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

中文翻译：

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壮观的视觉效果，早期的电影和美丽的景点

摘要本文提供了一个中间性案例研究，并探讨了1900年左右剧场表演者的表演与早期电影之间的关系。它不仅在形式层面而且在地址和接收方式层面都定位了中介交流的过程。更具体地说，该研究关注资产阶级的美感如何转移到电影图像上，并与电影的吸引力值相吻合。正如对早期电影理论的讨论所揭示的那样，“电影中的美”的概念取决于对电影动作的驯服，这种现象已经在场面活跃的表演者实践中实现。在随后的对欧洲多样性剧院中场面活泼的人的文化背景的分析中，我概述了一种特殊的称呼方式，我称其为“美丽吸引”：古老的美感和更现代的吸引力美学的重叠。通过结束电影分析，我展示了剧变的参与者如何成为早期电影的典范和灵感来源，从而在新的媒体环境中实现了“引人入胜”的双重论述。