By Michael Mangan
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Extra resources for Performing Dark Arts: A Cultural History of Conjuring (Intellect Books - Theatre and Consciousness)
1903 Faust aux enfers. (France) Dir. Georges Méliès. Faust et Méphistophéles. (France) Dir. Alice man. 1909 Faust. (USA) Dir. Edwin S. Porter. With William Sorelle. 1910 Faust. (UK & France) Dir. Henri Andréani and David Barnett. With Fernanda Negri Pouget, Tom Santschi. 1911 Faust. (UK) Directed by means of Cecil M. Hepworth. With: Hay Plumb, Claire Pridelle, Jack Hulcup, Frank Wilson. 1913 Der pupil von Prag [The scholar of Prague]. (Germany) Dir. Stellan Rye, Screenplay Hanns Heinz Ewers. 1922 Don Juan et Faust. (France) Dir. Marcel LЈHerbier. 1923 Faust. (UK) Dir. Bertram Phillips. Screenplay Frank Miller III. 1925 los angeles Damnation de Faust. (France) Dir. Victor Charpentier and Stéphane Passet. 1926 Faust - eine deutsche Volkssage [Faust: a German people Legend]. (Germany) Dir. Friedrich Wilhelm Murnau. With Gösta Ekmann, Emil Jannings and Camilla Horn. Méliès, Alice man, F. W. Murnau: it really is a rare record. Even Edwin S. Porter has a move at a Faustus scene – that is rather miraculous in view of the truth that Porter is mostly considered representing a truly assorted culture from Méliès. because the maker of the ground-breaking nice educate theft (1902) he's hailed because the father of the Western motion picture – a style whose ordinary mode is a sort of heightened realism instead of delusion. describes his Faustus and Marguerite (1900) within the following phrases: Marguerite is seated earlier than the hearth, Faust status by way of her aspect. Mephistopheles enters and gives his sword to Faust, commanding him to behead the reasonable Marguerite. Faust refuses, whereupon Mephistopheles attracts the sword around the throat of the girl and she or he unexpectedly disappears and Faust is seated in her position. 398 136 Chapter 07. qxd 4/2/07 6:35 PM web page 137 prior to YOUR VERY EYES: lifestyles, loss of life AND LIVENESS Porter’s narrative looks according to Méliès’ Escamotage. In either its narrative and its name it refers again to Méliès’ personal first Faust movie, Faust and Marguerite. Méliès dreamed a dream which used to be shared by way of the remainder of the pioneers of early cinematography. In his paper ‘Facing the Divide: flip of the Century degree Magicians’ shows of Rationalism and the Occult’, Fred Nadis argues that even supposing magicians equivalent to Kellar, Maskelyne, Thurston and Houdini made use of playful posters displaying them speaking with ‘little devils whispering important secrets and techniques of their ears’, magicians on the flip of the 19th and 20th centuries went out of how to disclaim any actual occult prestige, to ‘make it transparent that their results have been the results of trick mechanisms, perform and stagecraft’. 399 the hot magicians of the cinema have been, it sort of feels, much less fearful approximately seeming to sup with the satan: certainly the Faustus legend haunts early film-making, and the satan is usually round… Méliès again to the Faust subject no longer as soon as yet a number of occasions in his filmmaking profession – and in those and different movies he back time after time to what looked to be his favorite function: ‘Méliès’ various appearances because the satan needs to a ways outnumber that of the other actor, having seemed in as many as 24 manifestations in his motion pictures.