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LITERATURA EM IMAGENS: O FILM DART E O ADVENTO DA NARRAO CINEMATOGRFICAGustavo Ramos de Souza (PG-UEL)CINEMA DE ATRAESDurante certo tempo, os filmes foram exibidos como curiosidades ou peas de entreato nos intervalos de apresentaes ao vivo em circos, feiras ou carroas de mambembes. [...] Nos grandes centros urbanos dos pases industrializados, porm, a exibio de filmes muito cedo se concentrou em casas de espetculos e variedades, nas quais se podia tambm comer, beber e danar, conhecidas como music-halls na Inglaterra, caf-concerts na Frana e vaudevilles ou smoking concerts nos Estados Unidos. Neste ltimo pas, particularmente, floresceu um tipo de estabelecimento conhecido como penny arcade (assim chamado porque nele se pagava com uma moeda de um pni) (MACHADO, 1997, p. 78)Para o nosso olhar contemporneo, a narratividade deles precria, fugidia. Precisa ser retomada a todo momento, pois se desfaz em cada erro na manuteno dos efeitos ilusrios da fico. Ao contrrio do cinema narrativo posterior, em que o espectador sabe-se protegido pelo muro da fico, o primeiro cinema exibe numerosas descontinuidades. Alm disso, o observador repetidamente chamado a participar da cena e responder aos acenos e piscadelas dos atores, que se dirigem ostensivamente cmera e deixam claro que sabem da nossa presena. H, enfim, inmeros momentos em que se rompe a diegese (COSTA, 2005, p. 32). What precisely is the cinema of attraction[s]? First, it is a cinema that bases itself on the quality that Lger celebrated: its ability to show something (GUNNING, 2006, p. 382)To summarize, the cinema of attractions directly solicits spectator attention, inciting visual curiosity, and supplying pleasure through an exciting spectacle a unique event, whether fictional or documentary, that is of interest in itself. The attraction to be displayed may also be of a cinematic nature, such as the early close-ups just described, or trick films in which a cinematic manipulation (slow motion, reverse motion, substitution, multiple exposure) provides the films novelty. Fictional situations tend to be restricted to gags, vaudeville numbers or recreations of shocking or curious incidents (executions, current events). . .... It is the direct address of the audience, in which an attraction is offered to the spectator by a cinema showman, that defines this approach to filmmaking. Theatrical display dominates over narrative absorption, emphasizing the direct stimulation of shock or surprise at the expense of unfolding a story or creating a diegetic universe. The cinema of attractions expends little energy creating characters with psychological motivations or individual personality. Making use of both fictional and non-fictional attractions, its energy moves outward an acknowledged spectator rather than inward towards the character-based situations essential to classical narrative (GUNNING, 2006, p. 384).Uma crise econmica breve mais profunda (1907-1908) privava a gente pobre de recursos e jogava rua os desempregados: o cinema, o luxo do povo, ressente-se da depresso. Os grandes produtores queriam reduzir o acmulo do mercado, limitando por estrita regulamentao o tempo de uso das cpias. Outros falavam em tornar obrigatria a locao, o que condenaria morte o cinema feiral (SADOUL, 1963, p. 69-70).

NicklodeonsA apario dos nickelodeons [a partir de 1905] marca, portanto, o incio do fim das formas de representao caractersticas do primeiro cinema. Se o tempo dos primeiros filmes compreendia a dominncia do espetculo na dialtica entre atrao e narrativa, o perodo seguinte (de 1906 a 1915) representa a verdadeira narrativizao do cinema, culminando com a apario dos longas-metragens, que reformulam radicalmente o formato das variedades. [...] A indstria do cinema precisava conseguir respeitabilidade social, trazendo filmes para perto das tradies burguesas de representao (COSTA, 2005, p. 63-64).O cinema tinha de aprender a contar uma histria, armar um conflito e p-lo a desfiar-se em acontecimentos lineares, encarnar esse enredo em personagens nitidamente individualizados e dotados de densidade psicolgica. O novo cinema, que se comeava a ensaiar a partir da segunda metade da primeira dcada, buscava de todas as formas reproduzir o discurso romanesco dos sculos XVIII e XIX e essa reproduo foi levada to ao p da letra que, a partir de ento, a prpria literatura passou a fornecer o material narrativo que seria moldado pelo cinematgrafo (MACHADO, 1997, p. 84).FILM DART

un imprissable monument de grandiloquence et de sottiseMaurice Bardche et Robert Brasillach,Histoire du cinma, Paris, Denol et Steele, 1935

[...] film dart referred to a certain kind of fiction film whose aim was to ennoble the cinema through an association with literature and theater, often through adaptations of historical drama (SIROIS-TRAHAN, 2005, p. 236).

Em junho de 1907, Edmond Benoit-Lvy, com o propsito de levar s telas a pantomima de Michel Carr, filma LEnfant prodigue. Apesar do fracasso, serviu para desfazer o preconceito de muitos escritores para com o cinema.

Os irmos Lafitte encomendaram roteiros originais aos maiores escritores franceses: Anatole France, Jules Lematre, Lavedin, Richepin, Sardou, Rostand etc. Contrataram como intrpretes as celebridades da Comdie Franaise: Mounet-Sully, Le Bargy, Albert Lambert, Bartet, Sarah Bernhardt etc. Obtiveram tambm a colaborao dos melhores cengrafos e msicos (SADOUL, 1963, p. 72).

The first and perhaps most significant of Paths moves was to promote itself as the maker of higher quality films. In other words, it would reinvoque the high culture notion of Frenchness exploited earlier to legitimate the cinema. The strategy originated in France, in early 1908, with an investment in two new production companies, Film dArt and SCAGL: in addition to financing the construction of equipment of their studios, Path contracted to edit, print, and distribute their films. If Film dArt initially drew on the talents of actors, directors, and playwrights associated with the prestigious Comdie-Franaise, SCAGL worked with authors of the Socit des Gens de lettres to produce adaptations of literary classics, as well as recent popular French plays and novels. Much like Vitagraphs quality films, Paths films dart had a double purpose: to educate the masses but also to attract and hold the better classes (ABEL, 1999, p. 127)

LAssassinat du duc de Guise

For the first time a moving Picture event was widely commented on by the press. While some journalists (and a few authors) were indignant that renowed artists and writers had compromised themselves, others were more lenient, or even had favorable reactions. Other productions soon followed: La Tosca, Le Baiser de Judas [Judas Kiss], Le Retour dUlysse [Ulyssess Return], all released in 1909 (MEUSY, 2005, p. 237).

LAssassinat du duc de Guise fora, no entanto, um acontecimento de grande alcance internacional. Aps o xito do filme, a Itlia, a Dinamarca e depois a Gr-Bretanha iriam adotar o seu princpio, utilizado aps 1912 pelos Estados Unidos, quando Zukor retomou em Paris a frmula: atores famosos em peas famosas (Famous Actors in Famous Plays) e lanou as bases da supremacia hollywoodiana (SADOUL, 1963, p. 73).Despite its allegedly theatrical aesthetic, the principal merits of films dart were to introduce artistic preoccupations into the cinema and to facilitate the initial exchanges, soon to become so characteristic of cinema, between high and low culture (SIROIS-TRAHAN, 2005, p. 237)

Due to the reputation of the Parisian theater world, this productions international success was to transform the industry in a profound way. In the USA, for instance, this and other films dart encouraged companies such as Vitagraph and Biograph to take up similar filmmaking practices and led actors from the legitimate theater to agree to to be filmed (SIROIS-TRAHAN, 2005, p. 236).

Oliver Twist

Metragem: desconhecida. Direo: Andr Calmettes ou Camille de MorlhonEstrelando: Baron fils, Jean Prier, Madeleine Guity, Rene Pr e Marie Dornay. Roteiro: Paul Gavault, a partir do romance de Charles Dickens. Distribuio: Path Frres. Lanamento: setembro de 1910.Intertitle: "Oliver Twist becomes an orphan". Intertitle: "Mrs Corney and Mr Bumble". Intertitle: "Oliver asks for more". Intertitle: "The Artful Dodger meets Oliver". Intertitle: "Oliver's introduction into Fagin's den". Intertitle: "Bill Sykes and Nancy". Intertitle: "The book stall keeper exonerates Oliver". Intertitle: "Oliver is adopted by Mr. Brownlow". Intertitle: "Oliver is recaptured". Intertitle: "Fagin suspects Nancy of treachery". Intertitle: "Fagin spies on Nancy". Intertitle: "Oliver visits Fagin in Prison". Intertitle: "Conscience and Retribution: Ah! Those eyes!"Il se vrifie que les annes 1907-1909 ont reprsent un moment privilgi dans lapprhension du cinma par les milieux lettrs : avec la sortie des attractions, le nouveau mdium est apprhend de faon assez optimiste comme linstrument des possibles. Cette attitude positive ne va pas forcment plus loin que la simple curiosit, mais elle est par exemple la base du projet de vulgarisation historique qui forme, comme on la vu, le seul vritable axe directeur autour duquel on puisse rassembler une partie des contributions (CAROU, 2008, p. 38).Les solutions trouves pour remdier au manque de scnarios aiss tourner jouent dans le sens dune homognisation. Elles tendent en effet concentrer, techniciser et normaliser de plus en plus la fonction dcriture, rebours de lintention initiale. Il ne faut pourtant pas oublier que cette volution, dont on a retrac les inflexions mois aprs mois, rsulte de choix faits au gr dune navigation vue, ponctue dexpdients. De ce filtrage progressif, il rsulte, au dbut de 1910, la premire formulation officielle par le directeur du Film dArt dune politique scnaristique dtermine : dune part, les grands sujets tirs de linpuisable fonds des grandes oeuvres littraires, sans distinction de races, faisant appel aux antiques et aux modernes, lhistoire aussi bien quau roman ; dautre part les comdies fines, libr[es] des moyens faciles dont la cinmatographie a vraiment bus jusqu ce jour (CAROU, 2008, p. 38).

First of all, in terms of the industrys promotional strategy of legitimation, the genre served as a showcase for introducing well-known actors with women nearly equal in number and stature to men from the Paris theaters to cinema audiences and for drawing bourgeois spectators of both sexes more regularly to the cinemas. In turn, as Jasset and others claimed, those who worked for Film dArt and SCAGL generally imposed a model of restrained, economical acting in opposition to the style of broad pantomime formerly associated with the genre. In privileging stars actors, along with period set decors and costumes, sometimes accentuated by stencil color or lightning effects, the genre did encourage a return to the older mode of representation characterized by the autonomous tableau. . .[...] Yet even more films wether made by Path, Gaumont, SCAGL, Film dArt, or Eclair worked just as much, if not more, within the newer system of representation, negotiating a balanced orchestration of mise-en-scne, framing, editting patterns, and even sound accompaniment. In their logical plotting of action (sometimes involving double plots), careful pacing of dramatic moments, and resolutions based on sustained suspense or strong character identification, film such La Tosca, Fleur empoisone, Jeanne dArc, Le Huguenot, La Mort du Duc dEnghien, Cagliostro, and LEvad des Tuileries produced especially effective models of narrative construction, sometimes within the highly structured format of the well-made play (ABEL, 1994, p. 277).

REFERNCIASABEL, Richard. Film dArt and Films dArt: The historical film and literary adaptation. In: The Cin goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994, p. 246-277.______. The Perils of Path: Americanize or be foreignized, 1907-1910. In: The red rooster scare: making cinema American, 1900-1910. Berkeley/ Los Angeles: University of California Press, 1999, p. 118-150.CAROU, Alain. Le Film dArt ou la difficile invention dune littrature pour lcran (1908-1909). 1895, n. 56, 2008, p. 9-38.COSTA, Flvia Cesarino. O primeiro cinema: espetculo, narrao, domesticao. Rio de Janeiro: Azougue Editorial, 2005.GUNNING, Tom. The cinema of attraction[s]: Early Film, Its Spectator and the Avant-Garde. In: STRAUVEN, Wanda. The cinema of attractions reloaded. Amsterdam: Amsterdam University Press, 2006.MACHADO, Arlindo. Pr-cinemas & Ps-cinemas. Campinas: Papirus, 1997.MEUSY, Jean-Jacques. Film dArt. In: ABEL, Richard (org.). Encyclopedia of Early Cinema. New York: Routledge, 2005, p. 237-238.SADOUL, Georges. O impulso da exibio e do filme de arte. In:______. Histria do cinema mundial, vol. 1: das origens a nossos dias. So Paulo: Martins, 1963, p. 66-73.SIROIS-TRAHAN, Jean-Pierre. film dart. In: ABEL, Richard (org.). Encyclopedia of Early Cinema. New York: Routledge, 2005, p. 236-237.