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The Parisian Avant-Garde
in the Age of Cinema, 1900-1923
 The publisher gratefully acknowledges
the generous support of the Art Endowment Fund
of the University of California Press Foundation.
The Parisian Avant-Garde in the
Age of Cinema, 1900-1923

JENNIFER WILD

CP
University of California Press
University of California Press, one of the most distinguished university
presses in the United States, enriches lives around the world by
advancing scholarship in the humanities, social sciences, and natural
sciences. Its activities are supported by the UC Press Foundation and by
philanthropic contributions from individuals and institutions. For more
information, visit www.ucpress.edu.

University of California Press

Oakland, California

© 2015 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data

Wild, Jennifer, 1 9 7 2 - author.

The Parisian avant-garde in the age of cinema, 1900-1923 /
Jennifer Wild,
pages cm
Includes bibliographical references and index.
ISBN 978-0-520-27988-9 (cloth) — ISBN 978-0-520-27989-6 (pbk. :
alk. paper)
1 . Art and motion pictures. 2. Avant-garde (Aesthetics)—
Influence. 3. Art, French—20th century. 4. Cubism. 5. Motion
pictures—History—20th century. I. Title.
N72.M6W55 2015
700.944'09041—dc23
2014038863

Manufactured in the United States of America

24 23 22 2 1 20 19 18 17 16 15
10 9 8 7 6 5 4 3 2 1

In keeping with a commitment to support environmentally responsible

and sustainable printing practices, UC Press has printed this book on
Natures Natural, a fiber that contains 30% post-consumer waste and
meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997)
(Permanence of Paper).
For G.O.T.
And in memory of Jack and Lorraine
The openness upon the world implies that the world be and remain
a horizon, not because my vision would push the world back
beyond itself, but because somehow he who sees is of it and is in it.
MAURICE MERLEAU-PONTY
Contents

List of Illustrations xi

Acknowledgments xm

I N T R O D U C T I O N : THE C I N E M A ' S L E S S O N S L

1. SEEING THROUGH CINEMA: PROJECTION IN

THE A G E OF C U B I S M 23

2 . A P O L L I N A I R E ' S A U R A : P I C A B I A , THE D I A G R A M ,

A N D EARLY F I L M S T A R D O M 62

3. D U C H A M P ' S D I A G R A M S : F I L M , S P E C T A T O R , STAR 102

4 . THE VERTICAL GAZE: CINEMATIC B E H O L D I N G IN

THE AGE OF WAR 135

5 . THE R A D I C A L T I M E OF R E C E P T I O N : T H E C I N E M A
OF B A L L I S T I C S 188

6 . THE D I S T R I B U T I O N OF S U B V E R S I V E S Y S T E M S :
D A D A , C H A P L I N , A N D THE E N D OF A N A G E 225

Notes 275

Index 323
Illustrations

1. Photograph, Le Cinématographe Lumière Géant, 1900 12

2. Postcard, Restaurant Bonvalet, 1 9 1 0 25
3. Pablo Picasso, Les Demoiselles d'Avignon, 1907 26
4. Pablo Picasso, Sailors on a Spree, 1908 28
5. The Lumière brothers, film still from Repas de bébé, 1896 3°
6. Pablo Picasso, Bouteille de Pernod et verre, 1 9 1 2 39
7. Architectural plan for the Gaumont-Palace, n.d. 41
8. Pablo Picasso, Assemblage with Guitar Player, 1 9 1 3 48
9. "La Fantasmagorie de l'Odéon," n.d. 5°
10. Charles-Émile Reynaud's Optical Theater, 1892 51
i t . James Gillray, Ci-devant Occupations, 1805 60
12. Francis Picabia, The Merry Widow, 1921 67
13. Francis Picabia, Mechanical Expression Seen through
Our Own Mechanical Expression, 1 9 1 3 69
14. Photograph, L'Illustration, 1907 76
15. Advertisements, Ciné-Journal, 1912 77
16. Candido de Faria, poster, c. 1908 79
17. Advertisement, Femina, 1 9 1 3 85
18. Matthews, poster, 1 9 1 3 87
19. Francis Picabia, De Zayas! De Zayasl, 1 9 1 5 97
20. Advertisement, Femina, 1 9 1 1 99
21. Marcel Duchamp, The Large Glass, 1 9 1 5 - 1 9 2 3 103

xi
xii / Illustrations

22. Leopold Survage, Colored Rhythm: Study for the Film, 1 9 1 3 112
23. Marcel Duchamp, film still from Anémie Cinéma, 1926 113
24. Marcel Duchamp, The, 1 9 1 5 118
25. Marcel Duchamp, Fania (profile), 1 9 1 6 119
26. Advertisement, The Moving Picture World, 1 9 1 5 124
27. Marcel Duchamp, Belle Haleine, 1 9 2 1 132
28. Advertisement, Comoedia Illustré, 1 9 1 9 133
29. Illustration, Le Tir au Cinématographe, 1 9 1 2 138
30. Poster, anonymous, fournée Cinématographique du Poilu, 1 9 1 5 143
31. Kinemacolor handout advertisement, American Biograph, 1 9 1 1 148
32. Auguste Jean Baptiste Roubille, cover, Fantasio, 1 9 1 3 162
33. Illustration, Fantasio, 1 9 1 4 163
34. Lucien Boucher, poster, Les Grands Films Français:
Jean de Merly, 1928 165
35. Illustration, Le Film, 1 9 1 4 179
36. Poster, Fantômas, 1 9 1 3 184
37. Charles Tichon, poster, Les Mystères de New York, n.d. 195
38. Edwin S. Porter, film still from The Great Train Robbery, 1903 197
39. Bernard Becan, cover, Cinéa, 1922 198
40. Francis Picabia and René Clair, film still from Entr'acte, 1924 215
41. Cami, illustration, La Baïonnette, 1 9 1 7 230
42. Advertisement, Kinema, 1 9 1 6 234
43. H.B., poster, Le Masque aux Dents Blanches, 1 9 1 6 237
44. Advertisement, Kinema, 1 9 1 6 240
45. Marcel Janco, poster, Le Mouvement Dada, 1 9 1 8 244
46. Harford, poster, Les Vampires, 1 9 1 5 246
47. Ruy Leymaire, poster, Agence Générale Cinématographique,
n.d. 248
48. Adrien Barrère, posters, Têtes Comiques, c. 1 9 1 9 - 1 9 2 0 252
49. Adrien Barrère, poster, Prince, c. 1 9 1 5 253
50. Erwin Blumenfeld, Bloomfield, President-Dada-Chaplinist, 1921 266
5 1 . Adrien Barrère, illustration, Fantasio, 1920 270
Acknowledgments

I began and finished this book in a room that overlooks Lake Michigan.
Like the writing process, on some days the view is enveloped by white fog;
on other days, the lake and the sky meet along a crisp blue line that seems
to extend forever north and south. Many institutions have made this
project possible. Even more people have illuminated my point of view, and
have helped me bring this project into clearer focus. The first of these are
the anonymous peer reviewers at the University of California Press whose
generosity, plasticity of mind, and poignant critiques were crucial to trans-
forming a ranging manuscript into a book. Equal thanks are due to my
editor, Mary Francis, who has been an unfailing supporter of this interdis-
ciplinary project ever since I first described it to her in 2007.
The publication of this book is made possible by generous donations from
members of the Humanities Visiting Committee at the University of
Chicago. In 2 0 1 1 - 2 0 1 2 , 1 received a Faculty Fellowship at the Franke Institute
for the Humanities, where I completed my research and took part in weekly
writing workshops with a dynamic cohort of fellows who provided invalu-
able insight on this project. On the Hyde Park campus, I have found an
unrivaled independence, and the support of colleagues whose imagination
and generosity are matched only by their sense of intellectual freedom and
rigor. M y deep gratitude goes to James Chandler, whose incisive conversa-
tion and professional and intellectual magnanimity were essential to com-
pleting this book. Daniel Morgan offered his consummately perceptive feed-
back both early on, as I developed some of my central claims, and later as I
wrestled with certain tensions in the manuscript. I am also beholden to D.N.
Rodowick for his superior collegial and intellectual vivacity. His careful
reading, enthusiasm, and advice have been nothing less than a spectacular
gift. Alison James has been one of my most abiding interlocutors on the

xiii
xiv / Acknowledgments

subject of the French avant-garde. I owe her much for sharing her literary
expertise, and for always encouraging nuance when thinking about radical
form. Rebecca West offered sage advice and encouragement at many crucial
moments, as did Judy Hoffman, who has been an invaluable friend and col-
league at every turn. Special thanks go to Marin Sarvé-Tarr, a talented art
historian, and my indefatigable research assistant during the most critical
periods of this project: your excellent work has made mine better. I am also
grateful for Christina Peterson's research assistance, and Kym Lanzetta's and
Katherina Loew's help with German language research and translation. Dan
Bertsche and the France Chicago Center, and the attendees and student
organizers of the Mass Culture Workshop, deserve my thanks for providing
discussion forums during the project's developmental stages. The work and
friendship of my colleagues in Cinema and Media Studies have inspired me
along the course of writing this book: Dominique Blüher, Robert Bird, Xinyu
Dong, Julia Gibbs, Tom Gunning, Loren Kruger, James Lastra, David Levin,
Rochona Majumdar, Richard Neer, Noa Steimatsky, Jacqueline Stewart, Yuri
Tsivian, and the late Miriam Hansen.
Beyond the South Side of Chicago, I have benefited from the feedback I
received at the following institutions where I presented my research: the
School of the Art Institute of Chicago, the Alice Kaplan Institute for the
Humanities at Northwestern University, the University of California at
Berkeley, Georgia State University, the University of Iowa, and the
Fundación Telefónica. Thanks to the Association of Graduate Art Students
at the University of Georgia, I was met with the timely insight of art histo-
rians Nell Andrew, Alisa Luxenberg, and Isabelle Wallace. At the 2 0 1 1
Society for Cinema and Media Studies annual conference, Carlos Kase
made key suggestions that impacted my thinking in important ways.
Stéphanie Salmon welcomed me countless times to the Fondation Jérôme
Seydoux-Pathé, where she provided invaluable research assistance, advice,
and images. The archivists and librarians at La Cinémathèque Française, La
Biblothèque Nationale de France, Le Musée Gaumont, and La Bibliothèque
Kandinsky, and Nancy Spiegel at the University of Chicago's Regenstein
Library, were all essential to building the archive found within these pages.
Bernice Rose, a cherished adviser and friend, first gave me the opportu-
nity to expand my study of Picasso and Braque in 2006, which was essential
to the evolution of this project. With her expert eye, she taught me how to
really look at, and question, Cubist pictures. Elza Adamowicz and Eric
Robertson organized a conference on Dada in 2006, where I initially pre-
sented research for chapter 2, which appears in their collection Dada and
Beyond, Volume 2 (Amsterdam: Rodopi, 2012). Michael Hammond gra-
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