Exhibition exploring the various phases of actress Greta Garbo’s career. In situ exhibition made up of photographs and memorabilia collected over the course of twenty years by businessman Lars Nordin. Exhibition presented in the F1 Gallery, on the ground floor of Fotografiska.
Stéphanie-Emmanuelle Louis, CJM ; projet EMAN, Thalim (CNRS-ENS-Sorbonne nouvelle).
Louis, Stéphanie-Emmanuelle (recherches; fiche)
Fotografiska Museum, Stadsgårdshamnen 22, 116 45 Stockholm
Arte y cine. 120 años de intercambios [Barcelone]
Exhibition exploring the relations between cinema and the arts. In situ exhibition made up of authentic objects, including paintings, drawings, sculptures, magazines, archives, elements from film sets, costumes and photographs. Film excerpts were also featured inside the exhibition. The exhibition was divided into nine parts tracing the evolution of cinema from one decade to the next, from its early beginnings to the digital age. The exhibition highlighted connections between the Lumière brothers and the impressionists, Chaplin and the Avant-garde, Dali and Hitchcock, Godard and Warhol as well as Yves Klein, also examining the ties between art and cinema in the age of video and installation art (Jaume Giró, Catalogue, p. 11). Most documents came from the Cinémathèque Française collection. Previously, the Obra Social La Caixa and the Cinémathèque had worked together on “La Magia del Cine”, an exhibition dedicated to Georges Méliès
Stéphanie-Emmanuelle Louis (recherches; fiche)
CaixaForum Barcelona, Av. Francesc Ferrer i Guàrdia, 6-8, 08038 Barcelone
Les plus belles robes du cinéma. La collection de la Cinémathèque française
In situ exhibition featuring authentic objects: 47 dresses worn on-screen and some accessories (shoe buckles, headdresses, brassieres). These costumes, taken from the Cinémathèque Française collection, reflect its international scope. They were selected among the “most glamorous and iconic” pieces “designed by the most famous costume creators and designers” (Marianne de Fleury ed., Les Plus Belles Robes du cinéma. La collection de la Cinémathèque française, Paris Musées, Paris, 2001, p.19). “While the sight of the dresses stirs up emotions related to the memory of their presence on screen, we may also put aside their aesthetic dimension and see them as important documents for the history of film, in a technical and historical perspective” (Béatrice Riottot El-Habib, in Marianne de Fleury ed., Les Plus Belles Robes du cinema. La collection de la Cinémathèque française, op. cit., p. 10). Film excerpts were featured throughout the exhibition, which took place at a time when the Cinémathèque Française no longer had an exhibition space for its collections, before it moved to its new location at 51 rue de Bercy.
Pavillon des arts, Westfield Forum des Halles
Exposition in situ composée d’objets authentiques, notamment des photographies, des croquis de costumes et des costumes.
Musée de la mode et du costume-Palais Galliera, 10 Avenue Pierre 1er de Serbie, 75116 Paris
Exhibition dedicated to the star actresses of Italian cinema in the 1950s and ‘60s. In situ exhibition featuring substitutes. It essentially offered set photography from the Italian agency Reporters Associati’s collection. It supposedly originated with the new releases and restoration of Italian films from the 1950s and ‘60s.
Stéphanie-Emmanuelle Louis (recherches; fiche; folios)
Le Bon Marché Rive Gauche, 24 Rue de Sèvres, 75007 Paris
Exposition consacrée à l'acteur français Jean Marais. Exposition in situ composée d’objets authentiques (costumes, archives, objets d’art) et substituts.
Musée de Montmartre, 12 rue Cortot, 750018 Paris
Exhibition dedicated to German actress Marlene Dietrich. In situ exhibition made up of authentic objects. Mainly costumes and props for film and the stage as well as outfits and accessories for everyday life. Photographs and personal objects (medals, cigarette case, jewellery, hat box) were also on display. The exhibition drew copiously from the collections of Berlin’s Museum für Film und Fernsehen. According to the different information concerning dates, it is likely the exhibition was extended from October through December 2003.
Exhibition offered to the public to mark the centenary of film star Greta Garbo’s birth. In situ exhibition mainly composed of professional photography. It contained 90 photographs of Greta Garbo - mainly portraits taken by famous photographers – that Garbo kept during her lifetime, shown and published for the first time by her heirs (the Reisfield family collection). The exhibition most probably also contained family photographs and correspondence.
Santa Barbara Museum of Art, 1130 State St., Santa Barbara
Arts et cinéma. Les liaisons heureuses [Rouen]
Exhibition exploring the relations between film and the arts. In situ exhibition made up of authentic objects, including works of art. These objects were essentially taken from the Cinémathèque Française’s collections, from those of the Musée des Beaux-Arts de Rouen, but also from international collections, public and private. The exhibition alluded to the exchanges between cinema and the arts, from the time it appeared up to its recognition as 7th art. Its ambition was to be a comparative reflection on the links between cinema and the other arts and their reciprocal influences.
Musée des Beaux-Arts (Rouen), Esplanade Marcel Duchamp, 76000 Rouen
Exposition explorant les relations entre arts et cinéma. Exposition in situ composée d’objets authentiques, et notamment d’œuvres d’art. L’exposition évoque le dialogue entre cinéma et arts, de son émergence jusqu’à sa reconnaissance en tant que 7e art. Elle se veut une réflexion comparative sur les liens du cinéma avec les autres arts et leurs influences réciproques.
Fondation de l’Hermitage, Route du Signal 2, 1018 Lausanne
Arte y cine. 120 años de intercambios [Madrid]
Exhibition exploring the relations between cinema and the arts. In situ exhibition made up of authentic objects, including paintings, drawings, sculptures, magazines, archives, elements from film sets, costumes and photographs. Film excerpts were also featured inside the exhibition. The exhibition was divided into nine parts tracing the evolution of cinema from one decade to the next, from its early beginnings to the digital age. The exhibition highlighted connections between the Lumière brothers and the impressionists, Chaplin and the Avant-garde, Dali and Hitchcock, Godard and Warhol as well as Yves Klein, also examining the ties between art and cinema in the age of video and installation art (Jaume Giró, Catalogue, p. 11). Most documents came from the Cinémathèque Française collection. Previously, the Obra Social La Caixa and the Cinémathèque had worked together on “La Magia del Cine”, an exhibition dedicated to Georges Méliès.
CaixaForum Madrid, P.º del Prado, 36, 28014 Madrid
Los guardo di Michelangelo. Antonioni e le arti [Ferrare]
Exposition in situ composée d'objets authentiques.
Palazzo dei Diamanti, Corso Ercole I d'Este, 21, 44121 Ferrara
Michelangelo Antonioni. Il Maestro del Cinema moderno [Bruxelles]
Exhibition dedicated to Italian filmmaker Michelangelo Antonioni. In situ exhibition made up of authentic objects, namely over 200 of the filmmaker’s personal documents (letters, scripts, photographs). The initial hanging in Ferrara contained around ten artworks which were not presented in the hanging presented in Brussels (BRUZZ, 20/06/2013). The documents came from an Italian collection and left Italy for the first time to be shown in Brussels. It was the first big exhibition dedicated to film made by BOZAR. It was organised in collaboration with the Cinémathèque Royale de Belgique.
Palais des Beaux-Arts/ BOZAR, Rue Ravenstein, 23, 1000 Bruxelles
Renoir père et fils. Peinture et cinéma [Paris]
Exhibition exploring the relations between painting and cinema through the case studies of Auguste and Jean Renoir. In situ exhibition made up of authentic objects and substitutes. Among the authentic objects are to be noted: paintings, ceramics, design drawings for sets and costumes, lithographs, posters, archives, books and magazines, costumes. For the most part, the photographs were recent prints made from digital files reproducing the originals (Catalogue, p.299). This exhibition’s installation was based on comparisons with films, documentary or fiction, screened throughout the circuit. The exhibition wished to offer a new and nuanced perspective on the “complex and successful artistic relation kept by Pierre-Auguste and Jean” (Catalogue p.10).
Musée d'Orsay, 1 Rue de la Légion d'Honneur, 75007 Paris
Renoir: Father and Son / Painting and Cinema [Philadelphie]
Exposition explorant les relations entre peinture et cinéma à travers le cas d'Auguste et Jean Renoir. Exposition in situ composée d'objets authentiques: tableaux, notamment.
Barnes Foundation, 2,025 Benjamin Franklin Pkwy, Philadelphie, PA 19130
Affiches françaises et étrangères du cinéma muet
Exhibition about poster art around the world in the silent-film era. In situ exhibition made up of authentic objects: silent film posters in various formats. The hanging brought together French and foreign posters. With over 180 posters, the aim was to bear witness to “the evolution of poster art serving cinema […] and at the same time [to fix] some historical markers of national cinematographies”, from the end of the 19th century to the 1930s (Exhibition presentation leaflet. FIAF Archives; AFF/065). Presented on different floors of the Palais des Festivals (entrance hall, corridors). The documents were presented on mesh display panels, fixed at height or on the ground and protected by film or plastic screens. The exhibition was produced with help from FIAF member archives.
Palais des Festivals, 1 boulevard de la Croisette, 06400 Cannes
Exhibition about film heritage professions and film archive activities around the world. It was made up of information panels which associated text and photographic substitutes of objects and documents. This hanging included some authentic objects (devices, posters, conservation equipment). The hanging was presented in the Palais des Festival’s main entrance hall. The exhibition was organised with help from other members of the FIAF and the ADAF-Association pour le développement des archives du film. Its aim here was to “raise awareness about the scientific, technical and methodological aspects of film conservation and restoration and, more generally film heritage’s preservation among the festival’s leading figures as well as those from the audiovisual industry attending the festival and the general public” (see the Exhibition presentation leaflet; Archives de la FIAF; AFF/065). The circuit namely approached the methodic organisation of collection and inventory, state-of-the art cataloguing and restoration techniques for film and non-film collections.
Brigitte Bardot, les années insouciance
Exhibition dedicated to French actress Brigitte Bardot. In situ exhibition made up of authentic objects, photographs, posters, press cuttings and correspondence. Organised on the occasion of the actress’s 75th birthday and inaugurated by the actress herself.
Musée des années Trente-Espace Landowski, 28 avenue André Morizet, 92100 Boulogne-Billancourt
In situ exhibition made up of authentic objects such as photographs, archives, posters, press cuttings, costumes and props. The circuit was chronologically organised and retraced the actress’s career. Tribute on the occasion of the 30th anniversary of the actress’s passing.
Affiches du cinéma muet dans le monde 1895-1929
In situ exhibition made up of authentic objects, precisely posters from around the world pertaining to the silent-film era. In an incomplete presentation, it aims to showcase the “graphic heritage devoted to film” by showing “the major trends of graphic expression and their evolution up to the end of silent film throughout the world” (Nicole Schmitt, Alain Weill, Affiches du cinéma muet dans le monde 1895-1929, Musée d’Orsay/FIAF, Paris, 1988, p.4). Exhibition produced with collaboration from around twenty FIAF members, in the scope of events linked to the federation’s 50th anniversary.
Louis, Stéphanie-Emmanuelle (recherches; fiche; folios)
In situ exhibition namely made up of authentic objects. It approached the “first ten years of film through the pioneers’ most eccentric dreams and inventions”. The Cinémathèque Française collaborated in this exhibition’s production. Loans from the Musée de l’Air et de l’Espace, from the Lyon Musée du Cinéma, from the Beaune Musée Etienne-Jules Marey, from the Paris Musée National des Techniques, the London Science Museum and the East Berlin Staatliches Filmarchiv der DDR are to be noted. In relation with the FIAF and the 1988 Paris Congress.
Exposition in situ « consacrée aux problèmes techniques et méthodologiques de la conservation et de la préservation du patrimoine cinématographique dans le monde. » (site du Musée d’Orsay).
Hitchcock et l’art : coïncidences fatales [Paris]
Exhibition exploring the aesthetic echoes between the films of Alfred Hitchcock and the fine arts. In situ exhibition made up of over 200 authentic objects, namely works of art (engravings, paintings, sculptures) and archives dating from 1850 through 1980. The exhibition was held in galleries 1 and 2 of the Centre Pompidou. Concerning its design, the Parisian hanging covered 1,000m² (Le Monde, 7/06/2001) Photographs show that the walls of the different exhibition spaces were different colours: red, white, dark grey. Some documents were presented in cases (wall cases especially), whilst others were framed and fixed to the walls. A reconstitution of a set taken from Psycho was also presented.
Centre Pompidou, Place Georges-Pompidou, 75004 Paris
Hitchcock et l’art : coïncidences fatales [Montréal]
Exposition explorant les résonances esthétiques entre les films d'Alfred Hitchcock et les arts plastiques. Exposition in situ composée de plus de 200 objets authentiques, notamment oeuvres d'art (peintures, gravures, sculptures) et archives. Du point de vue scénographique, la surface de l'accrochage canadien est de 1500m² (Le Monde, 7/06/2001).
Musée des beaux-arts de Montréal, 1380 Rue Sherbrooke O, Montréal, QC H3G 1J5
Exhibition exploring the existing echoes between the works of Auguste and Jean Renoir and studying more generally the relations between impressionism and film. In situ exhibition made up of authentic objects and substitutes spanning 650 m². The circuit was organised following five sections, plus one “sound section”. Among the authentic objects are to be noted: paintings, sketches for costumes, photographs, archives and correspondence but also ceramics. Among the substitutes: modern photographic prints. Film excerpts were screened. Sound excerpts were also played in the “sound section”. “At the initiative of Claude Berri, its president, the Cinémathèque Française and the Musée d’Orsay joined forces to design its inaugural exhibition [and] pay a double tribute to painter Pierre-Auguste and his filmmaker son Jean, thus also recognising the other members of this illustrious family of artists and especially Jean’s two brothers: Pierre and Claude. We wished to address themes shared by Pierre-Auguste and Jean Renoir such as self-portraits and family portraits, representing models, nature’s influence or their shared taste for great compositions. In order to show the ties that unite Pierre-Auguste’s painting to Jean’s films, these different themes are presented in the exhibition by way of a parallel comparison showing on one side a painting by Pierre-Auguste and on the other a film by Jean”. (Serge Lemoine, Serge Toubiana, Catalogue, unpag) This exhibition was offered on the occasion of the Cinémathèque Française’s opening in its new building at 51 rue de Bercy (Paris XIIe).
Cinémathèque française, 51 rue de Bercy, 75012 Paris
Cinématisse. Dialogues d’un peintre avec le cinéma
Exhibition exploring the relations between fine art and film. It addresses the echoes between the pictorial work of Matisse and cinema, of which the painter was a regular spectator, as well as Matisse’s influence in the work of filmmakers after World War II. Exhibition made up of authentic objects and substitutes. Authentic objects consisted mainly of works by Henri Matisse on different mediums but also works by contemporary artists, photographs, posters, correspondence and personal objects (diaries). Concerning the substitutes, they were mainly digital prints of photographs and photograms. Film excerpts were also shown. The hanging spanned approximately 500 m². The photographs, available on the Musée Matisse’s website, show a sober display with white picture rails and a majority of documents presented on the walls. This exhibition was part of the fourth Biennale des Arts, curated by Jean-Jacques Aillagon and the programme “Nice 2019, L’Odyssée du cinéma”. This event took place on the centenary of the founding of Nice’s Victorine studios.
Musée Matisse, 164 avenue des Arènes de Cimiez, 06000 Nice
Die Ausstellung Hollywood Icons. Fotografien aus der John Kobal Foundation
In situ exhibition of 200 black and white photographs taken in Hollywood by John Kobal. Not only portraits, but also set photography showing a behind the scenes look at the film industry. This exhibition drew from the John Kobal Foundation’s photographic collections.
Ludwiggalerie Schloss Oberhausen, Konrad-Adenauer-Allee 46, 46049 Oberhausen
Exposition in situ composée de photographies.
Institut Suédois, 11 rue Payenne, 75003 Paris
Enfin le cinéma ! Arts, images et spectacles en France (1833-1907)
Exposition sur les relations du cinéma avec les autres arts, depuis les débuts de la photographie. Exposition in situ composée d'objets authentiques: oeuvres d'art (peintures, scultptures notamment), photographies, objets publicitaires, jouets optiques. Une exposition associée a aussi été proposée au LACMA Los Angeles County Museum of Art.
Passion Cinéma : une histoire des collections de la Cinémathèque française et du CNC
Exhibition offering a panoramic view of the Cinémathèque Française’s collections and improvements since its creation, whilst alluding to its history, its networks and its museographic ancestors. In situ exhibition with a permanent vocation opened at the Cinémathèque Française for the inauguration of its new premises at 51 rue de Bercy. Made up of authentic objects, it spanned 1,100m². The circuit is divided into four parts. First, the Will Day collection is showcased – in the 1920s it was one of the first to be exhibited at the London Science Museum. This collection, acquired in 1959 by the Cinémathèque Française thanks to support from the state and the newly created Ministry of Culture, was a major addition to its collection of devices. Second, a reminder of the improvements made by Henri Langlois, Lotte Eisner and Mary Meerson starting in 1936 and 1937, the Cinémathèque Française’s first active years. Third, for the period after 1969, the collections of devices and posters from the CNC archives which were deposited at the Cinémathèque française are displayed. And last, the “most remarkable pieces, donated to the Cinémathèque Française over the past few years or recently acquired by the CNC” are displayed (Activity Report, 2005).
Maria Laura Cucciniello (édition numérique)
Fiche : Projet CinEx (dir. Stéphanie-Emmanuelle Louis, CJM ; projet EMAN, Thalim (CNRS-ENS-Sorbonne nouvelle). Licence Creative Commons Attribution – Partage à l’Identique 3.0 (CC BY-SA 3.0 FR).
In situ exhibition dedicated to Spanish filmmaker Pedro Almodovar and designed with his collaboration. Made up of authentic objects, it brought together paintings, drawings, furniture, posters, photographs and costumes. Film excerpts were also featured. The design developed the concept of a “sensory maze, made of thematic rooms and alcoves”. It was imagined and designed with the aim of conveying a mixed impression of agitation and calmness. On the one hand, the baroque saturation, an abundance of colours and music. On the other, the filmmaker’s mental and secret universe, his growing taste for neatness and emotional analysis.” (Activity Report, 2006). Exhibition produced with collaboration from El Deseo, sponsored by Pathé, the Fondation Pierre Bergé – Yves Saint Laurent and support from Seacex. In addition to the catalogue, different tie-in products were produced in connection with the Réunion des Musées Nationaux: posters, postcards, notebooks, magnets.
Le cinéma expressionniste allemand [Paris]
Exhibition addressing German expressionism through the most prized pieces of the Cinémathèque française’s collections, collected by Henri Langlois and Lotte Eisner. It was held inthe context of the Cinémathèque française’s 75th anniversary and coincided with the release of Laurent Mannoni’s book about the institution’s history. In situ exhibition made up of authentic objects, includingover 150 drawings. These are “compared to around twenty excerpts from expressionist films, which demonstrate German silent film’s appeal for architecture, the ‘demonic’, metaphysics, abstraction and play of light” (Activity Report, 2006). Concerning the substitutes, a reconstruction of the set from The Cabinet of Dr Caligari, commissioned to H. Warm by Henri Langlois was displayed after being restored for the occasion. In addition to the catalogue, different tie-in products were produced in connection with the Réunion des Musées Nationaux: posters, postcards, notebooks, magnets. The exhibition was sponsored by Chopard.
Exposition conscrée aux marionnettes dans le cinéma. Exposition in situ composée d'objets authentiques, dont des objets issus des collections de la Cinémathèque française. Exposition au service pédagogique de la Cinémathèque française.
Exhibition about the impact of cinema on the inspiration of ten professional photographers from the Magnum agency. Organised with the Magnum Photos agency on the occasion of its 60th anniversary. The hanging proposed around 200 prints. Its purpose was to “reveal how a director, a film or a drawing may have left a mark in the labyrinth of their mind, before weaving its way into their practice. Laying claim to this heritage from another gaze, making it a fresh raw material to observe, exploit, recompose, in a more or less explicit and faithful fashion” (Activity Report, 2007). In order to do so, the hanging proposed “ten photographic and audiovisual installations” (Activity Report, 2007). A film by Aka Ana was presented for the occasion. The exhibition was sponsored by Orange.
Exhibition about the impact of cinema on the inspiration of ten professional photographers from the Magnum agency. Organised with the Magnum Photos agency on the occasion of its 60th anniversary.
Centro de Cultura Contemporània de Barcelona, Montalegre 5, 08001 Barcelona
Exhibition dedicated to French stage and screen actor as well as filmmaker Sacha Guitry. Exhibition co-produced by the Cinémathèque française and the Bibliothèque Nationale de France on the occasion of the 50th anniversary of Guitry’s death. It was composed of roughly 440 authentic objects: props, archives, costumes, posters, works of art. It unfolded following a chronological and thematic circuit exploring Guitry’s biography and artistic networks as much as his creations (all mediums combined). Film excerpts and sound documents were featured along the circuit. Apart from the published catalogue, a DVD box-set was co-edited in connection with the exhibition. Tie-in products were also produced. The exhibition was sponsored by Banque Neuflize OBC.
New display of the permanent exhibition with rotation of the objects on permanent display at the Cinémathèque Française. The exhibition featured newly acquired authentic objects. These included, according to the 2007 Activity Report: a 19th-century peepshow box; the dress worn by Lola Montès in Max Ophuls’s 1955 film; the cloak with train worn by Stacia Napierkowska in Jacques Feyder’s L’Atlantide (1921); the cloak worn by Marlene Dietrich in William Dieterle’s Kismet (1944); the gown and cape worn by Ann Baxter in Joseph L. Mankiewicz’s All About Eve (1950).
Salomon et la reine de Saba : des dessins au film
Small-scale exhibition dedicated to Solomon and Sheba (King Vidor). This presentation of documents was proposed by the Cinémathèque Française library, in connection with the King Vidor Retrospective. The exhibition featured authentic documents, including parts of the storyboard and set illustrations. The exhibition was presented inside the Cinémathèque Française library.
Le Festival international du Film de Cannes à travers ses affiches
Exposition légère sur les affiches du festival de Cannes à l'occasion des soixante ans du festival. Une sélection de vingt-sept affiches (sur 99) est proposée par la Bibliothèque de la Cinémathèque française. Elle est prolongée par un site internet présentant les Palmes d'or depuis les origines du festival, qui mobilise de nombreux documents (archives, affiches) des fonds de la Cinémathèque française. Elle est présentée dans les espaces de la Bibliothèque de la Cinémathèque française.
Exposition légère sur le cinéaste d'animation français Paul Grimault. Elle se compose d'objets authentiques relatifs à son travail : dessins, affiches et photographies. Elle est présentée dans les espaces de la Bibliothèque de la Cinémathèque française et fait écho à la programmation Archives françaises du film – CNC, Du praxinoscope au cellulo, un demi-siècle d’animation en France.
Exhibition dedicated to the pioneering French filmmaker George Méliès and to the early days of cinema. The exhibition featured authentic objects, including drawings, devices, photographs, costumes, scale models and artworks. It “contained outstanding pieces from two landmark collections: the Cinémathèque’s, which began collecting documents on Méliès as early as 1936, and the CNC’s, acquired from the Méliès family in 2003 and entrusted to the Cinémathèque Française” (2008 Activity Report). A 3D replica of Méliès’s glass studio was featured among the substitute objects and the exhibition included audiovisual excerpts. The circuit followed a chronological-thematic order. It was presented over 300 m2 on the 7th floor of the Cinémathèque Française. The exhibition was sponsored by Natixis, Christian Fechner and agnès b. Probable dating error on the Cinémathèque Française website (4–25 May, 2008).
Dennis Hopper et le Nouvel Hollywood [Paris]
Exposition consacrée à Dennis Hopper, cinéaste et interprète iconique du Nouvel Hollywood, et à ses liens avec le monde artistique. L'exposition a été réalisée avec sa collaboration. Elle se compose d'objets authentiques: photographies, œuvres d'art, installations réalisées par Dennis Hopper mais aussi œuvres d'art issues de sa collection. Des extraits de films sont aussi montrés. Elle se veut une évocation des " paradoxes de l'art américain depuis les années 50. Ceux d'un pays en mutation qui passe de la pop culture à la subculture des banlieues, du psychédélisme aux action paintings, de la rébellion au désenchantement." (Rapport d'activités 2008). Présentée au 5ème étage de la Cinémathèque française sur 600m². L'exposition bénéficie d'un mécénat de Canal + et d'un partenariat technique de la Fondation Thompson pour le cinéma et la télévision.
New display of the permanent exhibition with rotation of the objects on permanent display at the Cinémathèque Française. Creation of a room dedicated to Alexandre Alexeieff and featuring the first-ever pinscreen designed in the 1930s (Cinémathèque Française collection), as well as the largest pinscreen ever restored (CNC collection). Area dedicated to the “Russian School of Montreuil” with a particular focus on the Albatros Studio (posters, scale models, costumes, elements from the set, cameras, photographs, promotional brochures). Access to audio-guides.
Lanterne magique et film peint – 400 ans de cinéma [Paris]
Exhibition exploring magic-lantern imagery from the 17th century to painted films. In situ exhibition including collections from the Cinémathèque Française and from the Museo Nazionale del Cinema de Turin, along with objects from private European collections. The exhibition included over 500 authentic objects: glass plates from the 18th and 19th centuries, machines, paintings, drawings, etchings, statuettes, books, manuscripts, posters, original painted films. Several outstanding pieces, including ghost-making machines, animated plates dating back to the rule of Louis XIV and plates from the Royal Polytechnic Institution. Both magic-lantern and film projections were featured throughout the exhibition, including the first-ever animated drawings from 1897, painted films from the early days of cinema by Méliès and by Segundo de Chomón, a pornographic film from the 1910s, experimental films by Norman McLaren and José Antonio Sistiaga and films by prominent filmmakers (François Truffaut, Luchino Visconti, Ingmar Bergman, Federico Fellini). New prints were acquired for some of the rarer films; others were restored for the occasion. During the exhibition, recreation of the “Pantomimes Lumineuses” shows put on at Emile Reynaud’s Théâtre Optique, in the presence of a demonstrator. The circuit is organised around ten themes, including: Phantasmagoria, Religion, Erotica, Grotesque, Travelling, Science, Everyday Life. The exhibition was sponsored by Neuflize OBC and EDF Mécénat. It was presented over 600 m² on the 5th floor of the Cinémathèque Française.
Dennis Hopper et le Nouvel Hollywood [Melbourne]
Exposition consacrée à Dennis Hopper, cinéaste et interprète iconique du Nouvel Hollywood, et à ses liens avec le monde artistique. L'Exposition se veut une évocation des " paradoxes de l'art américain depuis les années 50. Ceux d'un pays en mutation qui passe de la pop culture à la subculture des banlieues, du psychédélisme aux action paintings, de la rébellion au désenchantement." (La Cinémathèque française, Rapport d'activités, 2009) Elle se compose d'objets authentiques: photographies, œuvres d'art, installations réalisées par Dennis Hopper mais aussi œuvres d'art issues de sa collection. Des extraits de films sont aussi montrés. La sélection montrée est sensiblement la même "avec toutefois des adaptations liées aux conditions de prêts, à l’espace et aux attentes du public australien. (ex: remplacement de Orleans, 1959, Franz Kline par une série de ses oeuvres graphiques). Autre adaptation: l'ajout d'une vitrine " autour de Dennis Hopper et son rôle dans le renouveau du cinéma australien (le film culte, Mad Dog Morgan, dans lequel il joue en 1976) [composée] à partir d’archives provenant du National Film and Sound Archive." La scénographie est "très inspirée de celle de la Cinémathèque française" (Cinémathèque française, Rapport d'activités, 2009)
Exposition explorant l'iconographie relative aux lanternes magiques depuis le XVIIe Siècle jusqu'aux films peints. Le contenu et la scénographie ne sont pas les mêmes que pour l'accrochage parisien.
Exposition sur le célèbre film Metropolis, réalisé par Fritz Lang. L'exposition a été conçue et réalisée par la Deutsche Kinemathek suite à la découverte d'une copie 16mm du film à Buenos Aires, qui a permis sa reconstitution dans une version la plus proche de sa version originelle présentée en janvier 1927 à Berlin. Vues de l'exposition sur le site de la Deutsche Kinemathek: https://www.deutsche-kinemathek.de/en/gallery/complete-metropolis
Deutsche Kinemathek, Potsdamer Straße 2, 10785 Berlin
Exhibition dedicated to Fritz Lang’s famous film Metropolis. The exhibition was designed and put together by the Deutsche Kinemathek after a 16 mm print of the film was found in Buenos Aires, allowing for Metropolis to be recut as faithfully as possible to the original version shown in Berlin in January 1927. The exhibition “brings the architectural dimension of the film to the fore while simultaneously tracing the history of its production, distribution and restoration” (La Cinémathèque Française, Activity Report, 2011). The exhibition featured approximately 220 objects. Some of these were authentic objects, in large part borrowed from collections housed at the Deutsche Kinemathek and at the Cinémathèque Française: original drawings for the set, costumes, devices, on-set photographs. Substitutes included a robot of the “machine-woman”. Film excerpts were featured throughout the exhibition, organised according to the film’s six main sequences: the City of the Sons; the City of Workers; the City Above; Rotwang’s Laboratory; the Catacombs; the Cathedral. The exhibition was presented over 300 m² on the 7th floor of the Cinémathèque Française. The exhibition was sponsored by Neuflize OBC and Groupama with support from Kodak.
Les enfants du Paradis. Carné, Prévert, Arletty, Barrault… Les Secrets d’un film de légende
Exhibition tracing the history of Marcel Carné’s Children of Paradise. Produced by Pathé during the German Occupation of France, the film was released in 1945 and restored by Pathé in 2012. In situ exhibition made up of authentic objects from various collections on this topic: the Cinémathèque collection, first started in the 1940s, supplemented by an acquisition in 2009 and by a donation in 2010; the Fondation Jérôme Seydoux-Pathé collection. Approximately 300 objects were displayed: costumes, scale models of the set and costumes, props, etchings, photographs, archives, devices, artworks. One element of the set was recreated: the façade of the Funambules theatre. Film excerpts were featured throughout the exhibition. The exhibition was presented over 600 m² on the 5th floor of the Cinémathèque Française. It was sponsored by Neuflize OBC, Groupama, Pathé and the Fondation Pierre Bergé-Yves Saint Laurent.
Exhibition dedicated to the French filmmaker Marcel Carné, in connection with the larger-scale exhibition organised by the Cinémathèque Française on Children of Paradise. This exhibition marked the opening of a Donators’ Gallery following the redesigning of the 4th floor of the Cinémathèque Française museum. The area spans some 150 m². In situ exhibition made up of authentic objects from Marcel Carné’s archives. This collection is exceptionally rich, in part because of “the acquisition of the Marcel Carné-Roland Lesaffre collection (formerly housed at the French Library, in Boston, USA) in 2009, with support from the Ministry of Culture and Communication, the City of Paris and several private patrons” (Cinémathèque Française, Activity Report, 2012).