIOn Tom G
.. .
h
unmng as called
dit ,oU tinuOU> h 'le of fi mm IIg, whlch màlntams the
th "Iloncon . f b b' , t'panltene" of[a
., e l'nt part . instead 0 a or mg them mto an illu Ion of
, ... J ('llt1lpoll fift f h a conhnuous
.... ' fi "13 For the first eenyear 0 t emo\les this\\asthepred
ti\ e 0\\ omtnant wa,
DSl"'cene The e authors "'ould ha'e ta argue that earh cm~ma \\.. h
.J nlu\ln~ a > . ~ ome 0\\
\1
ematic" because the)' .assume that the tenn means edltme; and malllpulah fo
lIII''IlI d th · , 'e r-
~~. d · The c1assical cmema .
mo el at IS heme; projecled here ODtO p 't
_ ' . ~~e
.,..ema ",as not in place until around ~91, ~l eanwhlle, as Kn hn Tbomp on has ob-
<tlltd. the con,'ention for repre enting spatial relationsrup \\ere not u ed COn is-
!eIlÙI. nor did the} develop in a linear e\'olution3J) pattern nor was their meanlOl(

auto~abca1l)' under tood by audience (supposedly it ha> been argued tutored b,

dtcade of comic-strip reading),t4 This ans"'er the question asto \\h~ , uthere were 0
tIlIDI a1leged affinities, did it take cinema 50 long to di COI er Ils ''language" \\ hen It \\3>

i!lere \\'aÎting for il ail along in the comic strip ~ Quite blunù) and impl), the l'arh
iItnma1ers, such as GriffiÙl , had \ery litÙe to learn from comie- trip fonn \\ hen it came
m hin~ their own narrathe problems.
Conuc strips and cinema share the capability of plctOrial narration , but the de ire to
,
, pm the fonnal analogy further may be akin to the ame naive enthUlIa>m that in the
past ha; prompted compari on between cinema and Gree\" \ a>l' painting Chinese
1at1Il.s. Trajan's Column, and the Ba)'em Tapestn The 1.' narrah\t' hale thelr o\\'n
\enbons for signifying the passage of time, for repre entine; obJedl III motion JJld
1On~ points of vie\\'. Similarly the cinema relies on complt~\ \ ,lem; and code,
~g Ihem 10 create an illusion of natural perception and patiott'mpoml contlIluin .
the.e arbltrary cod s mav overlap often the\ do nol . Here are ,orne example
dilference " .
r th . . ff
e l'Omic-strip arti~t, di\iding the page IIIto pan eh \\a> not a del'orati\e ,e l'ct
~r.tlal narratt\e de\ice . The represented action i dl\lded mlo Il sigm6cant
eou Ead1 pane 11. a uœessi\ e step in the ton demarc-attng , \\ h er1.' one narrati\ l'
ent ends d .• h ' t h , 10 denote
an another begim A problem arises \\ hen 1 e arlls \m t d
"'"' e of hme, One <.'Omention that was popular 111 the ninelt'enth cenlul'\ aII ,
.... VI\es in "n h h three \0 Co hl
oone;bury") was repeated panels , as in one 1 roue;
 CHAPUt! III MOR \\1)
- --__f_\~R~I,~Y~(!t~\2f~~~~
\1 \ • 227
(aled that httlt' "u, h,lppt'nIlH~--dt, Id 1 ..,/' )() nll .. tliP ,IHl\\''' Ill<'. tra\(>ler n'cel\ ln" inst
Jg( l~J e nlcIIon, rro h h
f "hlt11'"dl ' lIllt< ln h ;r
~d 'J'he
...
1 k on tilt' b"cl anticlJ)alll1~ tht' alarm and 1 . mIL' 01<>-
camlr 'On Ire L _ the trad, marI. of Caran d' "hl' and \\a\ ( t {, oort.
h dC'1ce "n.~me l 'OPI('d l " vul the C oc r ' cl 'Jelnl( PJ"cted fr h
oH T Il h Th,'O\,hlle- -\1 \andr~ tl'IO t'n in hl, ('\('t'PI Il <l.1 ,l'ltJll~ 1 rre,pondlll~ to lour Irre IJclble cClInpCln(>ntl ftl . Qm t (.
artl ts Ut' a Il. 10nal 'p "ltt lit', h JIJ{' en ) hl ' 0 w narratIOn 1 1
camK" tnp e bisser OlaIl~{'r, "UlCldom-le Inn' Thl>' \\"on t l..,pt Th UllqU'i!. ,-A..A'J" P • 1 Il ~ill'l1ce (fig , 288 , 1 (' )('cl \l'quent{' i\ film'd. ' nI w
1>'" (Hoir (1 ' , 10 11\ ('nllrN .
ne ,eulcnt pa' Th Commit, UlCldl, fil!. ~19' The rt'petlti\e dra\\; ~llJ'~ht ~ fi/ni, - " le of ,e\eralloosely ~trung-logPtlH'r gags 111 tlll\ ' 1 >m Clne
C t Eatt'n L~t t'm f h fi h ng (\l'lth 1 faet It" 01 , 1 cl cl 1. . ont -ree , Imglc_l· k
,e h n nd srtllm: un 1 a ,i1!11 0 t t' S t'rman's hor('d hil)! kt' 111' ,ie-Ilrip arllst la to raw mu hpl(> pan!'ls (witl . ae
d ",te<! h, t n5IDh om (a, 1 ~ C hl the COll f h b ' 1 progresslnll c!O(:k
ln l ,L panel rt'pre,ent, an equall~ spaced inten'al . 11(>1 a. filOI 'D e n t lh e pas~age 0 nlg t, ul Cohl Ihe film .Irthl could
lit the artl 1 p<ltlen III th~ Co l to repr!'s ' h h cl f h 1 k resort to pro-
UrSt- W,O d1 I.ke acceleralll1g t e an, 0 t e c oc , For tlll' comie-It .
~t~~ rai. , tricks l , ,< 1 '"
filnt le .. . necesslty for narration; lor 1 le nlm arllst (afl('r ca. 19(7)
' np stol) teller
cI ker ne..d not ob en ucb arbitraI') lorm ' nUITall\e mark er H
Then mma \, e or h ttlge was a ' II h ' montage was
he", eD breakml! down n el ,'nt lOto its ('()mponen~ parts o· \~ \1100 b t one that was lyplCa y not c osen, slnce \Iories {;(lUld he lold . cr:
ha' 4 Ch01Ct' r SlInply RI tiOll, u cl. qUite euec-
mglhe t'\enl lIlIt entiret- nd!he hot or 'equt'nce of ,hots l'an he long Or short, ~; ,eh wit1IOU l l't ' Indeed " for nearly Iwo ecades, thls tableau s"'le
lJIOP
'} was III e "cmemahc
,
ait matl,e 1 nol a'a1lahle to th COOlIc-stnp am,t becau e there is no formaI ~ 'f II ' g a story nol the c1asslcal montage style smglcd out bs the abose· tl
, h Com~ alO te 10 ' f' , a u lors,
• il'hen looking at these Iwo exa~ples 0 Cohl s comics, one mlght be tempted to
n
llIln eqw' aient 10 th 10ng take or qut'nœ, ot. An excellent compariso n is Pro.
,ided h, Cohl f, ur-p;mtl tnp 0 Grand ..s In\'entions : Llo' Lit réveil-mat· .. 10 ach panel of a comle stnp to a Single-frame ,enlar!!;ement rather than t0 a'
n . In , Ur CO\11pare e ,
Creat ln, ntiOn th lann Be<! SI! _S9 and the film \'erslOn made by Cohl and \11 lete shot, But even thls analogy has problems, Unhke panels, III attual projection
:ei~di'iduall11ovie frames are invisible to the \iewer, And of course the ima!(e ID each
frame is a mechanieal temporal division of a motion (an arbitraI') moment whlle.l
plclure in a panel indieates the artist's representation of a "~lgnifkant moment.
1ôe array of panels printed on a page calls for a "reading" that is qUtte different from
Ùte lI'ay film narrative is perceived, Comie strips (and Ihelr c1o~esl cinematic equiva-
lent, storyboards) cannot escape their textuality and remain bouncled as a discursive
narrative form, Even if they do not contain words, they sti ll must be read" \l o\les
on the other hancl , are, in Raymond Bellour's well-known aphomm, "unattainable
1~lts" that resist quotation and atomization, The perceplual ancl social experienœs of
"Ichmg a Sim image are of quite a clilferent order from those of peru in~at'Omlc strip,
One questions the assumption that th e shot is the "baSIC unit of filmic narration,"
Rf1:ent studies suggest that these reductive generalizalions are mlsleadinl!;,lS Further-
more If thes e authors err in their comparison of comic-strip narration to a false 'cine-
m'he.' Ideal, it shoulcl be pointecl out that it is al 0 a mistake to us\umt' thal all comit
Ilnplrel),
p 0
n scquenhal '
narrative panels An intriguin~ example II to be l'oun cl·III "Une
r~tlle ~emme passt' clans la ruc" (A Girl 'Passes b} on tlH' Strl'et, Ilg, 220), Ralher than
.tuig a st 1 . . ' 19
pr ' ory, t 1(> strip by Kober presents tht' larious mail:' reactlOll\ to a passll
o litute ("TI ' , L' II d and
Ro n, (. 1(>1'{' s where thl'Y shoulcl stick a taxi metl'r ·1 If. Lolll' r eUt a e
'l Ilo,etti fil cl . f · ths later and
t'Plat cl me thelr ven,ion, Une Dame t:rai/lll'ni bien, a t:\\ mon . ,
ttn tlh.> v{'rbal jokcs with sight gags each filmecl as cl tableau wllh the woman
ng t U> shc t d ' , 1 t p thert' 1\ no
Pin~ular ' ) , ISrllpling the males' activity, then cxihng ln t le s n
order i l ' h . h fil Ihe \lewer must
It th n w 11<; tht' reaetions shoulcl be read , III t e m d 1
e ~lJé('(>s\i ' Il . h· 1 tl "Irt' presente ' n
trip \1' ta) eaUl( in the linear M'qut'nc:e III w J(' 1 le},
'1Tt( draw' f . SI h mage' of the \SOOlan
1 g ITt > mg 0 the wornan is sufficient, III the III tel
~'h IIPw 1(Jeatlon . must be repeated 111 eae h sh0 t .
 l~
1 •

;.
!.

220 Kober, "Une Petite Femme paSl'

dans la rue," Le Rire, Septembe, 19,
1908.

-=-~.... ~
This exampl, hows that l'ven when a specifie strip was the source of a film adapta. . '7'......~~7~_ 'i
h,IO, a' ln Cuhl and Arnaud', Hotel du silence or in Porter's Dream of a Rarebit fiend. ~~
th" filmmal<~r, m bllctiwly u\~d the tableau style and the tricks of the féerie (double
t)!""ure d" olvel, 1n\lsibl .. wm'S, stop-action substitution) rather than the so-caIled
"clOem.ht' montag",prmmgl~ a\ailable in Kober's, Coh!'s, and McCay's comic-strip 6.
....d,,'11 prs
nie d.. Ife h, repr.'''nt j(pographlca1 distances led cornic-strip artists to devise ingen'
10u
'
formal d....rps ~('r 0 Ttl 'ntmg th e read er '111 space. In h·.. · B lion', or' ---a
15 Up In a a 0
S
MlrDlIJiOIi vovaa" '16 221) C II fC Il 'ng the
,~g, 01 attempted to create the impression 0 ,0 OWI
ilt110n over • greal d' ta 1 . th back.
d 15 'ntl' Iy repeating views of objects. 'flle chimney 10 e " •
groull of p.nrl Iwo i d 1fi ur 1115
showlI d \ "'peate in the forf'wound of panel three. In pane 0 'II he
roppmg dway whll . 1 l ' Je WI
central to th.. t' ' ra C lurc 1 l, visible on the horizon . Jts steep 1 ves
dl IOn 10 III/' n~ t 1 Th ost ea
of the trp,' who t k x pane e eighlh panel reveals lhe upperm cled
s. run Will h ' " iole"
to sugg~st Iha! md 'd al e SP~n ln panel nine. These conventIOns were .r Idillg
Ov.r liSt-hut 1\1 U '.'llle Ote, 0f th!' \1unchausenesque .tory wcre umO Id
ha t1Jnhgllou'>-gp, il)' cOU
ve bee n adapted tD tl ' ographleal distances, The same .tratcgy ea.'> 2) ",heP Pin. Bail
W ft IP t1nrm ' (190
• Il! 5('0 the moo ' h a. as Il Was in Méliès's A Trip 10 the Moon ho (If 000. or, -A Miraculous Voyage," Pick Me Up. August 15. 1891
th~ n Olpr! p li db ' a S l
'P8ctcraft Iandmg On Ihe on~.()n. followed by a c10ser .hol, followe ych exaJl1'
moon, surfal'!' with the earth in the sky. But su
 GR~PIlIr. III MOR ASI)
fdRLYCI
E~ ~ •
• 30 • . ) "Jg L<lc:I.S\1D cautlousl> 3\oided insistina .
. 1 ason l' that cinema del·eloped ma", other Irll Cs ' . " on any 3(:tual dI
The Slmp e re ..' h h· Conven Uoo (CO h twO art~ but does not gIn, up the idea of a re<.t Inter_
ples:ut' r:ut'. . d spatial contlgul~ \\lt out al·mg to re~Ort t tIans ~ •
!J.~'
he!>'
een t e . .
C<Jmmon tultu r ..
..• SQur(:<-
[_..creen space an . . . If 0 SUth 1
su~e, 0 . _
t le a character pomtlll!( or stann!!: 0 -sereen roll
. . ' Il o"·ed b '"
Itt~1 ~~e exceptiom, the comlc \tnp gathered mo\t of·t b
1 For l'\amp . . ~ \1 rare h . 1 S ""Ie exp
construCDons
. fthe glance, conno
ted a sub'ective ne\\ _The flUld tranSItions he" .
J . . "Ieen i
l' the
\\I~I al', h t recourse to t l' CIDema. and often even hef, th L
. ..,tt ou 1re e Jatter w· ho
r..s I~e
abject a .. Griffith· B!O~raph films estahhshed spatiotempo 1 nteno, rtsources b ash to deduce that the latter 15 a trihular, of th r as m
cl enenor spaces ID . . f ' ra conhn . . ,'ould e r .. _ e IOrmer
an ch.' cuttine screen dIrection 0 mO\ements , and repeat cl UI~ Bu l Il 1 .onty ' ,does not necessarIly mean mfluen(;{: , It is mor.. reaso . bl
throueh mat -acl1on e ca~ n h h na e ta sUppos
"Iera for, P ' and cinema have ot separately drawn the clem ts f h . e
mlC stnp k en 0 t etr respee
aDirles !lin reasoD \\ hl sorne of the authors cited wish to associate th
One compe g . . 'cal r e f0ftna] tha lCO From the common stoc accumulated in the COUhe fth .-
. d cinema is to inl·ent a cnti taxonomy IOr comics Th . .. languages h " . 0 e c'E'ntunes hv
meaDS 0 f comIcs an .. ' e clnem nIe , d graphic arts, T e comlc stnp owes Ils lead O\er the -
lasl1C a n . C1nema to the fact
_.,1. ho' developed an e~1:enSlle practicallanguage that enables 'Is a, theP. d l'c!orial narrative was already mature mam \f:<irs ber .
unw<e comICS ~ . _ 1 techni_ 1 nnte P , " • - ore m0\1ng pha-
cians ta communicate \\ith one another, a descnpti\'e language of Production PfaCbee tha P s born, It is therefore more JUdlClOUS to suppo~ !hat the tw ed.
J1l1IphY wa 0 10 la are
that 15..Iso avallable to crities and analysts. ComIcs, whlCh were traditionally made bl 10 s at least in the technical domain. 20
autonomoU 1
one or two arI15t> working in a small studio, had less need to de\'elop an extensile
descnpble vocabularr It is a great com·enience then for critics of comic strips ta bor- , ote that "film's horrowings from comic strips embrace bath furm d
~M. an_
J'O\\ from film discourse 5uch tenns as flashback and extreme c1ose-up, There are dan- F . Grandpa, Happy Hooligan, Buster Brown and the KatzenJammer t·,~.
.~ ~are
gers, ho,,"eler, in appl)ing the jargon of one medium to another, A kind of visual "Ole of the characters from eomie strips found in films made b) the Edison and BI-
. '"21
ethnocentrism results from liewing the work of artists in other times and cultures [I!J'iIph compames,
through the "cinematic" l'les of the mid-t",entieth century, There is a risk that formai .One ulterior motive behind the argument for simultaneous genesis of the twu media
delices cultil'ated in other media might be ol·erlooked hecause they have no counter- ~toimply Ù1at the connection is more than ehronological; it is also an tdeolOlticai final
part ID the modern cinema. cause, as though film and comics generated spontaneously from a common cultural
We should nat olerreact and disrrtiss ail comic-strip influence on film narration, One \Ource in the working class: "This popular turn-of-the-century sihling [of cinema. the
attempl to ,ohe the problem of the fibn 's lack of dialogu e was to experiment with oomicsbip] was parented, Iike movies, by indus trial tecbnology, mass distribution. and
speech balIoons and subtitles, hoth in animated and live-action film s, around 1910. rommercial appeals to semiliterate audiences. ":!:! ..\side From the Iustorical distortion
That this practice deril ed fram comics and that it produeed only an unsatisfactor)' tem- mherent in such a statement, there is also the prohlem of audience compo,tbon_ Just
porar)' solution are ab~ious observations.
ti we cannat definitively say that early film audiences were illiterate lahore", espe-
, The histancal elldence shaws that comic-strip artists were developing their narra- ciaII} in France), Or that the films represent lower-class \ alues_!:! \\1' are at risk if we
tive comenlions and fa al ber, . f
. nn ~)nraxes rore, and Wlthout regard to, the mfluence 0 ~SUme that comic-strip readers were semiliterate lo\\'er-class 1\-nP, Looking through
cmema, and that the re,emblan f 'r . ilie " ,.-
ce 0 certain lormal devices of film narrative to comICS work of 1.IcCay, Opper, Topffer, Christophe, and Caran d' :\che one wonders ta
ma" he onI"J .uperfi CI·aI ,or even misleading.
é '
07IJIC.! and CJI\emlI Ahare a .. , 1 .. uI le '~al extent the unedueated person would comprehend the l' ,ophi,ticated tones and
!hat . 'Jarj. . J'na cause. The writers on the suhject often spec a
Slml bes m the Iwo m d'· th 'cal 1_ fri· an illt
ohl 1 l'rate person would bu)' a newspaper to begin \\ith. Coul
d Ca hl' comlc .
tural and
,
li ho e la are l' result of common underlying techm ,cu
popu st nds . FeU saw'· , , k db· their ~s really be characterized as "proletarian images"? One importlnt change had taken
pursuitofformal d h· comlc-stnp artists and filmmakers IID e } .J e In the audience for the comie strip, as compared to tl1e pohtical ponrait-chor!!.e
between Sim aotth tee nlca! problems: "A numher of additional relationships emerge an earh er ge ' . ed antinalih
the 6immaker as nfr' l'COmIcs ifwe b d ' t' taOd Ih.t~. nerahon , Though sociall)' marginal, comie con btut a m ~ -
roa en Our perspective to view the stnp ar IS as enecura d b b d ·
, co ontmg COlOm hl 1 nven- ,lU th ge y and contained \vithin middle-chlS oun ane ,
tions of narrative e"""·ti "Ion pro l'ms of space and time within t le co
1er ' -"".1 on, ! As ' ,
color Iithograph)' With th
,mas-
an example, he equates the artists attempts to 1
Lese
"'1 the .
autho rs sense that these arts \Vere c10seh related at th e tum orthe œntun . '
sub'1I'Cts_According ta H e earlv• fil mm ak' ., to popular entertal·nmeo fies! for
Ir IOsistenee r . . th 1
on lormal influence elther direct or roUI! 1a co
lIectile ronSCIOU -
. "
ers restnction
tion of .1:.1 __ , , om, COmics and ' " d the crea- ""1. Ces Ihern t f: Il b ' f -, l' pondence ta
~'tICaJ movement e·th h CInema both tend to the sa me en· . Il' ....;n th 0 a ack on the .. ague romantie concept 0 corr
1 ert ra _L . h kine e pheno _ d film pre ent hort
U"'" opheal illusion (cinema) or throu!( hIes rnenon. HOwe\er, the fnet th olt both l'OllJ1C' an . . U'
to a po 1 al - dOl" not ID It>t'
[lU ar audience primaril} through pietori mean'
 GRAPHIe HUMOR A\O E
TER ,El E\
ARLI CI\~\IA .
2.1.1
CH' P di 're related, or that ther shared a final 2) These machines "photograph everything th t h
tI e me a \le cau, " (fia, 22 ' "26 R b 'd' "
-- ll'd
pro e"
ideDce that 1
phe to manl po
pular entertainments and 'peetacles r e, l'he
0 the n' ooj(l'ap hs " 'aUste no velists , 0 1 a s VISion 0fI'" ue lO the twentiaeth appens and
centuT) as
descnpboo ap Ine. "ho , ta na/Ii' 9 kwas of a society permeated by an even more ad d '
sam~
teen 1 centuri.
Thi' factwas not
ed hl Pierre Fre sn ault-De ruelle in hi fstruetural-semiOti
1 b ct hesi
r rt It
rt""f nl his
ra
IB9 boo ,
~ cope," Tbis apparatus was
J phonoS
vance ma-
a sort oflarge-screen prOj'ecti t 1
f ' 'fi ng e e-
k that wisel) a\'oids maoy 0 t le a Ove Pitfall ,24 .", 'on ;e<'0 the "te e bl' information , news 0 sClentl (; prOYess educatio al d
F h-Ianguage cmlCS aboa , From oth el' " an al ogieal" sre 'oef'ae1 e . d pu IC d ' n an en-
reDC . o 'i> enough to d,stinguish It
ciraWD Pres ,h'o 0'tllat carne . to private homes. A ecade and a halfJater the Srst a J '
th t the image"
L "
','0 grarnS III . , po oglSts
h· tapestry and pamtmg, Among the man enla. "I~' , nent prod~on this established body of OpIO Ion and Optimistically foresaw th e
a 1 hotograp 1, • , y sPeeifl
tians such lI> fi m, p . . , . rtist hut not to the filmmaker, is that of the cl e Ir.1le cinerna , ra f e functions for the newest technological marvel. 27
' . ahl the comlc-stnp a , th' , ynal11ic for u 1 rnelto IV , h' h
codes alrul e ta h
" 'hi! the cinema as on )
1 one unique fran1e, e projectIon Screen th
, l ' ' e rOl11ie saJll
e social ya ,
e ome ta h t Edison was perfecting IS p on0l9'aph , Eadweard ~luvbridg . e
frame \\th e ssibilit\ af \'arym~ ' ItS frame, Tbe artists ' c 100se It as
, n af Il,a functio ' AI the sam , all IJing horses on the ranch of Leland Stanford, the govemor of
o raphmg g O a l d h f th h ' .
stnp bas e p theo , compusition of the page, The slze of the Image COrresPan,
tabular cl
"os Photag ,2B
rnla His p 1at es showing the an yze
, p. ases 0
, e orse
. s motion became fa-
sub]ect ta ,at) large scale for decorati\'e images, , , , small scale for clo . s"
"E~
Califa , world when tll ey were russemlllated 10 all the Important scientific and
ta the sub]""t treatedh, th importance of the "signillcance" of each panel.se u h
"1 He also emp aslze, e d d ail h e mous 1lI'0und th,e 29 Whe n they were prin ted as
r riodlCal s. th zoo trope strips in L'IUustration on
in. is a reconstructecl \\·h a1e
,p. :.:. , . univocal, an ma e t .e more 50 hl' th e
perfectlv popula ~e 1B19 readers were invited to eut em out, view them at borne. and
dra"
balloonsg , corn bat PO)
whlch l 'semlc tendencies. '. The world
cal 'of these Images,, absolutely Januar)'b .5,constitu .' te the original motion that Muybridge had photograpbed, By that
. . the sense that it isn t eqUlvo -IS
clifferent from OurS--lD • a revenge
d r alagamst reality" there't ywas re generaIl Y realized that motion , like d speech, cou Id be meehanicallypboto.
:p. 25 . Fresna ul t-DerueIl e scœ u . shows the narrative
ssfullv " an IOrm COmplexity of dal"h'cally) recor de d , stored , and reproduce .
the modem COIDIC . smp, but he ignores the content and IdeologlCal context of the COm- grapM ybridge
l ,s seque ntial photographs provoked a Burry of excitement b d among
hi artists,
If
ics he anall'zes. " ' u
who debate d th ·
eIT v 1 al'dity and usefulness, 30 Th e Bamboyant Muy ri ge 'mse pro-
The prima.n shortcoming of this entire line of argument lS that the searcb for optical
and narrativ'-formal analogies has actually obscured several important relationships,
There ",as indeed an aethe and free excbange between the early cinema and popular
~ '- -
graphie art, but not in the form of a common "grammar" of narrative conventions or in - -- La Caricature--
<ome predeStined social function,

CO'tIC ART"" AI .'HROFTHE CI~E~f.'

As earh al lOi., when Edison's talking machine was demonstrated to the editors of
Scwntific Amencan, the idea of combining !his device with th e latest advances m
photograpbr struck the reporter covering the event:

d· POSSI'bl e by tngenious optical contrivances to throw stereoscopic photo.h

It'15 aIrea)
graphs of people On screens in full view of an audience. Add the talking phonograpal
to counterfei! their l'oices, and it would be difficult to carry the illusion of re
presence much furtber ..!5

The staggering imphcati f th' . . t of the n~

;:ahs~ntuT)'
t th . ons 0 15 lOVention weTe not lost on the artlS s kind
elther. The cancaturist Albert Robida grasped th e potential fo r a the
c representation h'th .. ies. n
very Srst USU fLa, 1 Prto only dreamed of by a few VISlO nar , l iota S
ea Cancatu ' 100 , • ventlon
"""'" Zolas' natural' reb In '-"JO, he transformed Edison S 10 . ry "plloto-
satire a··;--t
ISm y picturing Nana witb one of his imagIna ~2C A1~ert Robida: "Nana-Revue,"
ancature, January 3, 1880,
 f\ E' (, Il ~ PHI ( Hl 1 [) ft ~ ~ 0
• L E~RLr

. ,tma~e' 0 EaJ -'Iopmg horse, for arti. b I!<lth(-red ' El"!}

at

'n,
.
;-ed zoop/2II>COP . d of Gill and Cohl. Edouard Ddoull", wh' ~.t \1 ....
,.... ~ dose men 0 ... t"r . ....
.amers studio, 10 hl> l.1l'I:e cann.,,, , al 0 atlend"d the,,,, d"
b d~e, 1""0[1> ID d ' 1 mOn;t,..
rn ,llotlOn 1 ~:. an A/Ilma LOcomotIon ' IL • "IJon.
,
rated '.1 UI n· L. H
d boa ; Tt.. ors ." \ ~& ~.
\luI~n. th ~es n,ecut1l e ph.... es of animal mOlements. . ' .
'd """'~.
hale Since pro lied
(Dentine .eua!ca. . profoundh inBuenemg the hlstor\' uf mode a 110...,.
hou,e of liS
tnionnabon .
affected the' mIDor" art of the comics.
' I l l art
' \11Ij. '.
~ If,-r,
bndcc, won. .ho ed the photograpruc stnps and lampooned "Ieissoni r
Gan tunsb ,abnz d th 'h er IOr hi
ca E Cohl Inl'allabh plcture e arbst On orseback fiu _, S I[j.
1 n them ,en th ~ 'I , \
tem 1 th Il of \Iujbridge', work and at of his French co ti . e,.
ertheleS e ce,u fth , n nllat
Ellenne·] uIes \1 Mel \\ere ,tudied cl seh , One 0 r e most mteresbn!( cases'ID Pol[jt ù. r
.

IS Car.m
d' ~che Emmanuel PoIré 1!>59-1909. Bernre _1882 . he had earned hlS. repula.
lion as a <abns10 fpo lite SOCle" ') ID the sh, le of Alfred Grel'm After that date he co nce..
ed on wordles camlc stnps Imtoire. sans parolesl. the sequenbal panel PIC(ur
~ fur wluch he was 50 much admIT·ed an d IlDJtate
ston " d .~C"nbes hale accu ratel} notede
that he OOJTO\\ed the formatfrom German sources. particularly frnm AdolfOberlànder,
but the pholo!!raphlc" precmon, the Iavout of the sbips. and the faet that the date of
his chan~e of ~enre coinClde, \\lth the ndgarizabon of.\f uybridge 's work stronglr SU~.
ge ts that motion·stud, photograpru. \l'ere aIso responsible. ..
The camle smp !If Caran d' \che are sight gags or pantomimes distinguished b~ an
ah olute c1ann of draftsmamhip. TIle backgrounds were carefully retraced for each of <l

~
the rune ur twel.e panels, introducing minimal alterations to suggest changes in point
of \1,"" or the passa~e of bme Each story \\'as resbicted to one humorous incident of 1 .nn Hcbe· "!Joe Poule survint." La Vie 224 . Caran d'Ache: -\ux Pme, • oc trœ; jetlJle>
\pnl26, 1884 anarchistes, - La Cancaturr jan"",, 3. 1 •
short durabon. usualh ob,en·ed from an unehanging angle. The action in "l'ne Poule
.unmt The Dame Arri,ed l"nexpectedly, fig, 223 1, for example. was analyzed mto
thé .ucce;Stl e pru",P.5 of the !:Jrl', mOlements as she walks from foreground to back.
!!rnund as in motion studies), IThere IS a change in view between the nrst and second in order to express a slight transition . But el'eT)' mOlement is ' 0 ridlt~ \ad elen
nU4lJce is so precise !32
panel The phases of the battle she leal es in her wake are also rrozen into panels that
to ~fu,bridge's indll1dual frames, "Aux Prises a,ec trois jeunes anarchi"
tare"anaJ020US
Thr Hil "~5 series, "The Cerman Hussards." testified to the inlluence of mObOD ,tudies
'" ee hung Allarchbts Stand Together, ng, 224) dec:omposes the phases ofl\lo
oontlnuo~s motions the sunultaneous faU of the boys and of the guardhouse. Although ~ COpying a horse poised at the exact in tant at \lhich. accordinl! to \lu~ bridge' still'·
the "mst S Ideas \lere CO t all l ' . phI re' llin~ relelation all four hool es were aloft (fig, 225 1
,. ncep u \' re ated to .\f uybridge s work. the lconogra ,
m"med that of the trad t' l '1· uniz,.d < Other artists, Moloch, for instance. looked at these photographs \\ith a more tradi·
that C d· Ilona ml Itary picture story, An early biographer reco" , nalJVsattnc ' attitude, "Courses de propriétaire. l'entraînement.. 1L.mdl0 rd Races ' ln
oran Ache \ achiel' th . th .. nodern r,
format resemLI'n
·sU(~essl·,e an"C dgote.
èmen "'il; t e adaptabon of the comlc strip to e l, !br
the Chronophotographie display. He aptl}' c:alled this technique
~~n~, ,", thelh
~[u,bridge's
fig, 226) is like one of
.
horses runntllg amuck. \loloch also pre-
rJ SI OUette effect of the original photograph . . h
c.u-an d'Ache h.. r 1 cl e' ",th ,oeofÙle most striking example of motion ~tud, COll\erted to comic· trip unfilor
'impIe 'ubJetl' ,k tcl edepfrod(;e thp nId charades and unprobable adlentur , l ' be QIl.ll'Q . Toulon,... ~
- Tl' mme nous tirons à Toulouse! .. (Ho\\ 'YI" "Dra\l -!Il d·bee
, -
h e 1 10 IŒ d CertaJO \ lis 1~92·. , . h h \lhlch ha n
s O,,"s elenthing t 'Is L. .. an cumprehensible on first glanee, r..•.nf hed stnp \l'a tnspired h, ~fare\ s fencme: p otoe:rap. ' d d th
'op, Cohl ~ men an
01 "est ad . ther Il'''''
vantage and does not hesltate to draw ano eanll the.Il rel> '
tous year (fig , 228).• \las dr,l\m h\ 0 'Cal
It • e
nation piotwer,
 .<If'1
1

ft ---'

,
.... •
, d
'D~
T

, t>,~
.-'-
...." ;0,,?

!!h 'Iulurt. 0 CClliHllb l "( UUI\!'" dt,

propnrwm , lA ( 'JIWnlClllt' J'/ln\lt "nf',
~"nl 2b, Ib'15

hllit Cohl' d,'ht tu Caran d'Adw \Ill\ oh\lous when he be~un drawlIl!( wordlell
1"0l1l lirop on I~~j , Ill- pr.ll'tlu-d hi> l'Ollt.uJ.(uc\ draJhmunship and hud Il'anll'd 10
f"t'If' 111111"10 III IlIch Itripl.,, " \ Plwl1ol1ll'nlil Wt:I~ht ' (fj~, 229),
B, th. dlt'nt uf tl1I' l'II1I'matoJ.(raph. tIlt' arlis!> of the pupular press had alrrad)
unhl'lJlattd Il, nlollenal".ahnn 111 Iwo wavI Flrlt . IlnCl' thl' he~i1111111!( of Ihl' IBbOI
nub"la ru,d ,d"" nth~r \lIIlIO.\I'II'S had "Kt'Itl'cl tlll' pu hhe \ IlIlu~i nation a!Jou t Il Illllclllne
\\'Ilh t~rtulII ,d"allll'(l
.
,1 ,11111tt:l'11110lo~lCal
\'1<:1.1 ' ,
Iunctions, il precont'l'ptlOn 1
tl l\t \\ollid
,hapt· th, IlOpular d,' t l' , f kllo",l·
.d . ' 1101 Ion Il l'Inl'llhl,LI Ul1l1lslltlllion Second. tlll' dillu\II)1l 0 v J
, ~t """'."unK th" 'tl' l' . l '1111 dw
l i ( Il 1Il' UlM ys" ,lIld n'(~lIIllt uction of I\lotlon IlIUl (' 1 •
111o" I"),,,bl,· to ''''''ptt·IIl' cl d . . ' . t"ts p,I['
htul l, (" Il ail r.lllollahl(' tl\(' InH' ntion , COIIIIC-Stnp .Ir •
ar \ .aran cl Adw alld 1,,, 1 Il . . , ,l , 1',,1 rl'Jl~I'
,IUthon Il ' 1
"1<., '\l'I, .,Ih Il pot. 1
Il IIWI rs. hXlk Il k"('n Inll'rl'It ln pholUlI1! ( \.1111
. 1
.' •
nlpro' III, o t.alol' \1 nu' R· ,lion '\ où1 "'Ill~~ """1
th"lr oh" . '"lla s.llInl'a1 Sllb)t'l'l\ and as s(' nou s ail' tu 1 t hnl1\\ "Hllou'" 11 1.Il (' 0,-~tvrt
", ... no ,~I -

l'\alloll \\lwlI thi> li lit . . f'l 1111' ,"U\ \

III a" Il ~ , 1 d 1 lIC,'IIICIlI.ltll' tl,thllolo~y l'\oln'd illto 1 ni. l'Ir ~~ l.h"I1I1,'-}ul" \1 ",,"
LE ",ml fnl:I(Ii'
" " 'l' alllll~ \1 Ith It '( l ,. . . ., all,d t Il
PII~hr fur. the l' Il) \lI'n' pn'parl'd lOI , and had pit P IllJt 1'/1<.t,'~rdl.l. , 1.,91
1"1 Jl"'Jl'l'lt'd ' . , tht'''' 1/ {
InOllllg !lltllul'S, Thus Andn' BUlin s ")I)() ;!.'!\I M \ Il,, Il,111'''11111 \\ "1 hl, /'J
m.tu ... t ~2. I!\ql
 L "PRIC R

C L-' mL HM. T

~ parlor _as opening at 2fJ oouJe.a:rd Pois~

~'lOII~""-:l d ema ere naturallr attracted to the district that hilll ~
~ b at least h<Jf a œntuTy: the grandt bou[eumû Tht
="""'fKÇ»'Jded <:.al: tht:;den IDmlC halls, café-omcerts. and PrQm~
iK ~ ~ ŒPiI.'"LW::. ~ Û\ er tT.r. , ean i"~' b.ad sh.eltered an assortment ri
~ Iheat~ w-a IDuseums, panoramas dilJrama5, ~.J.m.
!!mentn p<:epf' fi~. 2'3(J. The area was aIso the oIn1OOl
0+""'.... b <CId ln.! UJ.m:ln"..oo thelr &ther, Antoine, when thf"ir ne-r -ouldsoon be lOstantaneou5 and long distance. Cvrnbined ",ith the me~ -
( 'Ir
~.;pk '"' rt:iodj lb pu!Ajc; dehlJt Their business office was QDe lltu
ai!l bring spectacles LOto the household ubscnbers cao ba\e the • ê! !h"
folies-Bergere, or .\lesridnr. wruch eyeT th~· please. projected OG a screen. r: pbo-
b-uaphers have time to take the pictuTes. 3I1

~ \1 eTe uneIpected prejudices and misunderstandin!3 about the Dl"'" appa!aI~

lt Reportage au cinémato" (, 'e",'Sreel Report. fig. 233 ;pecula!ed abom 00..- a illm
The Rather might have be~n shot "ithout the knOlloie&!l' of the unfurtunate
;:n The joke was in reference to the ~ piquant" mone- made b~ the p ber
r rnan'Û4(:1urer of naugbtv uFrench" postcards. EUI::ene Pirou· :rlter the
I!:alogr h . . J. la e The Pan-
. ap e "as IDstailed, Pirou began eIlublting Bain Ut pan.'>" ;:; ..... _
'Bath <ln d' ., or' d la n..;. JU!-t nen dooc l~
~ f'lprc\\(, th
Simi ar spic} attraction at the Cille e ~.u.'.
. th
.
..t.t ron<otule an mU-
<4 .S P underh mg usplcion that e cmema IDI>;" '.
Pnv:!(v' c l ' ho eo' . et-·\ coo-
. an th('rebv represent a potentJaI men ce to ~ - . al;
r~ (l<jpul' , . c· /(l~raph du mon.:-
~'l.1 L,'.
ri Jul' J Hn,arrl .•
IJrilDl p.llOr;nr~ ted ar no\(· b} Jl-an Joseph-Renaud. ÙJ tnt 1\JI - , .' The
I~ CharI' af!. J.nuarr t/ H: publ' • hl l' \ tl;' re' ebllon
al/tom. ''l'J' le S ('(m( t'm lhal film~ were c-ap.l e 0 pn
 !:I.\JOI1. -Le Reportage au cinémato," La Caricature, 234 Henn 'CJllémmioal""'"m'''
Ù RJrt Februar. 22 1 2
l'I'T.

ezmera even invaded the sanctum of the clentisf office, 10 the embarra:. ment of the
pillent. middJe-class wife, in Henri omm' "Cinématographomarue~ fil: 2J.j "Iam
"1> oontributed to this distrust . \'iewers could pla.ml~ ,ee their neimbors c:wmt
Lam>èn-l.c Dtjnmn de Bib; 1 !IS. from the Georg", Colomb Christophe œd in the local views that usually accompanied LUffilere prœram> :II
Thesecartoons pro\;cle a clue to the nature of the nrst film udience, for the rt'ader-
lhipofthese journals was by no means the illiterate laboring CID tbat bas beèn clairned
lxt'dfly film. On the contrary, the e periodica! were purch ed and read by the >.lIIIe
rtspectable middle classes who sat at the e'llensÎ\e c-.ué terraœ> on the boule\ard .
From Ils origins in France cinema was denned as an urban, middJe-clas, phenomenon,
CXlmpetin~ for the same market that constituted the reader hip of Le RIft, ÙI Carica-
ture and th
\Ith 0 "er great French humor magazines , f
~ ou~ re~pectable" classes may haw claimed to dl dain the cmema becau e 0 Il>
e\"4Td as~O(;' ti th . th th- an,thln!! more than
JiOc' la ons, ere is no reason to beheve at 1 \\as . th
:rlht'al piet cl b b f th humorul> ~, \\1
lit ghL _ Y-an thus an obviou target for the ar 0 e '. 1
1 'JOling' b - ppeal to prunen
""".~ amu~ements on the boulevard. there \\as an 0 \10U a . th
ln early fil cali d f; orite from hl \-ou ,
Ptr""••. p , m Art hlstorian Erwin Panof h re e a a\ 1 _
-v athé ~ Le B . "1 lber \\lth greal p ea>
am des dames de la cou dB!!:. 235 remen
 1 1 1. !k1.",1
W"'" • •
l "La Lanlern e magique améliorée ou cmématographe
!J>. Henri /Ive I0 .
235 l'alh(, Le Ila" dt
de la 1906. 'd"""
CO"r ca
,
•
Urt a French film "f ca 1900 "herein a seemingl} but not really well-rounded lad) li!
w.1l aH Sl't'mlO~h hut /lot reallv slender one were shown changing to bathing suits,","
PIroU S CUI/cher dl la marit'e IThe Bride s Bedtime), starring Louise Willy of the
Oh mp," musIc hall "as by far the mo\t famous such production-perhaps the first film
''<m."h Its populant\ \la, ;atirized b> Henri Avelot in "La Lanterne magique amé.
horé ou <1D('malo!(raph(," (IlOpro'ed "agit Lantern, or, Cinemalograph, fig, 236), The
male cro\ld bt-fore th" PIroU film is c1awing through the screen trying vainly 10 en 1er
th. 'oom \\,Ih the d,'moisE'lle, hut "hen LumIère s Une Charge de cuirassiers (Charge n; Louis Lumière: Une Charge de cuirassiers, 238 Cl'Orges Hatot. Couchtr cie ID "",né<.
01 tlle CUlra,slers fi~. 23ïl lIaslws on the 'creen everyone Aees in terror,'" Georges 1\96 Pathé ca 1906,
\Ifh made ,10 inutatlon called Le COI/cher de la mariée ou triste nI/il de noce !fi
1&<11, laler (,'-org lIatot mad" Iwo remakes for Pathé (fig. 238). One componenl of
the iUldlence \fI \\'llIch .udl films appealed has been recorded in "Les Merveiliel du
('In"lIIato!':fdpl,,· Till' \[ . 1 f i ' 1 1
\ d arw s () 1 Je Cmematograph , fig, 239), in whieh two JOu e·
Jr Il pt' are \I.tdur.. sltll a Il
~ no I('r "1 ln'd e ""nlm in a M utoscope-like peep s1JOW, TIl el,
are d',cendant of th" ddl ' ,
Il. '
11 flIPl'III' rn. ('l'')('h 0
011 ,'·dass flulleurs who patronized
"
similar
.
atlractlOnS.
ln
tl", U,)X ' . np ,lYS 10 the other, 'Cod, whal 1 wouldn't give to gel IlIto
Thes e docu 1
""'nt S Ill\\' thal Il . " , ,d' d bl
n.ollll'an (·.du ,1 It ""PllIa s appeal was demographically vant an. ,
\III l patrlllllll'd 1 l ' cl a\\Ioe
IOc1udes d rr,P<' 1 Il I} lI\\,"r classes, The audience in A,ciot s r
Id ' il II' 1J1Iddl"'ih hreUa,
a 5') "'r Il nann) a d Id ,S \l'OOlan, a bourgeois gentleman wilh an uni
pl""es [ h Il and ail adol . . • Ir)StIO~
or t "\lorldlv (·S('pnt. The l1loVJe par/ors aho we rI'
uP!>"r d:lls!'s 1fi 2 < • IlertJIW
g. 401 lt was \Irhalle, olten riVlut· tI

240. 1)",I"l, Clllrnlato~r.ph~.

F,'bnhlf\ S, 190
_44 . CH~PTER ~EI E'

ment, et'
rtamh no place for a prol InClai type Iike the tereotYpl~' \[
. . '... \1
d' \100 s 190ï dra\lin!!; fig ~41 1b1~ bumpkin \\'llli so 'hoc' db I(aUd PlU
'th
Pans lift> he "ltn,"Sed In a CInema that he boarded the ne\t train out.· e Il'\'n ~
ID . 1\1' 0tltu
-------- (, Il \ P Il 1 ( Il l ,,() Il l ' Il 1 \ Il 1., (

('Itenu•n t . tht' un" rpm.lll11ng 11111.11 ,'1 Id,'nt'" 11.1 Ik"'t'h 11\ the IlIm-
utt• •JI th" ,'\
fi:r .") I~' 1II1.·\t ....
l , f \1 \ •

"·l[ltur.. , bdt.. r th.Ul \locd, 11ll' ,trang" b,'aull. Jnd f,hnna-

2 11

pt'! g. -1Hl\ t•1lng o\ .. r the lkatl"r,-,l 1 i,ion I,a ... r n't'all .. d nOltall!kalh h)
Il'. Tilh. ( Je:e~
The darkened rooms In \1 hlth the,e film were prOJE'cted could not b ;Jtllf
11'(ln (lfthes" lin .Jean C '-lctt'3U and l'Ountl"" otlll'r, \1 ho 1 i'lt,'d th" nnk. .\ppropri-
'0 we reh on artlS!> of th ûlu trated pre s for our on" el'el\itne e photOI(taPh...,
~Il,10'- . Tilh. '~ drawing l' Idenhfiabll' .1' Lumll'r,' ('atalogue no LOI
.) L, _, _ .

. r i S s Ile\\·s r .~ --1 puchallli 1 ..ct .sho\l

, n ln
pre entatIom. In Januar. 1 IOr e\amp l', a gJant Screen \l'as installed at t 0 ~
,Il'h. the '" lJ ,(Sno\\ bail Fight),
dp Glare let' nnk 00 the ChampI-Eh éf!. " Le Cournl'" Français repo t d h~ PaIa"
l
Bo t(1 '/it' de Ill'I!!'. wlnl( 1l\ \ \'e lot 1'11 Le Rire reH' a1, th" ,tarthng .. \t"nt .
tn \llm'h, cinema
and foot starnpmg Iasted 1 ng e,,·r. mght " at the curiou!> LUllliè r e that 'b talo, er .
\Il'lth dr.l : 1 l'fe h, 1901 (fig, 243' Il ,ho\l' a I1Ighl \lenl' 10 tl\(' dl,lncl
phe "42 Re pected tnhc Francllque art'e~ elen mentioned it in Le 7:re Ine Illatol(la. cl 1 bau ll'vat ( 1 , . 1 h f •
emps: · d 111"1 et
h". cl 1 . . l'II(11t advertising and outdoor film proJet'hOns AI
electnc- , ('01 a, ml< n
[Ta s the CmematOl!l"J.ph] 10U on!} hale to walk to the Palais de CI 1
Ihunt nate • 'nns an dl
J)
t lUS. fra gmented their me!>sages 10 almmt Culmt fa,hlOn. 1. film
The
Ihe and L' ad l Oarkne, fall ID thl 13>t enclosure. The Cinem ;ee bell1et.n Ihel\lonnl(SI", dlertlsement lor r a painless dentistl has bt'l'Il "\l'cul"d III \Va" 1 ".11" tu
1ma~eest(an fi'
~_. hi h et and t he most 1aned Yie\\" succeed each oth a ograph. roll
","''0 Il \Olst \\ .\ a,
k nnl( appearance, Th 1's electrified, anuuated \ il'\I orthe mo< .
prn 1Cl t) not1
ahgercage 8\1)\ j!eofth Pr 'Identofthe Repubhc, acayalr. charge er a tralDe 'In \ulUl its Il' e . tl t . lematographs hrought to tht' ,trl't't, of Paril )111 a '0
tI e d)'namlsm la c u . . \ '.// ,
of T
ur Ali th .
e an d mO\ement hale a marlelous sharpness a d .
, a procession on" shows 1 , . of the cil\ 10 his monumental Cuhl,1 pamtmg La 1 (
,, Fernand Léger s V l e w . d 1 th
lt lS a 'eT) mter tinl! pectacle 4J n precision antiClpate , JO ular iIIustrators and authors regarde t le clllenl.l asl'
10 1916, Already, III 1901, ~ tI . ema was SI mhohc of twentll'lh-cenlul') hfl' "
,er, image of moderlllty, at le cm .
'1' 't l'n the caption for the dra\l~ng:
e,p ICI 1 Il
. . ' t' Advertisements, Electnc l",cnpllOn, \\lt 1 1 uml-
Cinematograplnc proJec tOns . \ el') modprn "n",mblp l'
oated letters light up (but not always) one h) one

241 JIt-nrl AH' 1j)t 1.• !'I Grand. Boul,'''''\' , tL Rln' June 29 t901

:?A2 \\ l,li} Au 1'.1.,

F,.bruary 6, 1~<jIj

241 d'AlL.. h p~
J ""ft. "" Le (11'~If1.tOgr.p c.
- ] 13 l~n
 _

--
(, (1 A l' Il 1 {. Il l' M Cl 1\ ____
A '" 1)~I~A~R~I~Y~(,~I~'~I~t~.~
, • 117
rH ~1\ l , --
-
... "Il • l " \ f' T--~~---------

lI\1II"'" hflll\ll ,1\1111 (Olll< ~lHII' ~

Il h,lt IIlt'n' h,l' het Il 11111..11 <l''''UII''1I1
. of thl' lJ1 flll"I1 I'" (11' t. '(lm tt"
. 01
" ,'1 'Ùl'II'~ th.lt tilt' H,m "f mIlUt'I1l'l \1.11 'll'tllilh t. • '" 1ongt'I in l1'''\Iii. (" Ul'Illa
l
t lHlm"tn" .\rll,t, trt''1 I1 l'nth l'lI.lled ln !1llwr t'n t.. rt 111 nllltlnh f ) 11 1(' oth •r dlt th", t·

.Uld
. l lur ''' 0I'
1)(1Iltilll,,1I mnl" atlOnl , Th"" tt'nel,' nl". t 0 1lOITO\\ \\ 4\(1 1.11'11 \lIh~l~{·t ",'t,u"
.
~l,lphil'
.
10 t le n"ll.ù III tilt' "lhoUl'lk ,tll,'
. ùunn"... tl le.' \ng-u(' urtl1 l •,,,hl,, ' . r0 1, (I\llIlll'III",
t .\t'Jtpr
1 ,1 fim tht tilt l~~(). III a IImil.lr ,plrit JI• C' II 1(" \ ··111 On .llt ' li Chal ."l nll 'h·npl.
~ o~
' " cl
'1""" "ll"tl ul lolt' nller.Jil,. t'Iolle danet'r \\h' tl I11ptl'd tn l ,1
' 1I11l1 int ,
ti~ ~441." Ul le ,t 19" 1 l
, L __ 1 J 1
arurt'i 'II \,Jllt ' ., Ig II I \\1' 1' " dlIUlecl '" lh •
l
\t fi"t th, ma.Il media \l''rt' mort' lIlflut'nœd l tl ' 'n tl,"
r"p",dutl
1 f dm pt'nlldll'al than 1"" thetr aPllaanl)' 111·IPPI,.lranCI'
• nce \1 lt'n '1 ,t Il of fi 1111 \ '1\ tl
• 1t>y,
P"IIt" 0 Da", l", fumt'u,," ,III tilt' mok C fi • C lia ) prOI I'I't"ù T 11er,
relemhle the .dlacent fTalllel of film t ' ong h ar, g 2-15) \1 ere prohabl, ' he t\\o
lI(1hl'~d chara~t
h l ' np' a, te,' had ' ln tend cl
,Co ml>, The art"t ha., that a • appeart'd 11\ arllcle, lik" th e to
, nce of a dl>hnl'I lrame hue lIl,tead tl bemtlc 01 LUl1l1è re stock \l ' 1e one
tom" Tl , le Image, lended t
le muh, t. for mllllll'kinl( thl, fil IIllt' o~et
' tr:tit III the cartoo n 1111,,1
1 ." t '" .b
1er att 1tilt' to p an d bot,'
h) lave ansell ITOIn r
246 . Jean Frinol. "Cn \1Jna\tt. mdllflul, J,.Q (onaJtun
SeplCmbcr l , 19<XI

the artist's desire to be tren d y, or even to a.\\ociate tilt' \lOlllan of moral; <Jut"tlOn.lhl~
in the smoker with the types that one might encounter m a l'mema \ ,tnp by J"an
Frinot (fig, 246) not only e liminated the frame hne nut Jdded <ln Art nord"r ~ OIIlNU
suggestive of sprocket hol es that enhance. the rewmblanl'I' tu film '10.1,,"
One need only leaf through the periodicals of 1896-1901 to he ,troll. b) Ihe dcfimt('
increase in the use of heavy black border> around comil' .tnp' .1\Id artOOJl\ Pt' rhap'
this decorative edging was sometimes IIltend~d
to Imph that tlll' ,tont·' \I!'rc taJ..mg
place on the movie screen , M Radiguet'; Pm au pil'~e"
1 TmPPI,d , fil( and 2~7)
O'Calop's "En D écouverte" (Dist",en'd, fil! 2~8,
holh hall' th" hbl'k (lutlinl' wilh
typically rounded corner, TIlt' framin!! of the full -Iength fil\un's \llth tlU' tups of thdr
heads touching the frame wUI also .1 characteristJc of maO\ 1"rl'ndl ohm shot "round
1900 in the so-t'all('d .. French loregro und " ,t,-Il' "
Only l'Ul'ely did uny art"t; atteJ1\pl to n' ndl'r IIIl' "'Il.Ji l'H,(,t ul \lw,'n mOH·nwllt
But two drawingl b} that ('xl nlOrdin'lfY ('JJlt'plnlt' A\l,lOi IlIu,tratt' ho" thl' l'Rt't't mi~ht
he al'lliev('d (fi~, 249) One hUJ1\orouSly Iri!:d to ,ho" h"II~, .~"I
,idt" .1 lO\\~s mi~ht
It
app,',u' fr(1 l' t " "r tl'III"II tlll' otlll'r IlilIstr.lll'd I.h l hillon 01 p",wng!''', .oh-
JONs 'lnd m a a . .
l ' 1 t ,t tha' InClnll'nl of IInp.ld
_1110,"'111" ,
dunnl(.1 Ir.lln ('r."h Both drawllll!.'
.. ~
look 1'0rw d l mec lUOlCt\ pal ~ u
. prt'ol't'IlIJ.ltanu, 01 tilt' ( .111"'11, .lud thl' Il.ù,.1ll 1...-ulunsts
'- , . •
. \\ ho
would (' 1 ar to t H.' ~("rtOU"
f I·glllf) in" 1Il01l0U III '1IIlI" of forl'l ,wù otlll'r ",pt'nllll'ut.ll
xp ort.~ Wi.ly'" 0 ...
. d 1"rol11 ('11rllll('llhoto~"lphv. .U1d hlm
,., - .
llIe;}n';:] d enVl)
 (, H \ " H 1 \ III \\"1\ l ' I l 1 I~I' (1

2ll' \tlJ~OU l.OUI' \brrou t\

II lU,.... Jun(' oZ; F"\"'i

\ ''''l'''''''~ "111,,1,,, .. .n11,t, " ho ,,,nlnh,,t«1 d••I\'me to th • prnc)(j,c:ll "vuld

lIt

lAtt' 1. ,>t'" 1."",.",· ,\\lt .1' ,'.11 hl(l,mt- hllt l'lIb"t 1 lOt, n JIUn .n haltz
.l\

~ 'I,l. ],"'\1"" \ ,Ihm. \I."~,,,I n"d,.,,"p u.nll' '1 n'll\l"" and ot""n ,.onalh
,II .1 th,' .',m ,,'.1. ,l' \\1 \\IIl' .1 ••1" IIII! ln (.n' lh,11 ,ho" 1 m r.tm3lI Imm mAIl
I\I'~ 1'" 1 .1,'hll ri\\' l'.Iph"" l\'.Ill, \\ ,lh .1 film h~, th". 1 \Il not d -<-_.-
IJ."\" \m'tht.'l ,thm Hl\!. t.l \l.u \..nu" tht.' lwn noU1W \\f \1
'\\!,t\\ U\. l

th<' ~II",.II 1\I1l1ll'''l'l' ni ,'II\l'III.lh,' ," 1.' .',, lill l'ub"t, \fi~ ~'i(I lb
.. l'-'ul(, .lf,t ,('t'lu.' Hl \\ Im. h .\ \\\\111ll\!-(.·1.\ .... t\ pt.' tnll.' ln ,dl a. \101 l
«.\tlt'Ut.lH rhl' d\'\\' ..." 'ppm\!.. p, ...'udll<hn)l\ophnh)\! pru l ,mal, ' l ' mO\ ment.
III tlw ".\\ III "ln"'l Ill<' \11.111 .......Itlu.ùh .'\\t' li" 1"'1Il"
1 n lh. n ht u ,t tlut
\I...,n'\l" .... " \\.\\ tt\ in~ hl 'U1\\t\.\tl' tilt.' "'\l.lI dll ·t \li à l.-'l,t 1 mun '
' ' .\1\ ,1' kh. h,ld '''l'''I'IIII''llt''l1 "Ith d,,,,' ,UI"!> ," .,[ m b "1 Il.....bn iL' tlu'
It.. 'U"I" Im'Il,1 \ 1.11 '1.,1 nudl.lllll' btt" "<,,,Id ne.1 l," .,hmt '11' .... d m<.>tl<lO
\tudn." intlu('1\\''\, ...t lu, l',\rh \H11l... \1l\.·llu,hm:.ln' \ud. D .\ 1 1:::
but tl", 1 li h,'III,1I d ••I" .Ill! " 1"" h,Il" th •• ",h, ,1 ,tat,,1 1., l''''''' ' "
bt- b.,t,
\\ '" 'h,...h m~ \.tnt'Ul.\h\.' nu,\' t lllt nt .md tn m\: h\ " lltht 'Ut III h .. torialh

n \ \\."lMn~t "lt ".\t .\'" ht~hH ~I\ \.\\rl\ltl1\1,t... lh.l tMh tilm
r.. ,\.1" '1 " 'h l ,1\,""1' Ih ,,\- IIlt IIt",'1t 1. ",."tlwr (', mil
'1 "'b,lIh,1 '\I\t'\Ih, \I t Il Il''' '"
th ,,",'11', \\,1' th, ,Ir<' l\\ h.ùl}()\\ \lm 1\
' It'h"1 ,.h,11 ,Il"ta loq'l l 'rhl b, F""Unillld
'1\ Il'1 '1'111.\\ II\U,thl\l"" fil! '1
Il "IIIII~ h' ,h,,,, th,.t th l'"' ,r'" .1 ... <11\\\1\>:
11\ 1\l\1\ \II /1,\1 "' n.. " cr, ... ,

lu'I.,t 7., .1\'lIIl,t".,1< \,,\ ,1>

'''\'' 1 ", th." "' \II "III,hlh. d'Il' 1 th.·
\l''''1 "'" 'h 1,'lIt "" Ih, ,1 ,,\1. '1 ,,1 t , " ...·\1 ," 1 tI\I' \ ruJ t h,
lU 111\ .1" "tt II< Il ., d III 1...,,1., III', "'1\ t ln L \ fi ' \
\ 1 1 Il \ UI Fn n."- h,ll l' 1 " P , , h, d ' \1\1""' n•.J (\1\
\l, " \1 ,1 Il '
II 1 \ 1 l ,_. -h \Ut hl 'Il l
\\ ,1 il1\",- \t l ' 1\..-'-'
t:!O • , /l'" l , li '1 \ 1_'_________
-- ___
__ (,II~I ' III( III "011 ~\IJ IIH 1.\_ (1", "A • !SI
l1u tin .1111 In,U()(11i
'1~1I of Ihlrr.lll\t1 '1'"l1l1h.ult'lty
hll'" \ t'I \\ .1' ., \llIIplt· ('(11'\ t'lit

/.,thtl"
,_ /
hllt1lt1,,~, r~lI"tlll'
.
'11111 ,t"I',III1"t ';,t'Ille,
,""11\,1/,
Il.llItl
I"'"t t' 1 11\ <.
1 1/'"
t
,>' ' \'
Il \\li' \It'ht" 1 1 -
\\ 10 ",t .""ptl'd tl
-- -
_ln 1\ l.IIHJ,IIt)\\,\IIIC"/lhlIItlH \oph,\tl('lt.d • l ,'pp 11(".ttlOIi
. 'lllc" \,• 111'1' III
('Illir Il.,, 1 1 10 tll<' (IiWIlI,l\\lt ,'" ft J,(,1II \ Il
) t'~t'I~ 1 HJ( h~ "-3
Io'n"" "'1111 Irtl\l/bl!'\ H'
,JI
(t'ph {'ullll';: f 1If' t"tllI~hh of tlu' dlill tl'ter,
('II( 1 ' . 1 . ,
1 ' . \\ 11ft dc>l!l'dt!
. • (' fU 1\ h(If '''''J'''''
, .('('.1 hia<
1 (1Illl" \1 ,th tll<' d"',lIn " 10.11",,"\Iéh(" 1'1",,,, tlw ("~('ntJ;,1 1h ,th, atnr.1
-)0
""C'II ~ f'l an ' IIIIw/l'ld~ d'H,blc- If'! n '/m' !I( ,
•
lIl;'
1 ,.:r.IJlluc \uJuth.lll\ to tht pn1hll'lll 0' lllHC"I'utlng,
r,{·s '. . 1. \l'\' II'1 1 lit'" 01 ,,,n,tlll('tlTlg
lI ,.1 ,Il \1 ,
t,
Il 1I1~ a tm,\ ~(,( hon
'
t nt frolll !Ill' n)J)\c'lIhun, dt.\t.Jnpt'd ln (","./",nt l
l, '
h'",1111 Il IJt ·(·tl\ Il l,,,,,, toi l" I, lc t III'IIt; Cohl, l,II<'I 'Ill "'r\lOIl /."" /,,}('otmrt'I 11'11 r ' l ' (\, )
!to llOt Jm \ I\lHlItIIlI~ tlHlII!!ht ht'l\lfIh' '1
Ih" "1',11 1 l ' l' , " () r (Xt / oor 't"l:h-
fI\
l ' >OlIlt-O·/\ , ' (c ' ,Ind olh(' 1" .1YI/le
Il'\\· J
' d,·1II't ,d nlot 1('3) ", ,,,,,cl,.
Il,,,IIt' tt'C InICI"e or "n III fat III!: tlll'(tlm"""1
1" Hm u fi '
t le ("()JnJ<:·\tnp
t It' pel' Il III dthl 1IJl 11I(-'n c'urtllll'- t" tl W Il 1'11'1'1 0/ h Il,11'1 l\tl\ c' \t .
1 III('t 1(' \lll 'J", ' 1"II \ '
iHJlleJll't'\'llIll~h
fi1 1"M'Wcl ,lInl IIIH.'I",tO",I!5I · l' 0, lt'r IhOIlHht
,- ' 1Illt·, \h!J\\ In~ p,lI u•1
cd 1 r~"11 ad,ll't,II',," "fl'IIIII" ( ."Ill', 'l't'C',I lIl th,' 1 f ' ""til\ tl"1
III th 1 uthtllpt to tUllI\f,')" ~nphlt'
41.' .111 • li Ot\tl('OIllÎ('\ln)
COmp"<iII\lllolahl'II;ù,tnl,'1 1,1 '1 ("n't'nt/on" dll't'('th t Il , ('allbt,~,,
l ""Utt ,',1(') (llll<'I' 1 l ' " 1 1t' ' ~In·
'lac. nt pJ('t, /, 109 (la< of (II' 'II III ta / tll /('/lI""'lIt t '''l'('t'Il , Il
1 () l 'l'() t'.lt!tl('~, \J \/ . '. \\0 'C'Pilr
,lI11'l"IIl, d ' 1 UI~ "UI
('\cn mort" le
romp 1\ dppllllllJ"D of th" , l'
tn Il,, nr't':ùlllj: IllOg fi): ''j'', ,t'I',lI 1111( "'"\('Ilt/O,Il III ' / '1 S(ll10 "tr'lIt,,, an
b\ dll1ru ' - - " , IU\\ .. d h,'11 ' "' . Ollll"rt,
n n p,,,,d Ulto tour ,/O"II,'r 1 l ' rllll(ml( in /"'" din" ' rt'\(,/"
'u 'pOInt' " Prt'Slllllilli( tlllt l ' (1"l1t 011""
, IL' "('ade" \\ouid

As filmmukers , at least m the case of the split ,creen, bolh \I~hè, and Cohl rcacted
illltlllclÎ\'ely ," comie-,trip artists wh en faced \\'Ith the nece"ll> of ,ho\l,nc \lmultane-
01" ,l('tions in separate 'paces, Es ential" the, d" idecl tlll' ,ln'en IIlto graph/C panel>
ratlter than ,,,inl( alternatllll( ,iew, or Porter, teehmque of repeatml: atQon oon
di'placecl bl /1Iont'\l(e , the ,plil->creen techniqlle cIid hnll,'r (ln tu ,ho\l , for "\ample
botlt "nd, of a pholle COI1\ eJs.t!ion in .11 al cl wm cltie/l Df( ~ (\1.1.\ 1Lind,'r) and H" DOl(,
1912) and m Phillip, Small(', ilnd Loi> \\'eher" SI/'I"'''''' \I\lll Th",,, IIJJTati\{· ,~,­
lt'Ill' opt'rated concurrt'nt" '\Ith the Gnffitillolll CrO\\l'lIthng ",tt'm ,,Juch wonld
"\('lItnalh pr"dol1lin'lt" I\t'itlll'r th,' dream b"lInnn nor tlll' ,pht p.me! hecame .I.,,,mi-
lùtet! illto tlll' c1a'Slt'al <,nWIll'I, 011 the contn1/), tht" "l/1,htuled ,mathroni,ht a1terna-
Il,,., that b"l"'"ll' oh,nldt' IlI'n other road, w,'rt' t,.k,·n ,
\1
In,llguahly tht' IllO,t 1Il1port.lIlt \l,,) /II ,,Juch tl1l' "Hllll' ,tnp mt,'r,.ded \lith the enrll
t'ilwma W.\''I hy \(.) 1'\ inJ.t .1' a ,ourn' of t'umlt.' chari.ltll'" ,toril>', and J!;ag) ln 1911 the
dUl'l'tor \ ,!'Ionn J,,,, .. t dh('I1""" tlll' prattll"'.
La ( anculurr
l11t' l(<,nl'r,11 It'ngth nI' fil"" III lS9 ' 1~99~,./\ ,ull ,.hout t\l l'nt) Illeter, One t'tlUld
Illakp hUmUH)II' ,n>lll" hut Ilot \ t'f\ Jung
/4•f' '1 \t Ul/fl( 10 J \tth" tUIH' th,' JUllrf\al (ltal .\vir h,.d ,Ih,nrlwd tlll' 'pmt nf \Iolltmartre grapllll
~urlllt'rl(' h'\f'Jdlri
"'ti,[s 1", ,1 dt""d,' EIl'n th .. ,\tI'pl~m,'"llt(l tlll' Cil BIII\ \1 t'l'" madl·tlll'Ontrihlltt'
Gr{CUle,rt' 0 aU
tlol"., 21 1~'J2 ,
 l, Il A"" 1 l "1 1 l, J' A " . A ft, y t 1 Llo! A •
The wordb dra" IDI!' 01 t~lnl~n . \ '']I('lte r\trI, 0 1"'" LU'II
etc <pawned romlc ne lor a long ome. '1.: ·~lIrnr·
~- - -
."rlCl' -t )' pH~' Il,1 ldt J" h,ud th
, hllt st . n;.rratl\' w"" nh.", ol,J.. ('ifni. trop
d, t ~ .. ('Itlrt~' 1. a (on l mlJtJIU LI~e
1 d
TIlli borro\'lng "iL' e\ ,denl /Tom thl' heg,nning of CIn"rnatol(raph ,,~ ,aPeC1,rded hH' J"of 1al"
1 0 , ," U
nl rw t, ·(:ut h·, "utury l't,pU aI ur 1 f n il Il If 1*
f
Jr (1fi
th - cou"'. ofh" "'(".ireh mlo nmel"enl h-('''ntu,> J u'('n ,lE' hl"r. t } C""r~r'l \." ,.od fr p" nd. lfO(·O nll' rJI(J S
J'- (on~,)IC 11I1U' Wa dl'- r)t'11JO ( .ta' f ilrn II~'
t Ikft ~ 'l'
ID .. ... Ur(. \\.
disco"r thJI the 1~95 Lumlere film L'.4rroseur arm.s': "a, n'la tl'd Il . ' "' If" h"
-'<1.
~ ,J daptJt,on
\ Ile 1 h tI,(· I· n n ,,,,. 1 .ly..y~ dllrl "s t,,, pol" ( ,,(~II " h Ap"
Rennann \bgelID aD h~ - ..... "b um Quantm .53 B ut S'ad Oul d,'d no t r("l''. P'qur" llt''''1Il , "JI'rY fil.' ,nX ,... Il'Il< r t"1 , p nif , l, ,,~, 25ï ,l tl" P"'V'OII d, (;JI), 'fi" wmlt ,d Ir".~
"hlch It wa.. alread, an old Joke b\ 1&9.5. a "l'
. thc, t."""
., t
1 stfiln d pfl ' lA 'th(' ( .. aurn)( n t pn/dul t"m J.'AIf,"" (j k lm.. "mg 'fi" ' m'I/: \rrn
il!"s,de. \oger. \<"Ion, ther" "al oDe b) ~ Sorel m th E' Chal \ "(JI r,
~s
Jethe pa.. poile/"2.58)'" an dPi,' () Il 'Tll/I!.1If.I"" .. hl( ];'11 " 'r' "lI1lnd... (,f Ihtlr IIngAn ID
.hle he 254 Two lears Iater what "'as certaml) Lumiere, d,,('(, tr"II1'PIr"d 'Ifiod.,.. h
J I e r..op. fig < as w,' Il a.S JO thl' muS!( hall
~c pres,
/i~ 21:/,) '/l" ,de;" of mull,plYUlI( !l" "
h,h.d ID Le P,'/II FrollÇal I11ulfr( 1t was ChristophE''s " Un Arros"u ~OIJT('(. l "'., P',!" the saU"
G.<rdener fig 255 The dûference. berneen the film and th" . trip app .. })l(:" ~". hl~
... r Pu
bul the. demonstrale once '!!aJn that the filmmaker had littl" use for tl (ar to" bf' f111'lOo
montaee!bat, som. mll~ht art:ue e.Il'ted In the original strop \\ 'hen Ch .If"t (fOr-
h f11dtl(
n
a "d05<'-up ID bis second panel ,t lS to hO\< the bor', conte mpla tion of th\ op t' ln 'eT1.l

he forons bis mlschlevou.s scheme. Lumiere ac:hle\'ed the sam " e nd b, h.. l' I<éne " hl 1.
'Un UlDt' enouzh to the camera to see his face fig. 256 1, The filmmake bo'~~L
d ~" . a\ ""!
r rrO\<ed tilt
 (.RAPHIC HI.MOIIA 0
[\E'

20>_ L.-\!:ent a le brcu len"

~,
Ga umont)!109

--

De.1a.- La ~I:lSqcclà7;lm
2f'jI)

- LIUustri \atimod

259, Polia magnétique, Gaumont. HIOb
ed numbers for romie effects. in both the :tnp' and the;e e3ffi -
~J,md...ork for the police g:ags that reeme~ed ~ l'ars lateT ,.,th Lïnder ......"".....0 Chap-
lm. md J;:eaton
,\lice Gu\' recalled from her da\ as a Gaumont diredor-, n:;ris
<\t tin lime, we could not ha\ l' cared les about author' n ,and ed <"en-
sherefOT ID piration. Peronall~ l "'as insprred b~.
-Grand Gui~ol plan for: L'A ile de nUII , Le Parolyt Lui \U T't1i:J/OIIIt'
tk~m'le stn ps b~ Guillaume
- for :\llWUn.'U.T Iran ,and a ~ nlm l'ft. '
Jx,..la~:e, tiLantes For thi Iast film ~I r. Gaumont demanded ...... ereh ,J

1'\\ about thi milieu. ) And La F( t'C rnchant

icoIar er pla ~ , faiI) tale and no\ els for ' Ut rr cl
-Theat

- ..-............-.. ,COll cirnce dl.' prêtre.55

rk ' ~... and Il """ pnIIlMÙ'
!S:" ~
LE.dïp.. J
--
Ap-b le ~ P1X-"
l
!lus"ere l' P
n ,n anol' C) apt word, , crann::: r narr"u h ,
j -

Bnt bear m
.... 25 1 !bat eed that filmmaken nHed the creat tllu tratt'<i pe[iodicab narr.ID\'e
d ~:tft' peaklng of rontent~l: _rdther thaD a tran'PO ~_, ('OIIIIC"
ton there "ere n\o Important pral:'lll U con ,derab . 1

Ineant one le\ wnter to he p,ud and the uru net"

 li T
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-
l ' 1i1U!, .ln: 'W\\ " "
1" Iht'.r li rn hllm • [, t'n III
r~. l '" ,<'fh ••UI,I ,'lh. r lOI ml ' \
~r""tr.t lU'Ilt''' tht'.r Olltl.UI Il,hn, " . d. fn.q • th u..~IIlIo~I""'!:c:~<-~
n t IIIl1t •• I., th t'ph, , ••Ù li, Il< ut
th~t L, hl 11111\' lt d

"url i \le\\

la .. tu ('\&1nn th "",t>
01 tl", ,t'.".I>.III\. \. t Il' 10-.
ll'IIb. th•• t \!nIU!, of .u-It. h. jOUrtl.ÙI'h ..111 1 1 lU '1\ nt- INI \>,
Iront l ' to 1 91 t'ohl, filn" ""UlTt'I:ted th, ln, ,h,,,, nt, pl.t.
lttftudt.1t'l:.uh tht'ir .lJlhl"'llI~",,'i, ..mt"'l'.ldt'nll~ m.unl, '1..1t " •
Cobhae,tht'he roob. \\t' rt'lllt'mllt' •. \\t'.t' put ,1"\\11111 .1", t 1 •
~ ~[.r,," 1...ldt'r\ uf tht' 1 th \t tht' H, ,I,,'p-Itht mt hu' d
, t>d \\lth. photo.::mplwd .•md l.U"l'..llln.....i "'1'''''' It.ltl\'" 00' ""''''-'1(''
!h." C'Ommou .lJll't'stor \\.u B,lUdt'!.ÜIl'. but ,It \, ,I\t th", '«
rmb\e the, mh"Ii'lll l''')P''1 ,,1' 'I,Ù!.lrllll . Ruuh.md, f "
\ .... n~ \ Dt'lJdt'nts 1 Tht' Inl'\,ht'rt'ub .Ih,,'r!>, \ th, .:rlll ,1
, 'ne "'nellJI propo",d III '.In in.:: Illl mU!.I' III tl""t' ,h, ,. l nt
• ,II il!'Jin,t th,'ir 't'riOU\lll'''. mlt"l\ l'r'Hl\l ,111.1 1Il01 hl,ht, l " , motll fi 1
. \h. lt n It thm,iCth s, ml",I,,1
rot ll·r~. \\t' tlt'('d tu 1.\Ul!h '. \\ ,l' 'l-lil IIUp
II10thfllut ri rt' .. \ BI
~ phrd>e. "II nous filut mllunr" l \\ l' "lImn,t dl\'\
'Ile dIl tInclion Il,,, IIlso
_Jth ~l'o!!r,lllhll'.11. \\.th tlll' ~,mhl,h,t,. '''l',m tl" t dlll.llIl
'"YU r. 1 l ,Il \ lh ,
• ,L neu l''rt'uh ,'ntn'nl'lll'd on th .. Rll!hl t 'ohl ,1lId ln, """I Itll"I' Il 1
JtN
"le llIh
:hWI 'ail'1 t~pifi,'d Ilw Hü~ht H.m\.. 'I.",IIII.llt" 'l'"I t • 'mlluu" , ."",
1 III.
'Iette . ~t t'Ill 1t'n. and L.nltn'l' l tll m"lltl\lllllll'
l'''hel ,.
1 ""1'1. 1Ilt. \I<.nt
,1< \1 Il,t,\ \.",,, '''' 1
~. r L.dtltt QU.trt"t "lId", l" th, 'lIIh"h,t< "dl"1.1111< 11Il \ (l 'h.1 .
\"" 1111 1 IlIl I.llk
IIrtllhh \1 ,1Il .lrnlt'.. , hIOI(I'\(lII"1 t .lImll, \1,1111 \.111""
1 111>,,\ th, Ill" ,
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110 110(, ,
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1" 1 "

l" \ t.tlt l'III J IIlIt.

\\, l' h_ ut tht' IIlhh.:'t" th,., \\1'"

tlH ,tl,'tI!-:" Ih"\
\lltl. l'.. t '1 li 1111.11.11'" 1." 1\"111.1 10.,\1·10, "III""P,II'" 1".110 ;::h:.! 1tWt.plult \Ie \,mdfl' 'Il lnt
Il, '1 Il'11' 1. \Ir, ,1.11 '"'111.1 h,'\I' '''t'I'' .1 Ih,. "'1111 101.,1_ .1l"'h.lthUl hll ll~'llr, III t ri
, ,h.. rl "hth hllt hl." ~ 10." ~!;.''"l101 Ii~ ~I 1 1 hl~' IlItlo 1\ Ill, h '''' .lIt' •• 1."'"'' t;lI111h.1I "'"ll ~ ,.hl, ,,"lll' ,tnl
"Il •• \, th lm'
,1. Il' Il' ,h~\\ ,tl.l h~II' •• ,'1.1\11' \1 hOl Il.11 1""
1.Inn11l~ 110., "1'\,"t .. I,. "" "'d,' th,. t"I' h.• l .tml IIlllb ....
t
Il 11"t l'" lb, 1" ,., mt"
l' l 'Itt 1 l' lit' \"lUplt'h'd th.HI lit bt').:1H' hl 1111 1\ ~
o.JI <1"", ~I ~) 01\ tl1\' ,,~ht " .t 1'''''<'\'1IIlIm .lI·h 10111 III ront ~ 1\1 m.ul
h ,)ull
't It uh d IlIhl tlt .. t t l'1'tHi, " III tht, l'h'lll'\III",
~'t Il ','tll" mtll "'"' ,.1' Ih"I\' hllt th,' 11111\'1 III.ld, .t ""1''''' Il l' Il '1 b
' t"
"II. 1 1011, ""H',... hll~ th" hui, .'111"" \1 III \ 11" •11\\"'I.utl"t,tIln,
, 1 Il 1,1111
Il Ih Il th. ,1.,,, Il ,,·1, ,,,,·,.1 Il Il 101,,11 11111
li l "''''"tllll~ .t' .t '1IId.· • •11111 '·.III'"'~ Ill' ".~ "
nl i t Il .tl 1 • 1 n Il , ,
Il,h~ \ 1 1hN 1 1,,"'
'" 1 Il t""'11 ,tl Ih. 10'1' 110 •• 1 ""~.111.
1 1 1 \\',UUI~.tI.U~, plllll,,·,1 h.ll 11\\\.11 ••1 •• fil Il'
111 U.I\' 1 .t .111'.' Inn 0Ii. ,II !:hl'
h"., '" 1 h "'l\( 1 1
th t't . \H lliB , IIl1lh , tut
"
1 lx , 1 1" III" th"
1't J.:.IU\ hl, 1t ' I I Il\ l , ,l>" """ k- 111111' '1\ \\ . ~'""\ th.lt .t l' II\·t .1 ,t.I>:, 1'.\\ l' n
1 th 1\1 h mt Il! Ih
III Il \kW 1tlh\\ h\ ,nd", .th .\ \1('\'p '~'.,\ Il h \ \ \ 'lU\III "t" lit .. l ut ,h J"
ml. 1 \\ 't \ ,,,,,d, It l '1I l l •t '1'" lit,h\
'lU br Il \\, h ,1 tut t t111'" Il le "\'11'" 1 ~h. ' t t," 1.tl, ,.II.>:•• h h, \\\.'. ,1 ... h. , "1hl tll' \lll'" " 1• \111 h\ \ ,t11
Qlt> t 111\ t 1h Ilh'\ h' .\thl ~\lh ,n.th 1\ "h l i"t t '1I'
..
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m
 1 (fI HEp [ T

.f; err",d, 11,( l.lhl ... arp nov.' ,-l

Ino 1 u"-..,,, The
rlJJut!n rmentH but, I",mdltb .. p<:r ed ~1l1S DO 100
''" ,ous ta 1 or, .. Il .. <L~ r
IIlI,chlr baLk .ota hl~ original "rm ..nd plum ,,·t UI 0 hi lad: 'liIllg fr~m lus
~J1nOP ,b3p<' })od\ rotates 11,O df'u"", r..' ....Jlne; filS .. ~,_ ·IIl-Ùlt.Lo,. d-h
Ir
L, ,pl
ns ' h ' s,,,d
, oblique" 1 he l i on l) a insd.. tr..,-L"'v-wmtn
L
IOrudJ y For ... ,,~
Il"' 'hen \'Ie\\ ..' 1<,11 un.. Ii" Q 'WU
""r " , "S'bendum, th .. man made of IIr.. l' Th "ib ad "l'Sa!) IS
.~ hehn
m ..... Ih' th 1box but t hey d 0 not re,tr..,n th .. <lov." H"DI 'ra.. tv.'0 1'ta\)'
... ta e . t PIIll< ur th.-
o(,dJt> on, d hat j'-l' ). One of the faillne; weie;bt has .L_ .~~ tne·m."
JOte . , =z", ln the t,_ L ~
pO
...th}uS WOlS h ~ nOW seen nSlOg slowly From the bottom ,~.l of - p ."'t of.
r-u2t' f: !otT H
uern: d exilS. but the clown quickl} produœs a fI hlO g pole iInd t<-D • do
~t To h',5 d,'sma,' , he sees• that the sv.ingine; coat has ruc an ~ his coat
oold.
l' th tn~angular hat. \\ hen the an~y sold,er pok", at L_ .".
t '" a . ' , "'111 .. th.-
'~ hl!h ts it with a candie. Flrst lt burns like a fuse th.. ", caus.-s >OId..-
r
",. rate (q'-r' , :\ext the clown sniffs a flower But ,t pum lOto zr
apo e and pops off his head s' -t'As hlS torso rol.ltes around hiw up
~-
beJ<l's captored b} a strange bottle:shaped man who bounœs. up and " dm.1l 10
as though il were a rubber bail ln the game of Diabolo a 1 bd, The
;':.rnan changes mto a champagne bottle on a cannon mount and !ires al the
d<Jo1l, whose head bas been restored, Then the botÙe "walks" tow:.rd the clm.1l and
III lum inside (x' -y'). The lines of the bottle metan1orpho;e!Dto 310 blossom. l
prtili open. leaving the clown standing on its stalk-\\ hieb toms out he no 2; -
bot the trunk of an elephant (z' -{:"). The whole elephant becomes mible Jm beb-e It
dJanges into a house . Ils legs become the wall and door.•15 ears the UpsUln...-ind!J,.
and il> eye the light by the door d"-g". The clown opens the daor and enlers lm·
mtdiately a policeman rounds the corner and locks him inside The cIo'II'O Ie~
throui!h the upstairs windo\\' to escape but faIls to the ground breakm_1u, eMl ooœ
!pin r-i"l,
Thecloun ~srepaired (lB 5econds The litùe figure lie Immobûe ra oc! before
's hands retum with a paste pot to glue him back tOl:ether \rter a fe,. tent.ll\e
,D,emenl5, the clown ducks out of sight. then retom ~1ll a)li:: and \'2Ihe il>
prepared for a \'oyae;e. He drinks from the jUg untillu< bod, mlIate; Iil't' a
~kin Or a balloo n ; then he floats away, coming to re t on the bac oia hobb,ho~
n: g
and salutinl!; the audience. off he rides {q"l,
short film fullms the promise of the title~ lb imac:" are as 8t't'tIDl: and e,"me;'
"thouas those 0f a d ream. den:inl!; attempts at ration ali z.atIon
. ......
.lIe"
ucertd one another.
t IOgit'31 COnnection .~ a manner remlOi cent of the arb.trAf\ techOlque of Jobet s
~bere'''t no' 1 1 f urreali;t autOlnatJC
. \e or, ooking toward the future. 10 ant'ClpatIon 0 C 11\
e\ erth 1 h s and motili rue
e eS5, there are identifiable recumnc: t eme th man
torture d d th an tonnent e
the omlnate most of the action . The clown an e \\ om t"dh
Ilto\ ie . d h
,an t c man 10 tum et tlll' \\oman
afi The cl \\11 l' re~.1
re
 1\(Ollf
RE!\~ (

l ·~,"'t's-the JJl·k-m-the-bm. the bottle-HO\\l'r "1" birdhke en-atnn' 11.t' .. fketl\ 1 E LI A •

fm,d to ,10 al 'r- ' and th ,nP"" ' . "OP's of th,
COD n>ranOl cl a>ped to thl' oppressil ene~, of the autl . • .I qU" cOI ,ho,:k' Jill<' of th" JU\tap'JSlt'oll_a d,.I,l S lhth"nlan 1111'
hou,e. Then' " a '-' . . HInt, li epil"iI .,(/. t 1" .
" "Il' (t,,,n C crs Incoherl'nt wlleaguf" as ,,,,11 as l "
''''rat .. lv d
I$)"nl"\". tr..,
2<:ry
. d the ""lil't'man and menaCIIl!! repre,entatiles of l'Ont . ~ure, .
",ldIen 0111 •.. d th \, . h 1· Th elllPora th. "",I,""le' d b' ,0 11 b » ...autrf"
ha nee encount"r l·tweell ail ulObr.. lli cl lIlont ln hi, Camo
O!!)
D h"la l'laI er an e. IC e ID man ,. e treatrne " Po
culture 1th l' Id . . l' -'1 . nt of the . PUL., ",,' {Ihe c . . an a "'" us
o!!yni,tIc ,ml't' her l'mho ICa< ' . cru,tratID~ pun .. h m '<DllIa ,,~o~ 0 bl When thls ,mager}" Hower..d ln Coh!'. fil ng lIl"dun. On
1
p.rrtICU1.U" 1 ml> ' ..... h h ent bei n~ .... ta e· . m Il IlOkod 1 •
.. c(}ln~>r;,an to her cmne w lC \l'as on" that of. . ng Set afi 1 ",..tlil~ r n!·"tic. and to the, lSIonan' art that f'.t~ d dl. t lem to th
i.S flC..'e~ .. I\ e ID r-' - \\ eann tf: "" {the.a. - . d' .. 1""0 d •
blocked the \ 11'\\ of the male. But the cru~lh is mOre apt to be seen as \\him~a hat t!~ ,dltiao 0 ~el Go,a. Grand, ille Redon. and \1on...\] • n th"'Il<"her.nts
U 1 Bte U" , .
thao fnghtemn~ The clown. lIke sa man~ cartoon characters later can b d ",".1 "'th., "iJ<"C 1. d oarçon de café (cat. 53 ) was another film ~ 1 1
e ,- gr" " , ~Jp 'l1t \ mad
. a mmute \\ith no hannful effects AIl of these aspects-the '11 . ecapItat ... /1 SOil . fal1, asleep in a quiet café fig. 266 The mu ' .. In a dr"""
tll1C1' 10 . 1 o~'ca1 ." \ "JI ter . . . l1I1urs of the c t
. • of crueltl and releDge. elocations of daustrophobia and pa . narrat". ,,d,... cl' to his dream ru, gyp5}' 1"10"111515. whose soothmast '" Olllers are
Ima..,es . " _ _ ranola. th ' late ,11 ~ ratn cause hint
Raatin!! 10 an undefined spatIal l"Old. pamless \1olence--substantiat th e art of é ' h' chair. The re,erie ends, howe'er when Cohl 5 band
ill to 11'11-
. . e e anal ~u ~~~
dreams. Furthermore, the film tea ds ta IIlcorporate hybnd monsters (a' Dg)" to u' l the waiter Iike a sponge_ The tormented tharact th pttture
· f S In Stelnl . and ,queezes er t'n e JlE:11eDces ~.ltnt
F d
clra\\1n~ aboIe, demoastratin!! th e reu lan concept 0 condensation. en,
ne mOlie-house setting and the Iittle cartoon-\\ithin-a-cartoon also le d n de café (ca' 53\, 1910,
~
late on seIf-refereatial po'" bili··tIes 0 f th e scene. Do th e ITustrations a us to Sn-·
of th "'lu- du farça
. _ e man tn'
to "ateh the films reBeet the frustrations of the newer who is trying to CO h .lDg
mpre end th
dction~ În this ~trane;e mone ~ e
In Colù', De\t film. the one,ric content \\"as explicit. Le Cauchemar d ~
Il Jantache Il
O()\\ lost but a dra\\1ng after a scene ID the film seems to capture its spirit (fi 9
_'.Dother stick figure is interrogated hy a sphinxlike monster with a tiger's bd. g. "&lI.
O),amans
head.. the l'an of an ",s. and a cvclopean " eve in its lail - Such nightmar,'sh con fi ations of
be,ti.Ù image!) were common in Coh!'s Incoherent drawings of the 1880s. "Ab d
'ho" lb uses
metap rI" uotrans ola le pun on "~jelaphor •\buse" • fig . 265)
- ror e X'amp1e, is a
, lt
d
•

b
•
 ~nthon'LIeu
.\il.-e ,... ,00>
that ~ ail ,,ma
Ium b\l'J a
D' 0 al b h th m.. d
hottlt' Tbt' arçon e P":"'d, Il ,~ l"
4
-----
t l!l
- -_! ' ( () 1\ •

barrel P blm ID tb barrel but he e, ,thro h IIlIa l

Th nt ter u th. b
crape .. _ .. 1.. n ht' ,.~tne , ' t ne, f tran onnat Un
~~&~ %U
t2l Oth r DIOnn un ha, e n rt>"..dth apPat't'nt Illt lat 'u
1 ~ ~~~
d~tr1um ofahgh beamre' hm IDtht'l1l~ht \tonep'" nt t!., '" On t
as the p!dllrt' d he re"""t ,lI k hlm'elf 'ort of ma,.o<'h"t". out 1 l an 41llbs
become dastiC r- "Il ">.><1
ha, pro..en tbem' h te' to h" lIlU .... hkl' "r"n \ .,Pf>.
ce 1'he \\ , ".tull
nen d W1tam Th pra' th " tt'r" ho" akt', "l' on!. t c "Q tht
• o,,~~
orm wrtlll): hlm '\lth ,dtZt'r ln'tt'aù 01 thl' P '''1 tht
,1. ••• h.." ... fil
__ L
be tht' mt."cnanl Dl ","hi llna hon ti't'
1"Ot"", of
~Q.
ln , In~l't'1pt'
.zarI't'i1ru.get'y. of th" dreaul\lllfk, . 'OQ"
esrJagI',ol pan1,h \Joonli~ht fi~ ::!67 do not
rt"\ell)
much th d a halIu hon Th"lm fi tdl tilt' ,ton of th
,- mal.ldor
quarre! \\ ru, P'lfOlITl ur lu> kidnappm b, u R, in~ mac!lIn ... that ~
pcn 'l uotlD1;& Il 'ID th film d bl ub, "qut'Ilt tanta,.til ad, enlur th
eon e
thé' ohl mo tt'Cbmcalh ''t'tllnpli,hed. ,t" aho on ...
:ntxlberenl d efl" a do é'r look.
rom<'<h 10 the 'en,e that ,t Op"rat ... ~ on th
nd 011 dl lortlOD> oflOOt, ,u'pt'nSlon of cau, .. lill J. e\a\(l(.r.
dasrup110D of patlotl"mporall'Oll\ t'ntions. and une\pl'CtedjUI.
pradu et cOIme effect", Ho"e, er, th ... extent of ,ls m'\In~ ri
1~m.lllx ""urù"" t produ comM' 15 rernarkable 11w [('suit IS a chaotic- mélan~e
ltb r 'CT) fun", or as not at allleg,ble.
1th.. bl u ho" Ill!.: a .spuJlI,h cabaret" here P~dro, ~~rl
ht oUl red ln &am lanet' ~paJll,h penod l ,s (J.lIl~lIlg ra Th.
;:'~1IUS1 Ira the !Conograph) (lf aloll pallllln!(, ]Jopular ,lIu\·
u le hall-nO\\ bemg lO5(nJ...d lOto tille .'arl~ l'lIlerna Dunlle
port 10 th moon th, g, nr.. uddt'Ill)' ~llIft to "11',,(',' ndlllll and tilt
mlachmes of 1 rt R bld Jule \une ~lld" (, \\"' 11 ••U1d th"11 adaptut>
th d oth r Ir< On ù". Ill()()n tIlt' arrll aloI' st,II-""1I1I Il and
Pi..rrol~lraJl<f"rm th film tthl potntmtoaj..rll 'Ud""OIl' 1I1l1(J.ts,eper·
formed al a ~e tOfaln th corn ed, d, Il rt tIlt' Chatt-I,.t 'J Iwatt-, '" l',ms. 0' u"
M 1. film Ho.. h l ' u ault
er tee D''t'pt tht' mlSt'-eu- c. "", alld th" ga~ lIlut, la'
on tbe mooll iIll d'" f I t alld h~
li' rom Cohl earli r l r<'el as a l'(JUIl, tnp ur "
man, of III film un 1 d lu cnl"
Into CL •• ,-, to ln gr pIlle protut)Jlt th.il PH"" «
uuno"""ng ln thl p-~ 1palt.d Il
aCCuhJ' .-ura pen .. ncc \\1th 1111 Il,(lUll Il. UIIII!
S (Oml< trtp ln A d" "Iur f pu
Iisbed ln 1899 6 26& .. nlur merCI ab!' n 1110' d,hl th
lIIOIifaCth., g Tht' tnp "pproX! oIte tilt mlse.ell • '" of th, I1hn ail
assault on th.. mUon f.Ic
 1\(0111"1
T CI r~IA
l , the !l vJIl
ttl r" " .
g madllllt' IS an approPriait' In.t h
1 1 l" ' 'P orlor h
• ni
"cJI' f" lth ) (',110 11>)' an( t lat '" IOlOd "t,lkm 1 • ""'ng th.t h
ft<l" " el" , 1 g "al" 011 l_,
d,' III III '1 l'l'dro " ", t e Ilwn <lll th,· meMIO Lohl t I c '" '">al On tlu,•
1>/" \\,el! , a'~'''lllad
.' t tJIlC' t ,· ' orthe fécr;,' I!;ellrt·, Tbe muon " ..., part 1 l ''ant ~, (,f th"
,~t <' pOtel! I<LI , ' leu J.r ) IlIlh,<J
" IO"t"l'\ Ile assOC"ltion JIl thl' nmet,>enth ("'nllm wlth 1 h a\ i\tlbnK
n' f 't dou) 1 1 • )ot toro and
,''' 0 1 > f the fi/l dl' . ièc e t,1t' muon frecl''''ntls pl••d h Insam!)
"",n lU' :lrts 0 , l' t (, rol(. of
Le 1"'I'u" t'c life ct> in the 1886 cartoon "Fantaill" 1" ' COrn men-
J~!l1 Tl'''1 ero l ' Le natrt· hst'69 p ..J
,(on Il''' to the Illoon , aU aCKJ!l1( il as .1 tradltJemai ~ll 1 1 fI" ('\lro
~h , II' ,inger cl ' 1 l' Il l ' n M) Il rmale 'n
n,te" 1 · f 3 ,ioll'llI (an ' lll! )O Ica ) p lillhc as,ault wltl d ClIn·
IfJ ean!t 0 1 cu..tn (!Un p
IJllc~ hl' III d ,1oWS Pedro that hl' has wounded the mOOn, U~P\Ht'"" th d ,enot
\ . s.ln ~ l 'fi dl _ . '" t'or f·roftht.
~Ierene. 1 Pleiades (persolll e J ) \Vomen 111 star sUils' arme on co 1 l ..,
26&. lotO:\\'entuIT mcro\-able L,[/1u~trt \atlonal. \I a~ ï , 1899 , e, T le l ,1 l ' m. e"..n~e
nnlle" " d thro\\' Pedro to eart l , \\ lere le IS wek'Oml-d bd(k ln 1 L.
robnts, an h . 1 d 'u ."., He
,,10'" , 'ze':! lor
hlS )'ealous rage, avmg eame to, accept ficklene 'as n'.' -'''!
h d . ·~u(<U or
The pro~re"lOn f the narrab,e through these various changes in genre' 11'" 1,JI!! 'd ' amOrous frustration s ave ma l' hlm a lunahc Hi tempo~~
- . fi b - 15 resJlOnsl pe rO 5 . , ,_, m~llIt)
ble for much of the d"luncb,e humor of the lm ut. on a sen ous lel el, the r . , ,,,en d . tiall" and b\' come nllonal lcono!(raph\,
' , ," .... ' l " 1 P O~fl· di~Jte spa .. . .
\Ion a1sa e emphfie, the state af cmematic speClIlCh.' In ear 1 Il m. ln Clair de 1 l''" rthe moon , as represented m the film, IS Impo, iblefor tbe """'10 10
,spa~nnl, !heatrical, l!raphlc, and cmematic conventions are tried out, momen~~ ~~o
'h cl sinee it defies a reading From a single, ie\\'pomt. Pedro 1 u~ to he
r-'
Ulcnrporated !ht>n dl'carded . ha' ing sen ed their purpose of narratin " a COrn" cOmpre en , 1 h
" le epl. , on the surface of the moon , yet le can el' t e mnon' s raet> ln tli - " Then
I",ding
,ode ln tins particular e.ample the sources not speciflc to film are still strongh , Pl'dr 0 touches Pierrot with the sword, the .andro!() noul c1O\\n 1 rep~ b
marked, . .hen
anather re presentation of the moon as an actor 111 a crescent-\hapt><! co turne the
Clmr de lUlluspal!rlO1 de'pltt" its earl- date and its length ofless than half a reel, 15
d d.,,,cal hnear ~arrati't" struclured in three "acts": the protagonist's quarrel \\1th
lm 100er theirsepardtion, and e,entual reconciliation. The opening is a symmetrieally
CfJmposed >cene of dane'lIIg and domesbc balance that is disrupted by Pedro's ,udden
d,·partur.. \t the end of the film this balance IS restored: Pedro and his lo\'er reunite.
the dan"n!! œromes. This c10sure eXlsts formalh as weil: the sce ne is restored to the
IDlbal master hot t'OmpoSition as though nothi~g had happened in the inter\al; also.
Pedro s departure U!l'Iard ha, he"n canceled b\' his retum do\\'n\\'ard Indeed the
fpe tablishment'lfnarrdti,. SI mmetl') IS 50 abru;t and complete as to produœ a comic
elTee! ln It O"n ne:ht b) It suddenn!'"
Moœ ioterr tmg than tlu Implp romance is , of course, wha! happel" during Ùte
second ~egment "Iuch rn_y he re_d a, _ repnae'lment of the quarrel hut di,placed JOto
oUIlmagUlan realm TIle film prulid .. , a pow(>rful ,isual deviee for ,howing the audl'
eoct' tlJ;lt ÙI~ segment P~" ' ( ," , ' "out
IS "uro; ,anta,). thf' Image of a rnelaneholv person stann~
a wlOdow-a pre,a1'>nt tl . . . d ' Il'Ieral
, mo 1 III nlnPtel'nth-('entury art (hest illustrate 111 ,
p;untlOg, L, Gostale Caill 1 fil l,ton'
an, he' t IUltp It" an image perhaps hetter known to III 11
cau,,, It "as tra\e t d 1 d 1 hen the
pmtal( 't fil le ln t Il' oppnm\( sequence of vn Chien 011 a nll Il
oms - mmak"r Bunu 1 r nJnJt!ln~
lus Violent &Ct l' e tarp out tilt" window a! the moon belon COI a{
King an e\ eball Pd' ale ,'{JlIII"
",th femllllOJt ' " e ro $ allg"r with his girl is rN',lst as il III \.' t.lI'l luoasJl'·
Y on il t'O ml( lCal" -'b9 D'\'I'lJn\ , I.m ,,,1 D t-..·
~ml r!, 1
1 La cI"(I"/'I" ran Il ,
 'TER !IGHT
.. ~ fi" f
• L
~---------------------------~I~\~C~O~H~E~R~E~'~
gge,tml: the mn"n', unprt'dicto1blt' "1~'IJlInin ,"
chan~e of, 1131><' ,U , b , t Il1Ut~h"
, 'c()nh~mporane', th .. Cu I\t p.unter" nught ha, l' al) 11\ P
Cohl, J>,.,,,,an , l'tt'('I''t .rh.
1 .. ' ult m<,<lU" n'Ion llT otht'r \lewe" It
ollCtlah t' ,JIn ' . • M J".., '''l.,
ranù " 1 ('d th , ''<!II
a P "\ful "~
,L t g<: st s Pt'dro, bt'mg GllTlt'u a\\ a\. a d.1'a(/,I"II!e th' 'Pah .•
n
Junctio u.l 'u
"'ter mlght ha' ~ appl~udt'd. .
'1 ChI' u,e 01 the moon to l'Om el Pedro S amou r (ou h t"'
, " t at \nd ' "<1 d,~
rt' Bret"" -
Eml e 0 ,
u,t"~ th ru...
U "hout the Idft> runetet'nth centuri, e, peclalh
.un"Itent
\\ithin the 1 h 1\1th \I~J.
"II~
\
L - U e oflt, """XlatlOn \\ith in'.lI1e lo1ughter that the moon
1t wa~ lK'\--ü , .. _
nc.'O ere
\\ ~ ch
nt l'Unt l'lI
---
00....

, t of the Incoherents, wht'n. a., earh a.> 1 2, Cohl dre\\ hi; "L olen '" th
m",'" Unel pol ' ,
lllcoh~rents' Poht,,:a! Jnd Incoherent \Ioons. fig 3(1), It \\a; also natural for l~qU,\,t
deplct Jule U'I \ 'b a lunJtic, ,holm ln thTee stages o[hemg de\oured b ' Chéret ta
the co\eroftbe 1 6 e,hibltilln catalogue fig 270 1. The Ineuherent, e' ,) the Illocn On
' -'p Ored
,a ouret' of artl'bc msplrdbllll, and EmIle Cohl, throughout his care Illadn",
,~~~
n.ed ",th tht' them .. 01 tn-aruh and Ils relation to laughter. ThIS l'an b
, "
eo.q..
r , , e traced b
hi "",)C1;lbon ,.,th Cill, "ho,e publicabon, La Lu Ile ROusse ,\ 'l'
, . pn .,1 00 nl
a'k tu
L Eclj~ h.d lun:u- e\'ocation' III thelf btles On Its masthead La .\'Ol/telh. L and
lme repee.

~JSlhedd5 for La Sou velle

..... -- ... --
:1
(olt
--
- - ........... ---

~nted the moon in three successive personifications; liTSt as a recltnin~ f.maIe

Phoebe). emphasizing the traditional erotic implication of the image. then a:. "lester
iKJlerin~o\er the Pari ian skyline; and linall)' as an insane laughmg face, perhaps "gni.
~lllg the lunac) of the caricaturist's art in general ,fig, 2~I', or perhap, mahnc.
JpeCmc rererence to GUrs insanit)'. Cohrs rrequent remark in Iater hle!hat arumabon
l'IlII!d ine\itably lead to Charenton was simph an extensIon of !bis earlier chcbt< Te-
arding caricature, which, in the case of Gill, was de mon trably true

T f\\'ORlDOFTHE CHILD

The Incoherents often modeled their eiliibition entne> on the dra,nn2 \~It"-<)r oon·
!e--.or children, In part this gesture constituted a further rejechon 01 academlc qu.tl.
'1 and parti ' ., " th the art of chûdren,
, ) It \las a !(enume manifestatIOn of fascmation "1 10
~ iUld other "primiti\e" art fonn that had been de\elopmg smre mld-œotuf\
biIïtd the Itunoclastic aspect Lé\ \ had emphasized the feehn of ~b., Jl:tJOD 0:
b) th ese artist who "did' not kaO\l ho" to dr.l\\ " .\ \lurk hkt' Cohl'> ~-;,~, e
270 ] ul< Ch <'1 (",,·rlur ( 4~1 ~ trou . d r:' d ln Deput ,\..<Ut',
\t'(> ans la case d'un député" ,Page of Dr.l"ln > nmn d,l-e
rn:P(lSI/WII de art. mcoliiren/ , 1 ,,' lS ho l
-
'
tian antibureaucratic poLiticaltatement and slmp \ an
1 e\CIl><" to ID Il..
 H ,P T .', NIl', H T

,-.
_1_. "Page d E' d eSSm~
. troU\~ dam laœ
d'un député," Ù'S Chambres Comtqarl
Januan 4, 1 "

IDJuvenilescnbblmg Em'l1 e l ' 10\ e 0 f c h'ûdish

Coll' . pasttmes carried in to Ùle twenbeth
ct'ntun \\'beD he f, und tha1 }OU th -onentt'
. d penodlcals
.. ,
\\ere \\11hng to pal for ,"ch
CODtri bu tians. Wht'D he beca 61 ak '
fee! mt' a mm ·t'r, Cohl ,a\\ hi' ne\\ proft's 1011 as the per'
opportUDltI la continu" c t , 'l" , .
\\'111 he 6csI beam rt"d IIlgJUI em la, \\ hen askt'd III one ofhis late mlef\lt''''
t' Inlert'sled in CJnt'ma, he gal e this rea'iOn:
Il wu lmp~ because 1\\ as ho . ~
out a ~ ofb . ma tnckster For more than si\t~ ~ ears J hale po
and e<--,-II r.un leasers, conIe t' rebuses, and puzzle, for the multitude oflarte
aIwavs.~~ mali magazm h
Interested .
, 1 art'
etat resen espace for Ùlings for \·oung,ter. , \\ 10
DeVertbeIess ' ln thl sort of th IIIg. lt '1 ,
trade Ùlal ma\' 'eelll hmlITl' 1lU1IdJlcb
, lU m\ OPinion IS . . h to l}al't'
Slartech'er) YOUDg 1be hab' "'1)
engamne:, But ta pr.ldict' Il. \ ou al e tl
lIOVeI and llDpubl'_L , • Il of œnstantl} rackmg ~ our poor hrain to find ,ome Jln,
as po 1hl e. make il almost 111<'( 1laJII c:U th ,\'3
U>UeQ. as qUlckh
 t 5.1 >, 19J.1

,,'11""'~"\t .
~ ~)o ...\ ......

-----~---.
---

• _..__ ......- a

273 "Les Allumettes an,mées." umdentified chppmg. 2ï4. Bainsin : "Fantaisie japon..,.," Ln Ch"",.,..
ca 1899.
Parmenne, November 1, 1885.

of notes appeanng on the kitten's whiskers (drawn in a childish style, fig. 275b) that
represent the sound of its meowing, and a scene of its being ground up in a sausage
grinder. But later in the film the metamorphosing images clearly are the visions of the
artis!. whom Snookums is driving mad. Snookums's head swells up to show the inten·
sit}' ofhi, cT);ng, and he drags the cat's!ail with an enormously long arm. Near the end
of Snookum 's l'isit, the raving artist looks into a cannon , out of which a white Iiquid
pours and CO'ers him . Then a threatening vision of a cigar (?) wearing a baby bonnet
hovers over his head. Although the meaning of these pictures in this most bizarre film
15 difficult ta fathom Cohl does seem to be making a comparison between the free·
ROWing imager}' of the chûd' s "normal" way of seeing the world and the mimetic aspu·a·
hons of the tradllio al '. , . nts insane
h · oDs n portraIt artlSt, for whom Snookums s viSIOn represe ,"
fjallu;;nali . Near the e~d the artist cries out, "Can it be 1 am sane, or is it ze dre;,t
~ 5c)· In fact, It IS nelther; it is the world of childish imagination, wl1lch thebleau
no 1onger understand H' . h final ta
whe h h . IS m~ensitil'ity seems to be confirmed in t e . ;>JIt
n es ows Snookumù . . .. d Il ze tIIne
terrible brat b 1Lk portraIt to hls artist cronies, explaining, An a . ponds.
aw e 7.at and .. C • nd reS
7.ey Want me to palOt ze picture. One ,ne
•
 _ _- - - - - - - - - - _ _1 .:..::...~~III l [

porlroll ",1 IS' 11;11

Hu rtnll 1 1>3 1~13 ..."Ior 11Il
_~ HI ",",' 'v' Jl"~

•
1k Pbilli,tine< Icl ha\ e no soul for ze art'" and the other
».:dlllIlS bao tht' l<bt Iaugh as his portrait mIl" and..-m al
r of the \\orld of children aho surface ID tm ::...... borrov.ed
poppel theater .\lon ieu,. Clou Il cht: le IJlputlrn
moUDtro b\ animated ta} . The !!UI~"ol puppet th 'eT ex''I'lftC1
f mBuenœ. Cohl" enthusiasm for the puppe undoubt,~

"web comclded \\ith the re\ i\ al of the art d Eœnœ:!d Oar1Cl,tt

mo..sintheTUllene ohll!re\\ uponh a e\\ eps
Fl!lbourg POl~ onmere, the mo. t popular puppet hou ID
dead.. the Guignol L} Tique and Petit Theatre rompe ed
b
and Hewelt at the Théâtre Robert-Houdin and 1
Otr featured a guignol hefore it \\<1;0 replaœd b\ th
~ readily as~imilated thl imager. ioto hl canca

~boftl ___ .1
'em uth as Le Tout Pcht Fau 1 n:-....
&oro the puppet tage to the mmiature anl;~"hn
o cl an and, r t 'Parodlt de Fau t" n pop1uJarpla\.L_
I"l:PertOI Eu:~r JII'~'. 0Il UJ<
1 (. I1mlarh, Hercul~ ud hl t " 1be ~ ...,'tt,
oug 1 . 'r' (ohl., Le, 001/: TrolOUJ: tfHcrcu/c CU~ClUl
 th tûhnc1osel,\' resemble the primlb\, e Ep,inal puppets that chIre 'Id
made for a th ' tDonth centun .1" The \esbgial puppet traits \ n e~t '-
. ets 10 e Olne....... .. _ vere al lrom
broadshe . tI ction \\ithm an omate proscemum areh sa lil,"
bv enclosJDg Je a ," ....e
ob\lou'. • fil ' present an especlall) lnteresting e"ample of
Th e "fàntoche m' re .. di " PUPPet d
, 'nalh t he word ''fan toche "as used . ta stingUlsh \\'ire-op erated a apta.
Mn hOnf!) .
d puppet.>. b0 th called marionn('tte, ln French. Around the turn 0 f thePUPPe~
from an r ta a crlPriai kind of puppet. An actor wou Id tie a s II oent~""
h rd came to reler·,,-- rna don
t e \\0 . k that "ben he poked his head through a hole in the stag tol1o
und rus nec . 50 . h e CUrtain 1
ara. .' the illusion of a d"arBike puppet \\1t a human head (fi 2- ' t le
audience"'" !(J\en g. (6) 0
sful of the,e acts was reeorded on ûlm by Pathé (fig. 2iï) 1 . ne
of tI,e most 'Ut"..., . ' n ord
. __ , th . t . bodies the actions m these plays necessarily required a bl k er to
con""'''' e JC ors kb k d ac back
!li 1 JD~'OnlOrated mto the blac
.
drop. a \lSU e etal .,.-
ac -groun .
and shallow Spa ce 0 f Cohl'.
films of the Snt three. Cil Drame che= [es fantoches IS the most gUignolesque i~
~., d narrdtiye conception. The plot. a melodramabc lo\'e triangle i h .
plCtoruu an '. ' s. )'Plcal
Punch md Judy fare ending \\1th the troupe s curtain cali.
Childreo> dra"inl! was responsible for stybstic elements of Coh!'s images, as weU
for the lconograph, . Once he aclmowledged that the "fantoche" films were originall~
('oncel\ed a.s a kind of ammated chûdish graffiti: LES PREMIERES
·ucl cl Cohl: Les Chefs-d'oeuvres de Bébé
I.DUJS FeUi a e an 279. Cul-de-lampe figures. Tout-Palll
1had an eight-vear-old child pose for my camera in front of a very white wall. Using _ 1910, wiIh René Abelard. 1880. '
"
charcoal. tlle Imdding arti,t drew for me a stick figure of the famous general [Napo.
leon ] with the da.slc triangular hat on its head. Then the young artist went awa)' ltsGhef-d'oeuvres de Bébé (Baby' s Masterpieces, cat. 75, fig. 278) began as an attempt
lea\1nglus \\ork on tbe wall. In an instant the charcoal character descended from the ~realize exactly this idea.
"ail and Jumped lOto the imaginar)' ",or/d ",here he met his rellows and, naturaUy, The graphie prototype of the animated stick figures had appeared thirty year> before
pala'ered scufBed, etc. etc. The animated cartoon was born. 17 ili, "fantoche" films in a cul-de-lampe sketch for Le Tout Paris (fig. 2ï91. Chances are
IiIltitwas also Cohl who drew an eight-panel picture story with little figures , fi~ 1&0:,
!lIed ïata," Its simple !inear background is a precedent for that of the future films.
The stick figures were more than a mark of children's style. At least as earl, as 1S-l5 .
•henJ-j Grandville pictured himself signing his name aboye one ofthese crude draw-
mgs. the childish graffiti-like image had been used as Ùle signifier of the cancatural
. .~ 0 ' • • 1) , t 0 Grand,iUe's,dra\\;ng
·""'ng. 281). Cohl pald homage. perhaps unconsclOU .'
n
IIle he reinterpreted it in a scene in one of the "Pieds Nickelés films. sigOlnglt agam
childish pseudonym "Tata" (fig. 282). But the most telling images are the ones
wbich he actually represented himself drawing the fi gures. 1n the,e pictures 16gs.
h '_
?MI he proudly displayed the scribble as the SlgJl . fI' rofession ln Dt er pIC
0 us P ' . fi 285 i
cantat . . d fr m normal socle t, . g . .
un~t~ were cast as bohemian types eparate 0 . th "fanto-
b . th·· ographv to e
<lm y re'pectable artists (fig. 61). By transfernng IS lcon <hl1mplied that
• \ 'and t . k fi s appear l Co
t~"·· 0 severa! others in which the soc gure. f th animator,
' ....Itional l' . . b me that 0 e
. Pathé, ca. l~' I..l a lenatIon of the caricaturist had no\\ eco .
2:77 Le Théâtre des fantoches patWetlS , '4OOrs Wt're d Iffieult
' . '
and for whorn appreclation w 'as noneustent.
 -r--

. _..... ---l
.::-- - _ flOU • ........ •

- --
---
. l 1
t\1
_...:1
282. Unidentifled fil,n ln 1 ,"
sene; 1le Pied, ~i<It~
:.---'---'::_:;'~::;-=.=?­
.....r--,.-.;:. __ .... ,
,---- - -

-_.. .... - ... -==

,...

--- --- -
",.

.... '
~·_ . . I ... ~-.-..
.. _ ..........I _ t - - .... ,....
""'=-
.:- .....
--,.. ...

- ... - ......... ... -

""'. 1
-"'
.
-
.'--.... ... ' - .... r.....-'! ... ......,.",._a
. . . . . _H . . . . . . . . . . . . . . . . . . . _ i •

-
-.~ .................. ,......"....
280 Tau" Emûe Cohl" Exph""IIOD dIfficIle," PolichllUllk, I.aR~jacti,on du Tam-Tam ," La Nouvelle Lune, 285. Untitled dra"mg, Le. Chumb"" COIIlIque•.
Mal JO, IW;" l8&! (detail). J.nuan 4, 188;

THf.C"E\IA or SATIRE

Throughout his thi rty years as a caricaturist, Cohl satirized his ta!'l(ets \\'ith a barraj!;e of
"lly and often grotesque imagery. lt i tllerefore not surprismg to find traces of the
C . url
284. Self-portrait, Les CllOrnb,.. OImq ~me lurn of mind in his films. Almost certainly the most relevant examples of the
October 12, 1886. odaplalion ofCohl's social commentary (satire de moeurs) to the cinema would be pro-
lld,dr f < h ~. tcd \\'eekly and
.1 any 0 them still existed by his short films made lor te , nnna /.
1·iT Eda' J ' IV" and The Po ICC-
11'- ournal. We can guess that titles like Tlle !lbtcay (cat. ~.. 1
"fllen (cat 129) b' d that Ce tlU Ils mangen
"'ho . commented on topical ew York su Jects, an FI' ofûns
al They E t d 1 t~ in Franl'e 1 m
]le a • cal. 175) reflected current war e\'f' opmen 1 docum en -
W~rt car analogous to 11
llttu r ryovers From Cohl' s "J' oumalistic" caricatures, ' . h "e\\ fig'
00 th d .. G . ty III te.' '
t\i; 215- e rougbt of 1881 and hi; "Gaités de l'actualtté ( ale. t deIllon trate
1). ln h" h ' r , ite subJects 0
lai . IS Dt er films we need discuss onl} h\O la\ or
InClI)' .
21H J..J Grandville Cr
Int in action.
000 C.nt Procerb., 1845,
 1\ ( (
l lI lkl
.\ T ( 1

2I!7 Le. G..el~. de 1""tual,le Llll.,tn Satumal, Oeœ mbe r 25, 1898.

2M. L'H6tel du silence (cal. S-9), 1901J.

1
r-

d liI!1<,oll<à loul (.ure

290 Albt·rt Rob, J 1. ,ltlltetriq"' l!tl
LI. \'III~'" ml Strrll
01 Gnode. Invention. Le Lt
. t r~vell·mélt'" L· II
1 ..tri Salianal, Fcbruar)" Il , 1900
 ------.2
-~I~
.\ . ~_
El (, H T lOltlRI T
(H,r TER
6 • -
~ IJ 01 t1U~ mlCfo l'on.. 'n. n\,
- - - - - ·th, r to lorm d (Iltout d\ltnmobùt' th.tt d '
.... \<', ,,,. Ill' toc'n tlll \ It'\\ 1Ilt: n,' nd "'"
,L .
,,,'lIl1n~
1 tt~ rl'pr< l!"1 t l 1". ~L . . . ., '..
' .. .... 'neplCt\Q'p
.... outll\1<' then to .. tO\ utn "lth
\ll'\\1n~
'l'Ir
'.,." 1< • "'" ur IIIsld
",-~~1tir.,,\1" Il'·n l ' th, Il h, <'\}1lo<l,·, \lt"r
l th" th rI
_r~
,d !Il .1 r .1\ \Ill! 11111.111(' ,rnd pol • the 01Ti • CR," _ 1 m
",lfIlre ,1ftlUlld t 1<'
"'~
... .~tont 1" r<'dlll't. ,
,Ile.1 tr.Ullt•( 11,.ctUrt' 01 .l IIllcroh.., "'cr th" head of the d
t;, he ,,,loi

;12' 1909

, r

2'i A D,~osa; or Ux,k,n~ for a BiiCiJlu,," Judy, \1arch Il , 1&96

 oh" h.ld weil a ()ng-~tandllll( JOkl' ~
' l,Iocr 0' <:ancat
,01 t le . n , t DrJn, r hJd attnhut,·d lanou ,~ "II Uru \. .,
,~ l ' hu"''' ~I", 1 ~ to tl ~
jbt J~ t l' C hl" , cOlle,'ptloll" 111II1&r It. "th 1 l 'f"t, '.'p<:< 1\
>, "93),·0 h <'UI( , t 'l <an h, e
,.JI J,rl (fi~1~ tra" d ·t anal "h umo" t at 1""11"".,, tholJgl,t tu 1 h Col"'ruu" t
1 n. t t t bod h
,~'fI'n~ t le J the graph.e .lrt, t 1<' mlcrol,.. th"rn"'h l to t r,,.,.
II d ""re ;,1"."
.J'rf'
ifI1'.c d"co ,enOle. n. nd " e re u,ua) raWTl ", !(rot,· 'l'JI httl,. Plltu"'d
. elll.lto!(raph~ enter.. t ... dO ntam "I (!ubl ~ - >i
"II" ar fr.l ' a d h "Hrea U'e fi >f ..
éI (t.ul
J,. Cl lob . (1kt.' cIO .e a"ar 'n. 1
"biO '" t tiOO Il' the popular pn·".I~ , ~eh
fi"" presen a 1
\ .h lb rI.' r . Joyeux .If icro 11!S suggest, that Col.! had a .... fi
",U. r 1 kat "", . fi ,- l' lpe''OI};(ht
lose 00 eo ftl e bacte riologl' t. At rst one mlght U JX."(\ J"an ( do lin
le rÙ e rol 1 h ...oman
roughtll1mlam .. asam~,
1 db nasth.
dfo • . "workwith Pat. lé a
ln . 'oneennto ---.1Ul.1nl'1J14t r:ra-
-,1 flis P' 1 '. fir t pre , eotatlOn ta the Academ ) of ~Clence did 1..
t~ we\er. US aft. . DO ;,.e- Pwœ
'r flabrl 909 , about six months
," . er Cohl s film.
nl()cIO e 1 kel)' that Cohl s cloctor "as a cant-ature 01 he publ h. 'ft ~
D
uch more " r
It"l1l . who had been a fa\'onte but! of the C'am:atun JO 1 !l9
. e 00\ en, cl 'cal h fil
Eugenh had. heen the first ta recor a surgt opera On On m' In 1 laepublished
.~tO e
Il I(iCrococcus n
éoforman.:! et les néoplasmes, illu,trated "1th phot. tùen ln an

MJ..C'I\,0BE . , •
 1\(OIIF,Rf\
T [' 1

_~ CI ment-\faunct' - Fe" la\lnen \\ould l'ver ha, 1

t n un"" e , 1 ' leard
a,mtan h' cl tor not b,...tlJne embroiled in a semational trial. \1 ,of th ll t
lIse hJd t e OC d dh aunc'e' re.
, ' t hacl gotten a htlle out of han ,an l' had heen peddl \ .Otr. .
neunal JO,bnc , , 0 d log th Pr•.
\ al "de,ho\\ CIOema.> Dr OHo'D sue and \\on in F i e S~t"
Jootage to (-am 1 . e lru ,en
_LI ubliCIZ<'d le\tImOJl\ rto'JU\enated Doyen 3> a sub]ect for
The hl'''') P . ' ,"
'
eancatu
a", 190.5,
. S m who plctllrt'd hlm .d\l>mg a patient that shI' has "a t ' rlsl, 'u 'h
J.I Henn Dm .. _ ernbl e (
om
e micrOCOCCtl> néoJon/Ulm fig, 295\. Although the foa mlcrol~
thl' troll hle ' , ' . , , mous d, -s,
'cl t fi d b\ nanJe III LeI Joyeux .\fIcrobn•. te" Panslans would h" OClo t 1\",
not 1 en 1 l' , " a, e fail cl ~
a carocaturr of Inm in Cohl \ gO.ltel'd hactenologls! e 10 lee
Othee 'tleuh'!> appeared III Cohl; film'. including the one in Un Chi .
lstracted SUrgeon cat, 40. th 1" .. 0 Id an d 1l'amI"d d octor" of G - ruglel!
_ d'Istralt
( TI Je D . . eneration
•• cat J6 \\ hOle ch,col "l') of the ,ecret of life was heralded b, 1 SPOn.
1and ' _ ~ a lU e
explo,ion and the burlesqued p"'choanalyst of Le Retapeur de cen:elles, g COll11t
~t the ;ame hme, a fe" film' 'eem to ha"e been intended as paea t '
ilS 0 SCie tfi
prO!!"''' One ofthese eqUl\oe;Ù films , En route, celebrated the trium h of nie
transportatton an d the 0 tI1er RI('U n. est'!nlpOSSI'bl' e a ['h omme (cat. 69) p"'as exmodem
"
-~ 1 b \ 1 ' l 'l 'r 'bl
mtendeu t ce e rate apo eon, JOrnl). rnpoSSl e 15 not French" (fig, 296 ' ' phcIth '
alIthor of Gau:nont , catalogue de, ~criptton, wondered, "What would [Nap 1 "J The,
, o=n~
toda, If he carne backand saw pas,mg m renew, not \'ast armies and soldiers, but ail the
unbehelahle procress accompli shed m less than a centurv?"!l4 Apparentl)' the
, , ' - progress
of >Clence \las s eVtilaratmg tllat even the pessimistic inRuence of the Illeo1lerents
('()llid not present Il fmm bemg taken at face , 'alue once in a while. Il must have seemed
." though Roblda's predicllons \lere coming true, ~luch later this attitude prevailed
"hen Cohl tumed to planmng hls Own didactic science projects,

!lIS HOIIn Somm 'Che

w...n 25, 19œ ,le docteur Du}en lA' Rire
296, Rien n ,esl impoOSl'ble a rho
mmt
:cat. 69), 1910.
 1~ (

:lg~l...:.
l \ l' 1 1 /1 1 1 l, Il 1
'..;..
1 _I
_-
-------- --- f
fJ Il • 11 •
T t 1
1 \( \
•
•
~
,2
1

•
'!.JI

,0 -<ë3r •
•l ; •

"
297 (' Llttl(· (hh ufff'rlnJ( fOr .
- :;.
~t:t'nl("nol 1
to a lav(·ncl(.r'\('lh.'r 1,1 lIe,"~I'1
t 11(' COte d"Anlr H r 11I!'n On

Z}9. ""JourfIU!)1 \1 Duputol\ n'allne p.l.'

l AI (.'/,ro"If/Uf l'llritk"'ll'
It1pt.'mtrt'\,
,.,,'mhN 14, IH'lf\

.,... ..... ~ ___.• ,...T ..

297 d 'Ch lnese tra"'J'ortmg ('Orn olllh.
Ycllow RJ vcr on a sunny ~UJnm('r dny"

2117 b "A
0ItiD1 ~U 'ep,esenlong a tardonal
orthe lied Sea~th tomatoe. by the hank.

297 e 1(,rI'('n 1devil play,ng b,lIiard' w,lh

3111
,
1 \ ......b wU
oh Il orcillr dt \.1 lA
""Ill"""
gr/'cn appll'5 wh,l .. drlnk,n$( """nllll' Ilnc'Ohtrfll t t:.llIbiliOII
on th,· lawn"
Eprl'\!,
('olldlJüllt.. .
/'II/, .. ,,~ Vn'"mal !'-"" 'nlx'( Il 1~ 1
 H
•

1 l ,,;,lI
Ullfre "'. ft ,...
"p."ue pour ~ r •
'\ litai'
1;&1 1ncohermts f:xhit" IOn

~ ArU mrohéren • [.1 U",,,U,"

Cohl or perhaps !.nuis Fpuillade must ha\e realized that tœ -

Jar aPI*a1 if it were tiN] in to this Iatest ism" Th~ pal tin~ m ~ e
-e:::-not e\ en satirical-to actua! :\eo-Impressionist "'000 eu:ept m _•
, tbat th,') h","e som .. thin~ to do ....ith (;'()Iors. Butwe must rememœr COOl,.
..! .....e of th,· aims and rnethod~ of the movement becau,., the ideas oftœ 00
• Tl and thoorÎlIs had heen aired in the pa~es of Les HOIIIm('! tl-~UJOUrrfhul
~)2 l"J g~lI(.ralll(Jr (~,d(l • JI;J,I, Incoh,.".nts tlotre dUring the editorship of Charl"s ~Ioriœ But the aeo.thetic5 oftbat ._
1,.t'"I/lh()fj
_tre ,,rlittl,· intprf:~t to Cohl hi' rea! mothe was to establi.sh a parodie Dttlatitm
"lJ ID elhibit h,s pla,ful pum and ,ma~e-wDrd jokes. The same attitude I..d pre-
ln hls "f_ssais d'Impressionnisme-SynthébslJTls'" Imp~ Expt:n-
n,,.,, 1 n" 'lu" t"," Il,.1 ( ,,1,111111 l.rI,·" Il,,. I",i""'r
Ids film t/J rl'p"''''nt an ln,,,
III
'-L.. t'I Synthesiz(·l, fi~, 30,'51. Like the film It is rnaiul~ the sb!!" more """"
fw.r nt arll l "h l'UIIIII1.g Iwtuf/ • 1 tYlv,·d 11" ~prn 1 01, III' w')rk l'.. u1L" Il,,, .. If.II' had
lICe' alld has littl .. relation 10 1mpre,sionbrn or mthetimm
j,".
l/IIIlattllllfy .. ntllll'd \ IIrall "pd'I'" 1" IIIr c1f.'·'n .. t d,. chiltfl lm' ri a\ ,·ugJ,.'· 5'.II",d·
1 l~jh Cohl rernad,. Ihis Caumont film under the title Le Tableaux fitturtst "ct
Glu Wlnduw lor" "),,,d M.,,' H,,,,,,, fis.:. '~(J.)). L ,/." m'm' ~p"('lfic'allr, Cohl'.I,.\k,
~ ""Is I(caL 11j1j) but the· ref"renc(' to the Inmherents was dropped~~~
""" w hOrrt/W..d Ir/J/JI D,.11"#11' br Oru"i'( '" ,,,. (/lf1rf,arÎ that ~h/Jw/'ll • yo"n~
ab
Inc"hl r,,,t dl playl 1IJ( 111 Il) d,. k (.l''~d'J t(, il dt·illt·, wlllito i1JJIHJUfJ('1I1g'
' t lJI' Il'tl." Polj,,· 'n the hlm was re)('as,.d , Although the film has disappeared. y,e lcnov. that It-n:;
f ,
repul.'nl( Il "'J(·turnal al!;" k' lig 'Jill) '41n..d I .. r1la1'Y'sual
. jokes becalls(' an unapprf'clab\e "" re\ le" er noted lin" he cled
!lfthe 1iI1,·s and Sllhtitl,.~ is nol undf'rSlood.'''JO \lan~ othf'r film' ~I~ha~rr
theTh n why dld ( 'ohl "t "ta ,
Il Il 1'1
'"' lA' 1'1'/,,1,1' Iru:"l!hl'T,11 Ik('a,"( , 1
. "" 1910,
":,b m ral Inoolll ri ni I,.d ''''''11 "o,u/ll, l<.I~ liJ/,~ott('n \;1'/J.IIf,pr(;~sJ/)ni;OI. "n , dClTlllflllrah_ Cohl\ loV!' of wordpla\. Hi 1"'0 ObJl'ct anllna!lOlb, _ MUSSU
re
\
otller hlilld altho,,.,h Il 1 II 1 1
.. the het-L ..
~( ~ ". s, in J9JO
,a,.u ,., lrulll Il,, · /111/,1", •~ fTIIIU] ~III(''' J'l').),
"»IDtual... (\1' " ' l '. D
~ . atnrnclII,al ~hoe~) 'olne ln ramI c 1<_
• 1 - la l'lancM a C
" 1a trOU\e cWll>'
JiI'! of Il. III) (11111,1 ' 1 Il ' . d ,,,I,,r tl,..oro M tn tl". Sh 0" Hal' kl \V('rf' in~plrf' d 1>} t lle 1'd!Ornatic e\prt'",on--II 1 hat a mm ,.., L_"
ofCeo S 'lU'lI OW, fllls.:, "J 1" paontll,gs.1I1 ( 1.
,.., ur.t aod hl! ~ Il t'Oll of m'X IQn lit . 1" 1 •
1 II' ~ found il ~ho{' that fit~ , mf'.mlll~
" "id,omaUClll \ t
.
r.
ml' clot: lt Jan·
" ' W' r Wtfl·III""1l ",,,Ii,,cl br Il,, 'lI'xt g"'lI'ra d~ 1
t(
.. 1
lIarota match, TIl!' ~ignifjcan('t' 0 f Olll' ,{t'ne 10 l " Dra
 JI Ile Il 1
.,u,tll
~ hf.~l
1"(JItI

(f'gioll' of ('0"\' IfJlJSrW5S Hf/tr.,

1 1 1 ~1 A • ih
l ,
11 h clar."
0 ' 1 u,l(" tll'U', 1", 1II«,I"''''nt lu,rror f
• "PI',,'" 1
') anl ratl'mal
.poll\ \ t t w \. .. f) 'f'rum n,. I>rf-ttn_
,JjJ6" L · "boli,t, ITI tl"·,, d,·,rlC.th,,,, of 1"'r'""1 h P' \.nll-<ll
,g Ihe .,~ 1 Il P Il,,,< h "m
' Il''''''~
.
nakuIJ( fdlllS , Il wa, nalllrdl for III ln If 'P \
~, , 1bep;an J Id 1 1 ) û')flhnljf. t( b
~j!I,rh'" Co h cl art. Th", th,.WClr. ill '" fi 10\ " """'r. Il u· 1'n~ht . ...'tm
t ".,.,. th.,t
, r()ductIOJl' of 1", ~onlt'Inporarlf_, hut tl
uJr
,,,,,JI
'0 the r . ra If'r Ih"y eno" 'n Panl
1" "(',.,' . . Il' alway' in flux and f(-,pondillg "IIIlInu. U 1 ill'e """"'tIO
1011 wrl·or unl\' r a) tr, t U· .. h f hnl
,n lnll " t f'
JoI' 101
",,1 '(. "n "
<:hara<:t/.'n~tk
cl ·ICl,1
1
animation
f
effc~h
.
'\'f'fI' th

Il rJ,."rJ ,. 1 . a"t'S coalt'seC' Jrie(ly rom mO\tnu hnt , Illf ",net..morph d

.
OllS le.
l' ·hic 1 un " . . . " , -n ettJml'Ose d
""" "1" . 1 anolher image. The Idea Obviou,l)' Was an .. t . an If,.
' . ,,·es 10 0 x "nSlon uf th. t h
nIhem,e 1h cl ulecl in his nineteenth-century transfOrmatIOn C(J "< •
h l Coh a . bl' h d b . mil UnIX "'-hich
""" t a l · sic formula esta IS 1.' y GrandVille E'tn ln Ih.. h.
•~- "d Ihe )a . b '" \(J'ap 1( "'OrU
bJlrt\l1 1· nship' between the Images efore and after the tr.--.t
.. 1re atlo . . . ow'0rmatton are
~loW(J "uess. How IS an elephant hke a photolifapher' The txpected
dlfficult ta " . l' h · met...
~r". . Ilil) that would rahona Ize t e Juxtaposition does nol emt Th
tOns !ri
·al relat . . . . . . Il iIIII _
pltJoc
lll ·as contpOU nded in the Clllema \Vhen Cohl dlsco,ered. "1th ob\1oul del,..!. "" t . .L ••
UliU
tu,.~",Orp
\1 hoses limited. to a few panels in the comic-strip format could he pro\racted
;deSnll el ) in Ihe moVlCS.

305. "E!t'iiU" d illlpr(>~!»lOnnIMnl'." Lr COUrntf

Frm'çai, Augu,19. 1885

loch J"penn,; lU J pUll Iltat HlIghl l"capt' Engltsh-speaking ,iewers. Before Ihe pro.
t 01\1 l " put 'n JJII h. l' mUIlI"nlaril) (·ndowd Imide a salad baskt't-an image Ihal
\1 l1ahze, . pallier a salad" th, lanJ!: t"lui, .llent of "padd) wagon ..
One of Luhrs fa\ nte JO~C5 lias 10 ",,(·rt a paste pot in a (!orner of one ofhis clrawmgs
cl fig S3 Colle'" .umo,t .. h"llIolll m Or' Cohl so the image 1\ his l isual signature
Th" dppeamn, of Ih" pasl,> pot al th,· nllalt' of Fanlasmal!,oril' should also be inler.
pretrd as Cohl' pUllnlOg Incoherenl signaturt' to tht' film

~ Bo, 'vu s l 11 fH r.

(ohl grap 1IIC "or" 1 1la dl illI.· in (lllnlllon wilh the nineteenth-centllf}. pOSI'1·JI L\t 'Iell
of realill• oIS fi III 1t', mt'USllral,' .lIld ordl'r1} I",tead ht' was more mtcrt'ste
. d 1.n exp reIS'
mg the lUUér rcal tv Ilh S l . 1 1 .maginatton
1 0 e }lnnOhsls, \Ihich \'".11 delmeated only J) 1 Je 1 1
Ont' 1 templed to a\ II 1 cl turn-of-t le-
lai le \\ould ha\ ('Iw/'n more ~}·mpathetic towar
ntun p Hh '" . , lIere 306 FantaNe, Lt ou
• r fT1l1' FrdlJ(ll"
oan \SIS l''an 1(J\\ard ph,>!(. Oflen lu; subjects, hi; fantJltI' .
cplemher L3. L085
 fRIIC,IiT
• CH\FT

L
fJOlorplI(l,I\ ,ecI",'nel" III 1... Ikllll" ",. de C/'rt{'fI",
1
,lr" lh{. , ()Il~(.\t
The Ine oml' 01 Cohl', 1110,t rt'm,ar~ab't' ,lnim,'hun l "Il,., Il
d Ihe\ l'Ont.m ' . {'dl, 1 ''''1
,Uf\I\e:- an . L a drdwim~ of a man \It'\\ed fro1Jl b('hilJd fi nl}lll~,
r ,ample, tm're " 1 !; 3( _ /"t
Il n I.lr e fd ,1Iing 1", hal lour hme, morder tu e'lahh,h al , ' ' J. C. hl
ted tht.· lc.:hnll 0 ( . r l~ thrlli . )
rt'Jl<'3,. h' peall'd imagt' of th" \loman cumbln!; 'talr, / 1 < r.Pet
. II unlt,t' t t rl' , ,. " , n -El(er 1.
~on mg.,. TI,en tI", man' outlml' bre"", up ",nd C'ontmuou'h r '8 allr,
Jt(1Jlllq'" ) ,. L ,1 1 r.,or",
nnlO the fullo\\ln!: ' tJ('l,1tO image, a Ro\\'erpot nom , \1 lie, a bIO"(l(n "
, , r o , , , , al ' Ih,.lr
l '1 fil!1tre "mergel, ,1 hor,e that the Ihck figure mount.1 and 'cl 11J~ oUI
of wh/ch a ,!Jt 1 h f, fi e"
.l.nother figure \\1 l 'tl a d"taehed Iwud. a e 0\111. a ouse, a ace lhat '\\'allo .
'Vs two a"'al,
~
fi gure, an " d h,'(J men ,ha!..;ng hand" , Illall
' f1
'tt
Th lS, il er Jn'dge"' tlw ,tarltng poml for one. 0 t le most surpnsing _
Iran r
slorrnah
all fi 30 'cf The head, of th" men beg1l1 to e'pand. \1 hile their 1" cl On,
of !!'.. 1 v- ' . an \ 'ne
\\1
'th h
t f'lf
bodi t"!'1
Th" head, bt'rome tho,e ofl)Jrds and contmue 10 fill t1,
e ~(;reen r~,
tI ~. ~~ the camera were zoomine: in on them, E'en when their outline, hav d" '"
, . e~
peared tI,e Zllom· ronltnue, The eve on wh,ch It 1 centered now grow;--exeept that
It !S nO 'on~er an "'" but a patr ofbellow, that \\111 become the starti ng pomt forthe nelt
transformalton
Ilnat \\a; lhe motl\a!Jon for these strings of continuous but unrelated images' Ile
must ulttmateh L'Onclude that theJr reason for being was the self-indulgent pleas
. ure
thel afforded the artist. combmed \I;th a lisuallzation ofhis mental actllity. The teeh.
niq~e is a graphie equilalent of"ter~ stream of collsciousness" Or "free asSOtiation."
One natural" thinb of Jatnes ]oyce's L'Ontemporaneous work and that of the lmagists
and l 'orbcis!> a h,t later The surprise experienced in obserYing these unexpeeted
)Ultapo"bons JS ",Jated to that experienced by plal'ers of tbe Surrealist game of the
Exqullite Corps" 31 \\ a strand of cinematic narrati,·e. the sequences do not "tell a
,ton· and their arder is apparent" arbitra" Of fàr greater IJnportance is the high
degree of formal complexil) presented by these moving Jines. As they Ruetuate he.
t\\'een r"pœsentational images and purel) nonobJective compositions these metamor.
phil' ,equences all tend ,trungh toward abstraction One often sen ,es that Cohl's main
goal \\a; to ereate mo'em"nt and change for their OIVn sake as visualizations of his
mental Images. E'en when ''''\l'ed dispassionately as objects, the frames of his films
pre,entintrigumg abstraet patterns fig, .308', Projected on tbe screen these same hne
define mo\ing plane, and haptie spatial relationsbips in an almost sculptural way
The tendener toward abstraction contributes to the ever-present sense ofambigUlty
bet\\'een readings of the sert'en space as a t\\'o-dimemlOnal plane and a.s a three·dimen-
SI.onal Illusiomstic 'pac.-, Cohl oft"n u,pd tlus ambiguity playfull)! to confuse Ù1t
\'Jewer, . as when the trompe- 1'·1 oel hole ÏI tom in the "background .. in rat) r. 1 1/110"0(1"
a, r-
or \\ hen drawTI ilTl' f b· , fi 3091 The
, a~es 0 0 j"cts or people change to the 'real" abJect. g, d
salTle thmg happel ·1 Chi' , ('ale an
l' 1 1; \1 len _a s hand l'nter, the plCture and destrays , by II>' , 1
Il J\J!)U, t Irte-dimensio ,l' , l ' . . t utl IJI t If
na It~ t le IIJU"OlllSlJC space of the dra\\;ngs or Cil 0
 ! \ CO l!fll!

100 •

'Jme frame \hXln~ ohd abject.> "ith two-dlmensional drawings further undermines
"mematI, Illuslonism-all effcct demanstrated b} tbe little bottles in Les Joyeux Mi.
crobes and 1... Soni:!edu i:!arçorJ dt' café· Cohl was dearl} not at all interested in recreat.
mg the perspt'(1i\-aI efTect, of tradltional graphie arts , as ~fcCa)' , Barré, Bray, and most
other ammator "ould dttempt. Hb manIpulations of cutouts ta achieve accu rate fore.
shortemng ID the Pied, 'I"kelés films and In the Rabier collaborations pro\'e that
(ohl was capdbl,- of producing urh effects ifhe sa desired. But instead he preferred to
rt-mlOd the \lt'wer that he ur she was "atching a mo\'ing drawing on a surface, \\,th an
artl t 1.0\ t'nng Just ofT camera.
11,e world of plastic amorphous reaht} in Cohl', films also extended ta all its inhabl'
tJnb. as exemphfied b} hl treatment of the human figure. The basis ofhis attitude was
d,-moll trated b} the Incoherellt "Portrait ~aranti ressemblant" (PortraIt, Resemblance
C;uarallteed fig. 310. Mimehc funchons of art, It implies should be reserved for the
portraIt photographer The fullcholl of the Incoherent artist bv contrast, was to distort
aud male ugl) 10 order to achw\'e a jarnng or e'en repulsi~e 'effect.
Tale. for example the tableaux in Ln Douze Trawur d'Hercule in which the hero s
hmb, t'onstantl} .\eparate frorn lus hod~ and drift awa, A comparison with an 18b6
drd"m~bv." Habertd ,
la~Oses Hl"rcules problem : he was suffering from
"TI Fffed>of
Je, f
Incoh~renl'e .fiu 311) Th . man\ 0
Co hl ',dra"inu ~'a!
.
d
t'exaggerated stretching of hmbs and organ> 111
b
. f
uJects 0
d . hl 'Olen e il; gag material for his films .32 Even the ta 00 SU ,
l!:ir'nh res<"
ecaPltahon and cao 'ba!' Th o>t outra >.m hl ant, "II
ll!·j lnco h crents
III Ilm "ere fTequE'ntl~ pJ(:tured with abandon. e 111
 1 1. ":;.
: :..,II_T_ _- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

.'-- Il , r 1 ~I_I_-
- --~----,

Or

12 li PI"'llf r (SI troiJCt' c.1t ro I 19) 0 3 13 He Po .... Jor li .. Port ra it (cat 1531. 1913
.IU BmcttoSCOPC\cat 47), 19 10

l'f(JJlln hoc rt',,,ontng Ihat tilt' limll and mntent of hi s films we re me re h deterillmed
1" h" ~,lrher \\urk. D,,'plit' tilt'''' conn,'chon" the re was little in Cohl 's nineteenth- athe,creen behind him and tums tbe crank. The re is a parade of conslilnlh dtan!:l ~
«'ntun rt-ah\,I\' ,tJh(~to prt'p,lre hint or his alldie nce for this e \ c lting, ne" kinetie ...' Ihal cuhnimdes in the transformation of the lette rs of the alphabet one h, ont' mto
,11I1Il'1I'''lII th,11 lit' ('n',IIt,cl lru", 190/) tu 1921 ~ h-,i\ chattering caricatures For the finale, the clo\\ll rl'rum, \\ith the hmet-
'pe under hi arm and mounts a ped estal O n both , Id..." agaimt the blac '-
( 1\1 1 IO~ Till \l1\TIHlOl \HT '
nd. huge grotesqu ... anllnate d f:u:es mate rialize and grimace al hlill
Doeean read th ... film as an allegol) The re i cI ... arh ,lU analo!!l bet\\eeD Ùlerlown
( ,hl dewlopt'd recurnng ntt't.'phnr, lur ('\pre"ing hlS attitude s toward the cinema hhl machine and Cohl with the c m ... matogr;tph Th ... , both mal., tbeir de\1œ..
illId lu, CIme, ptlnn 01 th fillIllII,lkl'r.1\ an arll,t , not jmt il> a technic ian or product'rof lCtton a.\ projectors of animate d caricatllr.llimagen There l' an mtere .. tIn~ pro-.:rt,.
ummodlltt', làrt most th .. , i""in\( d"III"" III lm films- rnicrost' Ipe' , X-ra, ma- l1li \t 6"t the image on th(' scree n -within-a-s reen are ,uPJlO,e-d to repre .. ent pro-
chult", IQ<llpnnt dPCOd,'r .1IId lIJ.tl(lC l::Ia,,(',-all Înscribe the\(ul' in Idt'ahzl'd \ i"OJl' rd fil ms. IInCe
' 1l11'\ stop mm ing" h e n the clown ,top'' tr.1I1k~n \\ Ith each ..~ )"''t'-
,hot the pOll1t of \ ie" ,hilh c1o,e r to the screen un hl we ntllllll~er adualh >et' Ùlt'
lrl "Pp,<r.lIUS",
Of th,',,, \\ondt'rlul ' .1
Ill\{ lan""" . t1lt' 11l0,t 'lIC':l" "fui "a, cp rtainh t ll" om' JI ,/i' ] orlt' ' 1 l ,
l, llrolector \n thl' climaclic scene the c 0 \\11 n1.1'" l
t d,'a( tb t the olflca-
Hlllllto CU/I< Icut I~) Il
, ',
"
IIU'UI\IIIt' ",t,. "'t'Il ln Cohl ~ dal an ob,ol"t,' "or or
d l' tht'
bd, et-lk l' r f ' 1 1 1 th ' billettIN"pt' at hl'
1'""t
ri 01 lOak lIIg porlraIt ' l " 1111"- , en on Ile 0 Ihell' ollon b ecau,e w H'n le Jl ,lt"" , b 1
• IIc.t Ill"', ,1\ Il,,,d lor "\Jlllpl", in :\'adar' J3l1lf'tln C(ll r .' . , ~.. ,:) 1 t? ~i!I't ... ' I\ eh o,ll t"
parolll 1.10'" Ihe hindi ," . l ,,,hil enl.l1n anlll1atl'd , Im-ger than hie 1 he\ e' {n lt"<.'\nll he clown
III tl 61 ' 1 u""p' "al ,UI àJlPropriatt' name for tilt' magic )()\ Ill" thHI ' ' dl ' g lOto e\l,tenl t
lreator BI sUlUmul1lllg th",,' im\\11.lt" lt \Il , h lu F.w-
1 m , (' 0\\ Il proll~ol 1 fi ~ , t IInlint
gr tUrt Il t 1 Il ' u, 1( ,,11 , lit, "'plaill' to thl" audi,'nn' III p JIl , ph,h e \ 1\ Il'1 ) l1\,' binetto'l'Opl'
' , l ' ,1 t l ha\ t'lltlne \\lt
"hat Hoh t'rtsll\1 t ' .Ulm l ,
..
1 le \\1 n) ~" on [ 1 IlldllllC
lt dCt' ,IJlJlt.U '",tud of dr,,,,,ng, Ill' ,UIlI' li' l ' 1l\lf\il1ft~ t',lllta\\11.lgoril\tl ill1.lg,', 0 f 1I0ne'"~ t ,, 1lt l>t'\IIc'
 demoJl>tratlOn of the prnces of self-figur-dho
"1 an e\ce Il en t n-.. ~L
TO.' Hm 1>. . ' a genre arter Cohl The clown ln the film m ''''t''<'tt
he 0 f mue.
I JDlmation,.,....,t>,
as .
of Cohr, career; am t and animator
a\ ""'.1 L li>.
\ .... ~
bo<Jnne the 1\10 oIS,,_ - h 1
as eru ", of h" other guIS.,;. t e c own appeared ln a d
l'l"rra!. or 10 one· 'h" ozc,n Or
-t" B h had entered Cohl, gr-ap .<,-art.•conograph\ long L r IllOre al
C hl\ film' ut e d d II" ""JOre h
o 'th' h trad.honaJ comme.a e arte attire Or in that f th "ell
tumed el er 10 1:0, tI ' frole 0 e lllod
cos. . d Chocolat. P,errot had frequen \ llcked among the 1 .'11
IOlms Faotit an P' d h ncoh.
c . ' __ 56' -\rb ts nmg;ng from \\ atteau to IC;15S0 u.se t e clown as r."
cf ng, ;)J, ,s . . d f th· an elllbl
\ 'aJ ti of the amst, ln her stu \ 0 IS .mage in the art f .",
of the soc. pos. on d "d 0 th. 1
Louisa E. Jones conclu de ; \lore.an more at a1ll e \ 1 <lie
nmet""n th cen tu n , . 'd~'" es. P,e
L.._
Clown lJt'Lame an .mage of the mart~Ted art.st. an., enUllcatlOn
, a 1 100..
50 \\;despre db trot.

that ,t, \l'as difficult for mdO'" ob en'en then ta .magme ' he . had e\ er be n anlthu,
e
. """
"l3'" Un and hi, follnwers ,t lIas the connotation of malllc e\ en ins ~
e lse JO, . bol' ane Illirth
thatmae d the clo\l1l appealme as a croup S\ m . ln Le Bmet/oscope the do '
.. , ~r . . Wllisth
e
gem", -, '
'mp ",,,.,,,0 who disdains senousne ln art. lue-and .cmema 'he is al 0 th e croa.
tor of"bmettoscopic" .maeer: the equl\ aient of anlUlated cartoons. Comblned. the-e
are abo the attribute of Cohl, picturing h,mself as the Incoherent artit of the cinema.
The theme of dramne' comine to Iife that Le Bmettoscope, Falltasmtl{!orie. and
man" other film, explore \\as perhaps mspired b~ the 6hnmaker's meditations On th.
nature of the animation proœss Durmg the phases of dra\\;ng. retracing, and photo~.
raphr, the arbst has onh an intuiti\e ,dea of ho\\' the final results of h,' labor will
appear But when the work is firushed and the 61m is projected, the sense of urprile
and gratification that result; fromeeiog the dra\\;ngs mOI e "b) tllemseh'es" could he
e'pres ed by the m,ih ofhanng endowed a work of art \\'ith an independent eXl tene.,
ThIS mytruc aspect is embodied in the literal meanmg of the French term for cartoons,
deHms animé. ul:gesting that lue has been breathed iota the dra\\ing , E\ entuaU,
this hlghh romantic conception of the artist-animator as paternal and the filmed re,ulll
as filial "ould become the central trope of ma t animation. Ta express it another \la'.
the narrati\ e archet)'pe .s a 'ariation on tilt' stor: of Pygmalion and Galatea. made
apphcable ta the cmema.
Les Beaux-A.Tt, mysterieur Icat. 63 i5 an el en better demonstr.ltion of Cohrs "'.
R. ive conreption of the cinema, The lirst se' en tablealL~ are tructured ,ùike, Charroal
cral'ons. a pamtbrush, \\ooden 'old.t'r>. pms and thread. cut flo\l'e", an ink pen. Jnd
a box of matches enter the frame and make p.ctures b\ dr,minl?;. ketching. or ôlITangln~
themseh es in formatJOn Then eaeh compositiou dis,oh e, lOto u still photo/trJph for a
st't'ond Or hlo , then bec:ume, a mOI lOg
'61 '
m,mage, 1urchlllg
. 'lOto motion
. nll1<'h as Lu,
mlère film, are said to ha". been oril.,'lnalh projected, ,
f:
The fOurth sequeul't' is a repn"eutahl one fig 3151. :\ spool of thread .Uld a plO'
CU.hlOn \made from a t 1 . 1. , tl!t'n ,tl< ~
th em ehes mto the 01 (,1I{'. mU\ e acro" J sh .... et of paper. The Plll' 1 th!t'ad
paper 10 ail appal'l'lIth r-andom pattern, But \l'I!t'u t le
 _

------------------------~I~\~{~O~H~r~
·1\1.\1 l
.~r~f~R~L~I~,.~I~I~r__----------------------------________
.,If~:" Jl iii", indll~try-a position that l, t 1 \ 1. \"
. ~treal .' a fO r \\:0 Id •
- - -- 1 1 d final tJhl~J\I ,hr~d, of anllnat"d p.lpier-m,kh . . ' 11111111 ' llized an'Jll a!ton, gl]('ltoi/ ed h" th u hec'Ollle
1 the el~ It • an .. Ure 1 t tl1 I1O '1o f' . ' e Ind",t Part of Il
n rd
h,.,k"J mo ,· ' _ ,
.
t'lO n slo"l) th~1 r~t,,",htute them,eh " , lO to the o· k p I(}to~ra h
la\ of- P <il
,1
,Ii'<
, .'u'
i"'" re pro".
",aJll' .md a\ art- ,u itabl" for ch"d
, ren but
1')' il,"-ho rt
'uh)e ' '
'.
,n l 'h ~ fan' , BI 110\\ \\ e ret'Ol!I1lle thl' Image a, Cohl" 1 a rlol\'n .l, Il [t',.tll d chosen to v' ('w ,ocJ(;t, fromlts Illaru not for adult " <t
an m'.tUt" dllL:; III _ tI bl ' h ~ a ter t' \\'Ith "u" hl ha " ...lns. His ad' '\,
•. ftl e Incoherent ,.rt"t , rel<'dlll~ le e,ta IS ed \\'orld of ~ ~o and th ,te Co 1 of cinema, anJlnatlOn was not ad, optum 01 th a
l..umar..' • . .unlrner 'al • ),,~. J brJl'c 1 h ' epart"re fOr h OIllO\t
tI ae,thehl' d~fiam~' -\~IIl , Jone, ' L'O mmeots On Rom . c, art r
CU1t'lml \\ 1 1 Jn _ an he POe and '" J,l"" ,f doing 1 m g> 'Ill. ,t "ilS h
Iicner.hzed to de,cnbe Cohl t, 'nay h. .,:;1" ~stiC IIJl o 110WS that anim ation is integral to nlm h' 1\
"",t, ,fColl l s . IstOf} land
"". l"d) a d [for separate analySJS, In addi tion t artlll,to!) ) d
L.
\,,1\<,
.11 <!JUte'que IIn.l!!~f) th" penod J eals ",ith failed id .. ahsm, es pe ' Il
ln •1!l1' done 0 • • 0 many 'pefi an
, 1be cOr k ound lhere ,s also a pe rlaSlVe, but inta 'bl l1 l debll to h,
"d \\ riter' confronted l\1th the po\\ er of finan ciers and ~. Cla y th,t baC gr h . l' n~ e n'!rI ~
ofal len at ._ . , .... vu, tesans \ 1
,III
h'-'u1'
1
1y of the Inco e rents m li S cinematic work 0 ,fman". 01 the
11\ ..
1Olbolized
'
the e,ce"e, of ruthle" matenal appebte, Thos e 1)0e t s \\"ho 1ho eas . ,,' d hilos oP1 . l~\lonall ' th
ttr.,ded h, p,errot> and c10wm art' tho'" ",ho celebrate the failure f, . are Illost Il'' P h' cinema makes certam passages as opaque as s' 1 l e In(:O.
0 ~lrt ln ~Jl ,'of 's . l ' lm IOh,t
"~"t baS's
.1 • _ _.
~,eh thelf 0\\11 !lob l,- f;uJure, elen ,tenh~', as a kind of inl'e t d modelll me reasons . Llke c anty, grace, and rationalit.,. . ,JlO<tl) and
.. l.... . _ _ r e suce r of the sa . . at'te'\1bilih' "'"
henllc Olartndom. who Jtta('~ ,0<:lell 1 extral agant frl\Olill as J' ust a ' eS. and ,••m' 'dered a Viftue. . 'not
" " . . ga~ mask hid II' cons' . 1 .. f
nothJn~e.' emphne" a spmtual 101d. In thlS ,conograph, the cl 0 \\11 'S smile I n~ ""JI1, 900 Adolphe Bnsson, t le cnbc 0 caricature po t 1 d
. . • ~in l ' . ' s uat. fourl. d
betoken not 101 , or el en the enforœd gille~ of a Roman bc melanchol m , Illay Iln OJl tl aricaturist prope r, the parodlst, the satirist and th f n '01
sI! ,e l ' I I 1 1 ' e antasist 16 Cohl
but th~ mmdl 'S leer of tupidill' and appetite, "la bê tise"- real Or foe' l derl') man. on' 'gled happily wit l t le atter c asSe The fantasist "ob '
Igne -\\; th all Whale mJll . . el s no uther rules
if> umma! connotations " , caprice. He mvents , he combmes, he suggests 3C Th th
,Jes hls aIVn .. 1 ese are e sam.
1 r I.hich Cohl \VlII be nght y remembered in both cmema and h
ln tI", film. œrtilJDl) ODe ofCoH, most personal ilJ)d hermetic we actualll' b .,butes lor ' . . ~ap "art.
,. ' 0 serve the , b Coh!'s aesthetIc roots grew from tlle mneteenth centun th _L
unralehM of the c10wD ,m...,k to relea! the l'acuum inside. In his art we see th e 1Oye ~thOUg , ere " """ •
quality about his films that must not be ol'erlooked. His re)ecti of
of the grotr'que and lu, fear of and attracbon to madness as a radical alternat' lefI ID odern
e
. on \eri·
, . M~~
""nne ",mene>s of mlddle-<'Ias. French ;oclet~ . And iD his public viliRcation of the film ,.'Jitude, of which the cmema was so spectacularly capable, in fa' or of imagin",,,
IDd",tn we do seose sorne measure of sabsfuction deril'ed from contem 1 ti ."s sketched lvith semi-abstract patterns of moving üght anticipated the mtere,lI
" p a ng h'IS
career as that of the berDlc martn. the ahenated artiste For Cohl the mask of the clown :im'thods of his neighbors in Montmartre and Puteaux, the CUb,SIs, Thel too.
'-IlIIte naturalh 'en ed as the 1!Suai ,i!(T1ature of the artist-animator .re moliegoers who would have appreciated the kinetic plastic universe th.t Cohl
<!lied \I;th ink, scissors, and motion-picture camera. Once, around 1912 PIl'3s,a
TIIE leltmotif oflhi, ,tudy of th~ hfe and work of Emile Cohl has been the emphasis on .edh told Daniel-Henry Kahnweiler that he had \\'ondered about the posSlblhtie'
th .. mterkxtuall!} ofblS work. BI necesslt)', pluralist methods have been utilized in ils I!lmg a cinematographic method for representing movement and actual" ackno"'-
anah 1 The work was ther.. long before the anal)'sis , and it is m) hope tllat Cohrs ,:od the animated cartoon as the source of his inspiration 3.\ If Kahnweûer's memo"
Delllre remilln III the forezround nol\' that we ha'e finished scrutinizing il. arrectin placing this conversation before \Vorld \\'ar \, then Picas 0 was 10 plfed b,
Throughout h" career III tlelcmema. ' wh'ICh was qUlte long by early standards- -ofCohl's films, probably viewed at a favorite haunt of the arti>t and his friend ,uch
lon~er thall \feLès s alm os t as 1ong as Griffith·
backgro s-Em"e Cohl never lost toueh \VIth ' h'" thrpœt \\ax Jacob), the Gaumont Palace at the Place Clich, \\ e ~110\\ that Pit'3>~ s
und III the popuJar !(rapine art, He picked up its threads whenever he recycled ! \poUinaire' s friend Léopold SuI'Vage was already at work on hi, monumental J1(Jn·
!(al( fro m hl 0\\11 oom ic siri
' ps Or horro".. . d'Jokes from his former colleagues, There \l'as
'ctÎ', animated cartoon, Le Rhythme coloré, on the ele of the \\M
al sot hecooceptionofanart' k"
ttit d th Ist \\or 'mg mdependentlr with the materials available-an Vrta,n images in Coh!', films anticipate Cubist motifs . In Le Binrt!,l\(OP' · ta men·
• uh e at frequentl_ cl ·h d \\1t.1 th e mdustrial aspIrations of cinema prod ucer>· one tl . , ' that Cohl orien
The ' rase
ISton of Cohl, \\'ork . 1 t . .ere IS a drawing of the moon with the insane ph) \1ognoml th t
anoth b' h IS not t le story of one art form gradually el'ol,ing In a e
'II fig 316). A rift spreads clown the face From the top, di\iding ,t ",to an .mJhg a
er ut rat er the ac f h b tl "ad a, l ' " file tll'e\ "1t nOIe,
InstitUfJO f ' :count 0 t e rnstitlltion of Ùle atelier being supplanted y Je
n 0 ClIlema-as-as bl ,,_ for n )Jguously as either a single frontal face or as 1\\0 pro fr t·' and
Ml'ht'S It \\~< . 1 ed sem l-lUte. Pragmatically, for Cohl (as it had bp,en •dtogttl 1 h t lrelent on'"
~ mlSp ac IàJth h ' e that ~ 1er t is not unlike Picasso', "double" portrait> t a rel
rendered lus po " . In t e plOrntSe of film as an artisanal enterpm
ltion Impractica! ' h . al
~I t e same time it placed him in a margJn pOSI
lion ,i'''lfg('
1\ I.WS simultaneously . 39 l 'ntlll~, or ","
f . dl ' Cu mt r,1I
IJng too ar to suggest that Cohl \las imptrt' 1)
 • ----- ----~
----- -- - ---:.~
•

116 U. B~ !2t 4; 1910

erg. &! ri 15 flt"'t:clit:' dear he "'li.~ ID tune ..ith th,. nF", I-'XploratoT} al Ddt
t:ltiranl IP!= felllJ»lal, and p!donaI pTllbl..ms tha! dominat ..d th ...nant-swde art ri
f'a1t III fht. fmt ~ !Je'.h oentury We should also n,)! allow th. ~
".. ID OOK",e th Intertextuality of C.uhlsm . ...hKh "'30. IUtIf
1I'lI!1e:JC1!CI pJpU!.u gr.i:pbx art and œ-rwn!} br nnema Altho'Jgh Cvh] du! no! 1ft
b.- oœ dJd oot XIatt'.. h pm and in fi.c oœa ionally po-'!œ-d fun !hem
bt, he rountt:d among thne arti!.t as 'JOe mJght 5aY. a modemlSl m

Jot;ev"l tf:UJrJd ~ Jf)fJ IS th,. sheer quantlt)' "fhis film proouc

~'IDe Wf.lœllitr..tlf)fJ on!hem f;'S~(.ially (;onsidering that in this penod
\arl_~,,,. Je rnad" I~-Lere m th .... film IIldustry h} doJO!! lM len de-
'bnoosly he rrJade ammated ~oons more f,)r ~rsonal watwc-a JOlI
re.uc ar.d m Il) drJin~ f,I- wrd'Jrml t,) dl" ~rsonallt} pronIe ri
Jll'3 ."f_ • j " WllJk: 001' al.. ay ..i hes that more of Cohls âJrns
i ( r Hi !:\t7J ..1 h t/l" e\id"ncF that .....e ha\e. It lS~rtP
f .L .. ial ta hl" uJrma ion of th" ~,J{)(] l!enre
"".~ ;os 1, L ft . t D of anlJll2
rt:1lJ Ul-nu: on h.. InHntJon ..nd dis '-mma 10 ed
P. rapt:! and III the LlJ~d SWes ... h,.w hll; film fUDctlQ!l as
f1 h..r TI".A id FI" Out ci
al20
 --- liT _ -- ----~::::~I:\~t~()~.~I~.~~~~~~~~
,ntl du" n tl", ""l"" h, r'llt lt l' II'
th .. art"t mot • : fm-::-----I ,1~'UI" , '! '1 '0
"" t11'·l\tli<a!." ~ \' he ,,, p,.n11' ·nll ll t" ,~llIt' t.1 ('\.11" Coll.. runt IIU"-th
l, 1 fi
atU!lIatlllll ,1-
ll' Illt
Ih >".
... tq ","'' hdl" 1 tlw', Id"lllll<' III llur' ,. Ile ~OQ
"Il, l, 't. n .. \\. ~ ln .. trunh nhl .. ) 1 Il \ P kil"" " lUI" \ 'Ro 61
• ln 4U.1 :tt. i ,n",.1 t but" " .In ~lltl\\ th,lt tilt' "Id nillu ' m '" ........
Ii..,t hm III rt'f'·r,,",... t III th" \1 ' U n IW . n.b"tr \\ho \\ u-.&('
U f'l1It, uf l ~>lI~ , , Illltlllol\t' ht""., III ".mpl"t,. "ull"'tl 1 hU al" d
1JlC1UIJ t _ tndm ,th Ih, <llt." uf \ 1. 'l ol~ , W (nU' \\l " . 1\ \\ltll
u
• .11 1 cl Jt th" 1 1 • "nd in"I>:ln,ltl\' dt,lillltlUn ut tl", url of }OUh
.lr\ ! "th ,
p1ll tl .1
nM'\.' Hl . ClOt ma...
, 1" 1 t:lbl, more l.ll"-n'.l<:hllll! lI.lltl ... H,,!
1 hUIl' lmlualh \\1 t/1 UlUlI.\lllr. r~nt:llll! 11'011\ '1 l " hlll Ilo,
a.\ ·!nU D
r t -n LI
LI<"
nll \11 L.1It'Il. T, \ \1 t'I'\ CI 1 JI,
• lll,,~ J
Lam J n1an d J rd
13 '" Il 10 n!! 'Ilt'mti"n "fI "unr.: ''\>nt
Il Ull,.,
,-lilmm h '
• lt 1 Ull d loi t t' I,'rm.t! h.\r<1-,..1.:t' '
L t'1l1P<lr""
'l.1l1t."t'lt'olr)
1 lr hl th Iimlt bUll l fth,· Ilonna! C U'lt"ian un"
_ l.\f\.t" Ollt"
1 1 R htrlll r. \\ hl"" .UBm. hOll r,'ül(.\rnat .. Cuhl'
\\Il ,'.-\ I/an <ZI.d Hi, D,,:.: ()tltf(lr'-\I/\I95~'
DOl Jl<' ,Iblhllt" lf th .. rt'tracllIr.: Illt'thod fi"'t "'t'n ln th.

J \l Y'
...ruum It li I D '
ne ln Il' iJ'('W.lf framt' th.\t IrTt',i,tihh rt·,'a1I, 4,
hl t/lal ht' \\.1S a Ir.:nilil':.llli .uti>1 l'''c.lu,- th
frt'ed b,m ID rt311l .... ,traiub, 40
., .
Oth r lilmm.d...... who \\ "h'lll 10 tht' fantJ.S) pott'Ilha! of tht' lI\t'dlll lll poUd
thru 'pe.: t tht' Dt 4Ill tor R<né latr \\ ho le" t'd tht' t'arh G,1UlI\Ont iUld Path~
J.lld ili:Ired l hl' n,e th buta, Il • mdudt'd a ,equelll't' ofalllll\.lted matth.,
lDintr rt 1 _~ EH'll more rt'marbble l' a l't'Ilt' III Jt'aD "HW and Bom ",,,.EmoUl\
Zrrod condUIt l 'm wluch \lllainou, \l''peetor t'nter, a dill>sroom full oftumul.
111011\ b IOlhO\ Wht'll he 100 olt .. dra\\ 1lIr.: ou Ihe leat'hers desk e, .. cuted while the
le ber , d= band tand II rom .. _ to Me and mOles through some e\tt'Ilent
Cobl·1ik tr.ltJ.>iormall n th::: 11 h JI:1 colllndellüt' t/,at in tht' pr..t'edin~ 'cene one
li the cboolbo, t '" kt'd e b ofb, cla,. mates indil Idua!ly 10 ha11d olt'r the"

JIk Jean \ I~O and Bori, "au1-",.UI_ "',tr" d c?lIdUllr

1912
 ~-------------~
------
1 1 U
pb
matn bill.00,= \ L LA \
l'CC Fe

0\[
f une. Lt- l'lm \n,;"n Pan'Im: L l ~­
-""' . t. C.-_
Iks cMrrMlI-' ct n"-;CflI, De..." rober
c..HiII.rr 9;3 ,EmIle ('.obI. hand-<lrawn
col
__ ~.-irsI..-but. CCC
- \l~ 1 \ll bwcraphK-aI inf nn~tion up
" dtm tn,m thl' ,ourc-t'
~t c'",t m', une collectIon de
"'i-PC"ot<'

-
J. Mt"d.ùhon presented to Cohl b, the Société d·en....,ourac;ement rdilrdT~m. Di!. J"" CVlmt r~D, .."u,... Il
poo;r rmcht,tnC' natiooale 19" Pd. -Emil. Cohl.' Ù' HOII""" cf ~u-

&bert>-Jone, D.. D,wllIi r d Lallfrtr

fi< :nh<, the n"lchborh, xl a, roudlh a
"
_ .-.th the Bou"" m th" ",,'nlt.'r ,,",unde<!
pIt"",t \I étro ,tahon, 4-','pt"mhre
btr and Palai>-Ro, al.
La Cancature et r;llla~ rie ,n Eumpt"
b _ erre de 1 7a-71 ,M G<lo..N.' tI" 10
~rt \prill -.è, 3~4 1
LI Cari.....hm· pol'hqll n Fra
~; rrr " , .' ct ,,, COIIImu" J
1lipoi"Lo..",LI. (anccrtlln' ct la Ilrr" , l ' h
:: n.-., M '", 'an,-d 111\<'"" h '\Ilh 1
f('pre"~l\ t,-m"''d'un', dut \\t te t'\-
('auti)ll mOnt \ ." tl'~lhon nt!
~ Ir~P_'_,\l rdm t" Robert J l~,ld-
1 pre" 'ntml. m 1 I,-d
uP'Ul""C,t" ln tht pn.~" ..ln ..." 't'ft'"
'tnct rontrol, III th 1 70 hdd :1
1:"1 l'th Ff(t :hm ur li r~·, m
1 •.1';Jou", .li'In \/ "'l' no
 buled 10 (.ohl ln 1",
4.) E' tin L-b -
33, Lambert and Henn Dem' bD"''' /IV pa H j re ruan >
~ Le CanIJon Octol>" ~e" 'Ill
J ~"j1"rrf 'of Ihe (,au/o, .ond oth
dropath (ktober _~ l ':.9' 1 -9 ( ~ Utbut \( ,c~u 1> for a f da) aflcr
\l '~Un
~
34 P.u1 \ I\1l'Il. -L H \'dropalh lit,. 1GI e> -,
.. ftÙ d' \ bad.e
___(,,11
1 hu
L.

dropathe, ,\pnl 5 , 1 ('. t n"l.. ('-<>hl,
pro~h m'plTed bl Gill ~. !!",nl~ lll,.
35 ud",..u Du A... de boh~ ':t <on,";
36 Lé", Le HydrDpGth, ~ p 106-157
37 \""tol" Jako, k\ ~Ipl". -
- P 1 k '. ~n.s( .~litJ
_a_ au -I.e 'cr, Humour .t h "1......
1 ~ , Charle. Cro ,,'"-, a ~t "Dl(."""
Parn""'Wl' and the \'1\ ant, ~'::",.. t"<l .. th.
th" c.ù,' de La "\ ou, elle-\thè .., .. r~,k th.
D D nh and
ur.rnt\, . en>. and \Ian"t Th a "'ond of
trated Cros, Le FI""t .. m 1~74 "I.tter;nu,.
:> .--
~,
o\chill" .\>tre. Le pectad".·
Th ~_., a trat... 1
e ont::.ll14.l ~Ign b on dlspl.!
de \(ontmartre Jeanme \\ 'arn~ at the \1 ....
LaCAr 29 There are confucting , U Bate,",""
\\ lueb caD'" first . the pun or the "gn""c~);mt; il 10
that the~ were slmultaneou -' bb ~ C'Jetl 15
.c. th ' ~ ra '1 "tnilar
u,.t on e SlgJl appears m La Lune R
1 77 \ poem b, GW. .\u LaPin .\g~U .. Juh.
dUl-ed m\stre. J55 .-\t th", \\Titm:
luown as the Lapin .-I.gÛe '" still ln busin
39. Henn de WeindeL "Le Chal·:-'olT ·
~an. Januar: ~O. Ib9-l , 51-53. \lïlham Rub:'
sh.odO\' '. Pantomune, and the-\rt of the 'Fin cl.
,è<le: " .lIal!a~ane of .-ht -16, \Iarrb 1953. Fora
cU,cu.,.ion ofGW's role in the popUI ....zalIOD of th.
Butte \!ontmartre, see Jearune \l'=od, Lt Ba.
ttau-Lacoir. m'rceau dt art moderner
-10. Robert Justin Goldstem , -'-\'pprO\al Flf<t. Cmca·
ture e<.-ond, French Cancalumt" 1S5~~~1
Pnnt Coflector's St'U:sletter 19, \(O\-j une I~,
4'>-50.
41 He)mann, SL. September 21 , 1 ~
~ Dr -\sinu., XL . •'\o,ember ~1 , 1'>l>O
43 .\L , Decemœr 19, ISbO
-H Jule, JOU) , barn 1855. bec-ome a popular eDt~·
lamer al the Chat :\COlT He died m,ooe UI U
He should not be confused \\lth jule> de JOlI' ,
prominenlld\\') er and friend of \Iooel , lIO:I!irrou 1 M
45 Cohl. .-\ Caben Edouard "\or,,' Plus tk /tU!
challte,! caudetille "iléalé en 1 acfe PmI
talsie,-Pansiennes June n 1%1 The .~I:ï" /t'
des Sprctacles gJ\ e, the date of June 11 Il' .. p
mler
-16, S~lénio, .\L. Jul) 3. ISO!.
4; A/marlOch de. S~('tacles , IS~1 (J1ItOfJ'
41> Cobl Caben, and ~orèl , .-\lIt"" par ber 9.
, La S .1, "eptelll
oplreHe en 1 acte Pan!'l, lôUg.,
~ (.L"r~e'
1 2, . ,
4& Cobl. photo,,-aph 01 TreLwlC ~ -d ,0
and Henn Gauth,er' \ illar "rl'pr uCt
dec Feu \\·,lly.
(11 cbl{.h "cre llpyv:K. ... to 'wH
~ " dtan b' G,U, and obtamed
~~ iP hl" .. ~r:~-' an reahh onlyan tn-
..... 1bt .....1117:.1 and • cal1i,,-aphK manu-
......."i J"'" ,DI 1 Em,le Cohl" On hlS o,,"n
~tb< \,..,\Jtu~lù "rote, rather amb,!(U.
1 r. t~~';'~:';"el
iÜ. ......:-.. ~ 1 bl
~ ~L. \IJc!,;,.t"t.J J.> a t'ontnbutor to Le
I:."'~
JJ JbO \,)) a but none of hl . . dr.l\\lno ~
Po III l , ,e"",h of that Journal.
e, do..
oJeotilied d:'cribed
Bellot' banqueh-\t
c;.hP"'" the' ,et'.ted ",,..;e, ,anl! and the
~' x JIl3(!e a Chaudron piano
._.:z.,,-ou d
~ "" .. __ Olen 01 letten an mU~K~~ feu-
\<101' th to rune Bellol \\ "" named pre,,-
"dl:oeT< CIUIll' la bl' I.:no\\'n a> the Bon
10 -lit nt ;""nthh at the old caharet Le>
:Z ."d :' Bourl!O<!Tl" on ruL' j e"ain tOn.,
_,tet! <as,h lou had to ,hO\\ a ,oft
.. octtb3! b he in the lette,..; or art> Daudet
L;U.,. ~ wdré GilL Car)at the poet-photogra·
~ Charles and .-\otome Cra;, \(onpro6t,
.[)aoroUrt, Boudouresque de l'Opéra.
73
, Lorin. and other Slnger.> and compo>er.>
74
.,.,;,:..". there- Lr ourenm de Galipau.r.
'-Il,
Roberts-jone,. 'Le Incohérents et
"!"h,oon,.- Ga:ettt du Beaux-.-\n,. Oeta-
rr., 231-~
Lh\, 'Llnt.'Ohérence, son ongine. son hi!!o-
".'-",eDIT, Le Courrier Français. \Iarch 76
- Lé", La Chronique Pan.... nn., eI>-
tmllerll.l
Iqrodnœd m Roberts·Jones, "Le, InL'Ohérent> -•"
6pQ>'tiom "
Catoloeue mu,tré de re-:qx)SItton d > an,
Octobe, 15, 1!>M
!:;h lIocoh.rence,
!1Ur son on,y;ne
..... • 'on
- h"toin.' •
1 ~~ .lIaitre,de la caricature Andrt Gill
I.e • GÛI. ..1 met .~lInt'fI de Pari, . ti5
aot.P.tron. .\ L, Odober:!7, I~~ 1
tqlrod U Rit ,1: Odober :!3, Octoœr ,31
1 A UCed m \alm\'·Ba""" ,-\IIllrf (.dl,
.. ~teddefen'"ofGt!I, Il'd h, J,.1ll RI-
lat50 Iaunched ",,- \ al n1\ -Ba, ,~,
cR.i
.... ... ''!Si "'c 19-26, \\ hl'n hl ldt h" c-allmt!
t CC Cohl and RIdll'plU '\en' \ dT>' GûI
 ~,-~~IA-II~I~I.-,-q-U-'-'-----------------­
• r MnC {. I/llItlT d 10 rnn- _ rdl)\li\1 Hhcf Il , 1 97 ' oo\.' of
an ,"1,10..-' ... "t'pte 1
ftln .... · . ) \ t rth .\1ltt- ~ t'lmt1l'
• ""n'" \'lIon ri, n"'lIf'" '1fO/r
.tt' ,.r (. ,hl 1 tht k" l,h \ hl\('UIIl ln
1!I,tl~ "l' 19,,'j-J.11lu.lr\ 15, 19
... 1,"-'1
... yU.lll h, Cl,hl 'H'rt .. hl""\ ( ';al nn
.' \,,'l~' \1' , ,.,u dt'!'I p.lU\ rl" \OUP-
o ,.. Dt Cl ..
It t 1(.' _ :-.It.!lll'd J. ChJ.nl,"('laJT C.lt
,< 1. 1"9-' >1 ( llld'l' 1),,·lIm.
'" l U __
'"'- "I<'I11I,..r
25 tht"T pllrtr.ut, \\t'rl F Tan , I,,,'I'X 1 C lt nO f ,"J.l' OnnJ[!l'
"4-1 0 1 ~'O" C"PP<'t-
j

Paul \ rl"'n, - ,Il'" '1 nt"-·ur , • ( 1

1 .,17. 1'>91 1 unl,·c.ur 1 ,
L 1 . a.u lra, \1 h no ~J.,.
L'dU t 276 Paul Boun::c-t ,_ 'e ,·I·Roo.~. .. \ 0\('111)(. 1 l ,
t\ .11"t.'nl{l' dl~ c \H.'n Jnu-
R"Umat ,1I3 - and \1 ....
- Th"dat,·"fl~9IJ"hnRc\\;Ùd ......,
" C l.\n 1l ~,Il,r\
QII'I .. • •
C1I no WO. u"
1 l'''; Il f d'JI" è, C.11I. Dl'c,'mlwr 23.
lnP ,t·lmprrHtOnism p 5-.t- a.... 'II.!n\ Ult dr-.
• J<- J'" . tl C ,l no. 102, l'rune Gratu-
probabh dont ID lS9~ I"",.~ "t oo 'arh 1;''"< f.1I"IcCOl1r!t'I 'I)/~ POnllt- • . l'o,ler (F",,'e
otbCI "'Ut":-- . l-U on;no k Wn dat • of
...... 1'" La t'o'- of the ",llIh,tio" appar-
27 La net Pn.') f'l' l'Ollt,"Cuon ft' 1Jl\" rl..e eur.! •., f 1
ar'" of tlu' .1""OClothon 0 lle,e
l~mdutod ln
-1<' '"
"lld hnlltt.lJld dnmm'" l rt' not'\\\ l:
..d /1 of Hmri d~ ro;llo,','~"',' :,hrd C....... .~th Ennk' Cohl .
4- . ·1.AlIltn'C 1.
P..I, ,«1 ph' l' t':\tt'tl\l\e. On <Intl- enuh\m
~ Il' .cour-\OIUllll· "or\.. b\ Uan Po·
Pierre ct Paul -Emil" Cohl '" raI'« ,,\1
,,",,' l ' ranft~l'mlt"ml" \he1le 1 \\ m-
'ul Lcrmma. L'.~III>cr~, dt"< ~drrt
9
Ga."p.au Gal,pctto. E liron dn 1 Cal,pd! /lu"'''''
r
" ft C"
d Dnltlullif .-\nt'\,('1111"8111l' l't )a-
f

31 Coquelin carl.. t P'roth tt" r.d<J"fa For Cohr, l'"nod. ,ce tephe"
_
1JIIII (ft IlHIl_~ • . •
\1\ Il notatIOn for '''' emller l~b7 . 'Cbe, Idtolot!ll and E.\ IJfnt'ucc: Al1ti~c~mtlsm lU
\ .lnH.-'r \nd Gill et !'Ion o(>u\ n' p.1r Lod ..st.1 the Ti""
of ,loI' DrqOlls Affaor; P,,,rre
~47 The Cohl. ~ ri lA C,,,,i' cil•• J"ifs (1 0-1 99 ,. Alfred 51
\ 1\lcune 33 Ù Gralld D,cfi<ll...am ÙlroIlSSl. 1890. ""nd 'orlrol. D",lIIo"l. '"la Frollce Jlliec'" c' '" la L,bre III
t 1 un exp< ,- uppltment. f..,c,cu'e 22. p. 94. ..... For Ùle Afliur. sce GU) h"pman. TIIe ID
lJom 14 lui", Oudol. Chansollfill d~ sihlr ~I Cast a Rea sCS'~/lCII' . Dou!(la, \1'
1 Chorl, j.>I." Lt Iiom4n , temlen , 35 P ",che, C/IOIISOIIS à la blague. \bDlOIl fra/lC!' a/ld tloc D"ey/lls Affo,r; \1.,,"Ccl mlJr
,U trallan ho, ~n "" oumb.." 54(i ID :\ orm"', L K'eebatt, 'The Dreyfus -\ffair A \ Il. . • LN!air" .ans Drey/us.
(IILlt t.logu n T p/uk tnrJen ual K,·,."oId: ln Klecbatt \cd '. rh. DreIJ/u! .\f. Illbatl \Iarru,. "Popular ntl· enlltlsm." 59. 53.
14 Jl 0 Adh mIT bas KI u <d Lautrec Le R.- (Dir Art Truth -}u tiC<', 4 ln tlus ,.nlf ,olum, h", I\II",n , ld,'ology a/ld Expc";e/lcc. 206.
UJ:l1oU tru, 41' ~t dem, a'.lnt Je -("!ni t Drumont I.S de'cnbt·d il> '"8 ,h, broodl/\~ l\I1bll· ,.JI been able 10 detennme "hcth,' r Cohl
(urt, d nt·\ol. r Le Lou'n' ID h ,..,nt eut of emu!\, \\ ho ht.-'Came the mo\t ouhtandmc tltl-d to the \ub'ienption for a monument to
lA rJ.rontqu forisinmt Oct her 24 1 pill'\ evor of anh- clOll1,m ln Ffl'IKh Jll,to~ \h· Illenn, "hich fonns lhe ba h of\\,I,on',
Joh L111I1d·(.ort rrt IL II rt la "''''.... <:ha 1 \Iarru . " Popula.r ~ntl '~cm ,t"m , ID .1. \\e ~"uml! lh.11 he \\.IS .\ ronlrihlltor
tu f",.
- Ibid
bau. 50 hl JI,
1 Ibid
'17 M, Il for ) ~93- J ~95 1 Ihorough d'\(·"",an. ,,',' Phillil' Demu,
, lnlll lounl(ud." Drumonthadbt,n ar,",,(l1l 'Th, Pa", C" Gr,lplllc \rtl'" .lIld 11ll'
1 (i11 tri d rtI:pu:omon de art
/og.u. ,llu R publican , '0 11 " p'""bl, t".ll (ohl Jo.d h«n
, 1
,.,..t -, r.~' \ \ffiur, 111 "kdl,ltl \l'd ). TIl< On 'Ou,
aware of llim c\ en carlit r pt 1hap., throu,,;.d , 62-95
20 Caur..t S, 1'" ...... toJO!(Uo numher 730
1 U, Introdu<uoD Cotolo rllustn de rn nll' ct, n ..., ) 93 JI. <>:hhn.1)(·l(a, lI1\d 11ll' \)!t.\f", \n.lu \
JOO,IiIion tk art "'roM",., 1 39 Ln l.ibrc Pa"olt IIIu.'"" 1), "'ml" 1 2l Aif"" loft". \rllsl ,IS ,ln .1.1\11 S,'nUI,'_ III KI" ,,-
22. Cobl M Il IU,II1II"cl 10 KI, cbatt ,cl rh Drewu' De TI, /J" yfll\ Iff<lll , 10 ' lOf) . slll' d,'-
cal no 411() p. 5.3 1 lm""
~
throup group portrait 10 Lr r han n 40 TI"" xl, nt of Cohl , l'ollal.>r.lll~n~;';;lu t U
sa -a \ Or.tnnu, tc.'adt r of La 1.1/Ul Pa-
lM ladiv;d \ean 1 7-1~
l'Uer la Ih, Julhnr \1.11 9 , I%~ , ,md
Sillet rompit'! nln ofl..o 1.'/", 1a c 11>< sol<'
lI1Il.ssues ..... dillicult to d.t becau. th~
not hcld at Ih,' Bih"olh, 'I"!' all", ..1 .JI ,gnet!
n..,......... ID ha 011... pubhsbc'<l \\ ,thout doit
th \\ rks J ha\{' ,d .. nhfi, d 111 th Il'',
11 1sod 111 III an, Mlnw ll\t'lt'IM1H,:
1 H.'\ t1l
lIIIt oJ...,. dated.~~ '=gularh and \\ re J Chant,'CI",r ' ""ur" POllosu l', IIIl I.ID , ';!,lan ~IlÙ 110, "1\,nn ni 110, ,tnn III
"nt", th~l th, "111 \\."
Iboaal D IOn<d b tb, B.hbo-
b\ r<'..r.Ù"
_ " " 1 1'81O- lIr
tour \ugu 1 ~'>, I·~!JI " '0' l ' pt, '1
tem~ r 4 1~fl7 J. m,ml Il, na" d,d 'n. I! (ourtd .11 hnth , ,md that
Ilot l'tlm, lI1\hll.,t"r