Tom Gunning
Non-Continuity, Continuity,
Discontinuity :
A Theory of Genres in Early Film
In my essay entitled « The Non-Continuous Style of Early Film »/1, I surveyed a group of what could be called anomalies in early film -elements which, from the viewpoint of the later dominant style of film-making (which we could call - with caution and reservation - the classical style of continuity) seemed deviant. Inspired partly by the work of Noel Burch and partly by own interest in later «deviant »styles of film-making in the avant-garde, I felt it was important not to see these anomalies as primitive mistakes groping towards the lateresta-blished ideal of match cutting and diegetic unity but as indications of another direction in film narrative than that of later dominant cinema, a road not taken by the major film industries.
My essay was announced as preliminary, and in it I indicated my uncertainty as to whether the group of anomalies I surveyed could actually be thought of as forming an organic and unified style in early film. It now seems to me that the importance of the elements I discussed is not primarily that they sketch an alternate approach to narrative than that of the classical style, but rather that they reveal how complex and dialectical the development of the classical style is. Rather than serving as markers on a deviant route in film history, the elements of
non-continuity in early film punctuate the body of film history, beco-ming a series of blind spots. For traditional historians who see film as moving towards an ideal of continuity, the anomalies can only be seen as errors or failed attempts. For recent theorists such anomalies are JI. This paper has since been published in French: 1< Le style non-continudu cinema des premiers temps», in Les Cahiers de la Cim!mmht?que (Perpignan. hi ver 1979) and in English ln Cinema /900/ 1906: An Ana(1,1ical Study, ed, Roger Holman, Bruxelles, FJ.A.F., 19&2, Volume I, which anthologizes all of the papers delivered at the Brighton Conference.
102 Tom Gunning
significant as deconstructive deviations. But in fact these critical points
in film discourse reveal precisely that film history can not be conceived
according to static models of coherence or non-coherence to an (often unspecified) ideal of classical continuity (which, after its establishment would seem to have no history, other than that of a static definition
while other films can only be conceived through the relation of
deviance from the norm).
Early cinema, then, need not be viewed as either a moment in the natural development of the later modes of classical continuity, or as a
prelapsarian era before the betrayal of cinema to the monopolistic representatives of bourgeois culture and morality. The challenge that early cinema offers to film history is a search for a method of unders
tanding the transformations in narrative form in cinema's first
decades ; a method that maintains an awareness of early film's diffe rence from later practices, without defining it simply as a relation of
divergence from a model of continuity (that, in fact, has not yet
appeared). It is precisely the history involved in these changes that mustbe understood. There is no question that the understanding of this history ultimately must include not only a close and comparative viewing of all existing films with the tools of analysis that structuralism and semiology has provided to film study, but also an understanding of these films as economic products. The means of production and consumption (in a broad understanding of these terms) of early film is only now being
described and investigated. It is only from a full description of the means of financing, the actual methods of production of films, the processes of their distribution, the practices of exhibition, and finally the way films were received by audiences, that a truly historical view of cinema will be possible. If the methods of analysis of films as signifying systems and as economic commodities are different, they are by no means mutually exclusive, nor ultimately fully independent. I must single out the recent work of Charles Musser for his attempt to unders
tand the signifying process in early films in relation to the strategies involved in their presentation and production.
If the history of film as a commodity is necessary for a full understan ding of film form in history, it is not the only means of approaching the film historically. We must develop methods of analysis of the films themselves which include a historical dimension. The investigation of film texts as systems had encouraged an approach that is rigorously synchronic. Certainly this synchronic investigation of films was neces sarily the founding task of a structural approach to film. However the
time has now come for a diachronic comparison of filmic systems within history. One particularly fruitful method in a diachronic approach to early film is the investigation of cine-genres.
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. . Continuity. Discontinuity
Non-Conttnu1ty,
. . . on the recent stud Two 1tm1tat1ons . 'ts almost exc
. The ftrst ,s t .
evident. . . ather than express1
content Ill ftl.m� �tion I wiII discuss
fiers). Thts Itmtt much of recent s
tion is that,hke so haps not surpri� history. Thts ts h��ld precede its dt:synchron1caily s
studies that tr;
been genre f '
of course, .
something o a .
genres, supplying
But the rclatio': film, or weste��een broached. Thi: general has no ·,n which get
· , of genre h
concepuon of genre oft E
change : th� t�:eo:�riticized for rerr Althoug O . . ·n fact in the I
cal contexts, ,t :/ �ed the historic, Formaltsts intro
�erstanding of a, The Formalts( unr of art forms a gave to the h1sto rnov put it, (( anrenewal. As Tyny t'on of old v2 l destruc 1
strugg e, a I this view ltterary elements » /2. n for dominance as with nval .genres
d ventual decay. , canoniz�t,on an �e and moves inE
defam1hanzing ro
new fonns/3. hi
s dy�amic vieW C
Certainly t new forms »/4 h self-creat1on.
lof.t provides for a
. Wht e I t'
history.. t of «self-crea 1c forms, its conc�ph influence the 1cal factors wh1c. l to our unders which are essent1:elves were awat Formalists the�ichenbaum descr however, and d d by a wholt evoluti?n surdrBut, tf in nee o of�o':np\etion by' d by Boris Eic V quote .. ·
/ 2 Tynyano . F a/i�t Cnt1c1.
Method' )) in Russian orm . \965. p. I34F. alist approach to g:/ 3. The . orm ll summarized i� . nr above and is usefud y n Aesthetic o.f R Theory )) in Towar 1982. P�· 16-bl8. m s o
op. cit .. P· 135. / 4. E1chen au
ns. But in fact th film history can �s
itc�itical Points _ice or non-cohere e conceived 1{{;:'nh:��t aJ}er it��:t�bt�1:en ceived throug� \! �tic definitio�t e relation j :wed as either a m . o -s of_ classical conti�ment In the
of cinema to th Uity, or as a
nd morality. Th/c:�J°opolistic se�rch for a methoda enge that rative form . . of unders-a in c1nem '
. wareness of l . as first 'Ining it sim l ear y film's
diffe-1ty (that inp )' as a relation of 1 d . ' ,act has , ve in these h ' not Yet c anges that must
indingofthis hist . iarative view· ory ull!mately ucturalism a��g of �IJ existing tderstanding f s�m1ology has uction and o t ese films as f early film �o
nsumption (in a
· is only
b . rom a fu]] de . now
emg
s of productii�nption of the ices of exhib"t· of films, the
th I Ion and f"
, at a truly h" '. maIJy f analysis of fl istoncal view ofare different' i;;,s as signifying ly fully ind ' ey are by no ;s�r for his a1fe�
n
dent. I must
; In relation to
Wt
toUnders-1ction. e strategies
tecessary for a fu]]
1ly means of Understan
ods of anal a))proachingthe ension Th J'.Sis of the films appro�ch thm tv_esti_gation of . 1· . a is ngo l s 1gation of film rous y
t,roach to fil
J
was neces mparison or"}-1 ?Wever the1 method · 1 m,c systems r
I of cine-ge�� a diachronic es.
l
Non-Continuity, Continuity, Discontinuity 10)
Two limitations on the recent study of genre in film are immediately evident. The first is its almost exclusive attention to the aspect of content in films rather than expression (of signifieds rather than signi fiers). This limitation I will discuss somewhat later. The other limita tion is that, like so much of recent serious film study, it is cut off from history. This is perhaps not surprising since the description of genre synchronically should precede its diachronic investigation. There have, of course, been genre studies that traced the modification of particular genres, supplying something of a specialized history of the gangster film, or western. But the relation of such genres to film history in general has not been broached. This is surprising because there exists a conception· of genre in which genre itself is a vehicle of historical change: the theory of genre of the Russian Formalists.
Although often criticized for removing the literary text from histori cal contexts, it is in fact in the theory of genres that the Russian Formalists introduced the historical dimension to the analysis of texts. The Formalist understanding of art as a process of de-familiarization gave to the history of art forms a necessity for constant change and renewal. As Tynyanov put it, « any literary succession is first of all a struggle, a destruction of old values and a reconstruction of new elements »/2. ln this view literary genres become dynamic, competing with rival genres for dominance as they move through a cycle of origin, canonization and eventual decay. As a genre gains popularity it loses its defamiliarizing role and moves inevitably into decadence giving way to new forms/3.
Certainly this dynamic view of genres as part of the « dialectical self-creation of new forms »/ 4 has limitations as a model for film history. While it provides for a dynamic view of the succession of forms, its concept of « self-creation » limits our access to other histori cal factors which influence the growth and decay of genres, factors which are essential to our understanding of film as a commodity. The Formalists themselves were aware of the limitations of the approach, however, and Eichenbaum described it as « only a general outline of evolution surrounded by a whole series of complicated conditions »/5. But, if in need of completion by a consideration of these «complicated /2 Tynyanov quoted by Boris Eichenbaum in «The Theory of the 'Formal Method')) in Russian Formalist Criticism, ed. Lemon and Reis, Lincoln, Nebraska,
1965, p. t 34.
/3. The Formalist approach to genre is discussed in the Eichenbaum essay cited above and is usefully summarized in « Literary History as a Challenge to Literary Theory 1) in Towards an Aesthetic of Reception, by Hans Robert Jauss, Minneapolis,
1982, pp. 16-18.
/ 4. Eichenbaum. op. cit., p. 135.
/5. Ibid., p. 136.
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t t - I104 Tom Gunning conditions » (which for me involves film as a commodity, primarily), nonetheless this concept allows us to grasp film genres as truly histori
cal events. From this the conception of a historical series of film genres arises in which, to quote Hans Robert Jauss «the next work can solve formal and moral problems left behind by the last work, and present new problems in turn »/6.
We can now turn to the limitation of the concept of genres in recent film analysis to aspects cif content. Although there are reasons why this
has been useful in the approach to later cinema (in which the concept of genre is basically one taken over from policy of production and distri bution within the industry: hence the categories of musical, gangster
film, horror film, etc.), it also has limited our approach to genre as an aspect of the actual form of films. The Russian Formalist come to our
aid again in their (admittedly preliminary) works on film, with the concept of «cine-genres »/7. Writing in the 'twenties, the Formalists were primarily concerned to establish what genres were uniquely cine matic as opposed to those «parasitically» taken over from literature
and drama. For our purposes, however, the most important aspect of
the concept of cine-genres is that it does not define genres simply in
terms of content («Story » for the Formalists), but also in terms of its actualization as expression through the specific stylistic devices of film
(«Plot» for the Formalists). As A. Piotrovskij puts it:« We shall define
a cine-genre as a complex of compositional, stylistic, and narrative devices, connected with specific semantic material and emotional emphasis but residing totally within a specific 'native' art system -the
system of cinema. Therefore, in order to establish the 'cine-genres', it is necessary to draw specific conclusions from the basic stylistic laws of
cine-art, the laws of'photogeny' and 'montage'. We will observe how the use of'space', 'time', 'people', and 'objects' varies from the point of view of montage and photogeny, depending on the genre. We will also
observe how the narrative sequences are arranged, and what the inter
relations among all these elements are within a given cine-genre »/8. This approach to genres is particularly useful in dealing with early cinema. This is partly because such « genres » as have already been discussed in early cinema -such as the chase film or the trick film
-can partly be differentiated through their approaches to filmic space
and time. Equally important is the way the genres of early cinema can /6. Jauss, op. cit .. p. 32.
/7. Russian Formalist writings on the cinema are found in RUssian Formalist Film Theory, ed. Herbert Eagle, Ann Arbor, 1981. On genre, see particularly Tynjanov (Tynyanov) 110n the Foundation of Cinema i>, p. 100 and (<Towards a Theory of Cine-Genres )> by A. Piotrovskij, pp. 131-146.
/8. Piotrovskij, op. cit., pp. 131-132.
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. ·,y Continuity, Discontinuity Non-Conttnm
. h" torical series in v be placed
Ill:
,s tput of film manudominatm& t e ��bsolute. As Shklo successi_on is nJ ·1 does not cease t_o
not o bhterate , ' t and may aga1r
· 1· dorman . ·
crest . it ,es
. I competmg cir
' /9 Certain Y f d
throne» . \ear patterns o or But there ar
� � d·cate the cycles o1 genres, wh1c 1�i�hin the film induiand then decay liminary stage m is only at a pre
ds and catalogue produ_ction reco�cessary to estabr exh1b1t10n are �le of genres from c rence m the cy h during th1se investigated, a!th�ug npara!lel in h distribution that is u
d scription of four I will offer a
�895-1910) as a I (appro�1mat�ly film. Certainly my
genres
Ill
ear Y. . enres dunn1exhaust all _ex1stmi.;(ct other genre
framework mto w enres are defir
modified as other gd by further · hange
succession _c .1 on their relat10 depends pnman
Id time. The firsl terms of space a I hot The sec, ted within a _stn';,inssists· of a narn non-contmuity, ed by the cut(s) disrupuon ca��e story level oft_he disrupt10n on f continuity' consistas the genre o d by cuts I
discontinuity �aus
tey of action or
h ha contmu1 . .
t roug f discontinuity, Ill v the genre _o ·s continuous onaction which_ 1. on the plot le caused by ed •The genre o _s1 films of Ed11 tt� ngle shot nam
the earliest fict1of/oping by Ho, arrose ( 1895h or me narrative ac film in wh1c so tion of thes<Most often the ac for instan1
unsuspecting v1ct1m,
d in Eichenbau
ivolves film as
" us to grasp fi!:ncommodity, pr;
:ptwn of a hi t . genres as trul ;anly)
; Robert Jau:s on�al series off/ istor;: :ft behind b h«t e nextwork mgenres y t e last Work can Solve
. , and pr
tation of th esent
, e concept f
. nt. Although the O genres in
to later cinem ('re ar� reasons Whecei.u rfrom polic a inwhichtheco Ythis ice the cateio o_f Production an�'JPt C?f is limited ou nes of musical g istn- .
s. The RussiJna���oach to g�nr:�ster
,rehminary) k mahst comet an iting in th ,wor s on film . o our blish wh e twenties, the F With .the . . at genres w . ormahst sitically » tak ere uniquely . s ,w . ever, the most im rom literature en over f . cine-. it does not define portant aspect ofFormalists) b genres simpl .
h h , ut also · Y in
p·t e specific stylistic JOt�ovskij puts it . evices of film
dn
�erms of its 1pos1twnal, stylisti�< We shall definesemantic material ' and narrative I a specific 'native' and emotionaler to establish the ,art system -the ons from the b . cine-genres' it i'sd' as1c st 1· . '
montage' W . y ist1c Jaws of d 'objects' v�riei till observe how Jending on the rom the point of : are arranged fe
�re. We will also ire Within a : n what the inter l given ci I arJy useful . d . ne-genre »/8 «genres» as h in eal,n · g With early the chase film av� afready been their approa hor t e tnck film_ h c es to fil · iy t e genres of earl i.mic space
Y cinema can a are found in R
> On genre, see , p. 100 ;::tk:rorma/is1. Film
and «Tow d ar Y TynJanovar s a Theory of
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Non-Conlinuity. Continuity, Discontinuity 105
be placed in a historical series in which each succeeds the former in
dominating the output of film manufacturers. Of course this pattern of succession is not absolute. As Shklovsky put it,« The vanquished line is not obliterated, it does not cease to exist. It is only knocked from the crest; it lies dormant and may again rise as a perennial pretender to the throne »/9. Certainly competing cine-genres occur during this period . But there are clear patterns of dominance of production by different genres, which indicate the cycles of origin of a new genre, dominance and then decay within the film industry. (The description of these cycles is only at a preliminary stage in this essay. Detailed research into production records and catalogues, information on distribution and exhibition are necessary to establish them with certainty. The diffe rence in the cycle of genres from country to country also needs to be investigated, although during this early period film has an international distribution that is unparallel in later history).
I will offer a description of four cine-genres during this early period (approximately l 895-l 9 l 0) as a preliminary sketch for a theory of genres in early film. Certainly my discussion of these genres does not exhaust all existing genres during this period. But is does provide a framework into which other genres may be integrated (or which may be modified as other genres are defined and examined, or the patterns of succession changed by further research). My definition of genres depends primarily on their relation to the articulation between shots in terms of space and time. The first genre consists of narratives comple ted within a single shot. The second genre, which I term the genre of non-continuity, consists of a narrative in at least two shots, in which the disruption caused by the cut(s) between shots is used to express a disruption on the story level of the film. The third genre, which I refer to as the genre of continuity, consists of multi-shot narratives in which the discontinuity caused by cuts is de-emphasized by being bridged through a continuity of action on the story level. The fourth genre I call the genre of discontinuity, in which a multi-shot narrative conveys action which is continuous on the story level through a disruption caused by editing on the plot level.
The genre of single shot narrative can be said to be inaugurated by the earliest fiction films of Edison and Lumiere, such as L'Arroseur
arrose (1895) or Eloping by Horseback (1898), and would include any
film in which some narrative action is developed within a single shot. Most often the action of these films is comic, a gag pulled on an unsuspecting victim, for instance. Incidents of erotic display are also
/9. Shklovsky, quoted in Eichenbaum, op. cit., p. 135.
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106 Tom Gunninx frequent in these single shot films, and a host of other sorts of action
occur. It is somewhat surprizing how long this genre lasted (in the U.S.
the medium of penny arcade exhibition via mutoscopes may be a
partial explanation of its longevity). As late as 1905 both Pathe and
Biograph are. still making films in this genre (e.g. Biograph's A Rube in the Subway* and Pathe's Le Bain du charbonnier*)/ 10. The genre
appears to have been dominant (at least in number of films released)
until about I 903.
The next genre, the narrative of non-continuity, is more complicated
to describe. It does not simply indicate films which contain the elements
of non-continuity that I described in my earlier article, since many of
those devices appear in a number of genres. Rather, this genre indicates a particular approach to the joining of shots. The disruption caused by
the move from one shot to another, rather than being minimized
through the rules of continuity editing, is actually emphasized (and
explained) by a discontinuity or disruption on the level of story. A clear
example of this genre would be Smith's Let Me Dream Again* (Great
Britain, 1900) or its near copy, Zecca's Reve et realite* (Pathe, 190 I). In both these films the first shot shows a man drinking and flirting with a
young girl. The second shot (linked in Smith's film by a blurring effect,
and in Zecca's by a dissolve) shows the same man waking in bed next to
his quite unattractive wife. In both films the transition between shots is
used quite visibly to express a contrast in the film's story: the disconti
nuity between dreams and life.
There are many other narrative lines within this genre, with the many
dream films which cut from reality to fantasy being perhaps the most
numerous. The dynamics of this genre may explain why the dream is
such a popular subject in early cinema, since the discontinuity it
represents could both be conveyed by a cut between two shots and at
the same time could naturalize the disruption of editing on the story
level. But a number of other situations allowed similar strategies. The
radical ellipses that express explosions and deaths in such films as
Porter's Another Job for the Undertaker* and The Finish of Bridget Mc Keen* (both from 190 I) deal similarly with the cut that bridges the
two shots of each film. Porter's What Happened in the Tunnel (1903)
also acknowledges the transition between two shots with a disruption
on the story line. A fade out to black leader covers a kiss made in the
darkness of a tunnel, but in the second shot the man discovers the
women in the compartment have changed places and he is now kissing
the wrong girl. Again this was a widely imitated gag in early cinema, / I 0. Films which are starred appear in the descriptive filmography Cinema
/900/ !906: A Anall'rica/ Srudy, F.1.A.F., Volume II.
. ·1 Discontinuity Non-Continuity, Continm y,
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t
. . _ e in two t 899 Brifr findmg its proto2-p ·n the Tunnel an< both entitled A ,ssh,. 1903?) . d r • (Pat e, · ·
chemm e 1er
s oth er films wh There are numerouha s be included
genre and s_hould pe; fil� and not sim
be the magic or tnc In 'most magic
present_ed as dre:::�en s
eparate sh ot
primarily that � mes or photograms shot_s, betwhemat10n ac ,eve . to itself en J�hrough stop motimand ex which calls attent10� ability of the s<leve
l -dh e m
t�:1�zzy differentiatio1 nature. ,ven
on transformation (par'
and stop mot, Malthete John Fra;
work of Jacque� transfor�ation wer,
many cases sue ) 11 it would se(
as camera stoppage
/ Certain other 1
included m th� gen�r�ally linked tabl•
of a �enes of,t ema Four Seasons* (l as B10graph s T;e trick film it might Ap�rt frod1f\t �ve
r is truly' domina1
genre 1s, an b 1904 Later trick fil
to fade aw;r y of tra�sformation ar
1904 such 1 m� the actual cuts bet·
that de_al wit h. the story. In many
disruphon wit ,n ber of transition
blurrs mto .. a num (such as the man
include nar�ativ
1\ableaux function
which a senes
O rt of micro-narrati these films is a so
However, contim com plete ac�1on. knowledge of the
th e audiences f
hore th n emphasizir
. ·ty rat er a
contmu1 , 1 functions then,
This tableaux sty e
· ·ty' and t·ve of non-contmm narra 1
continuity. . f continuity is unc The na�rauve o
lified by a form o genres. It is exemp
M'J'' techniciend1 / 11. See Malthete,,(( e i. · · dans I ceuvre esde Georges r « narrat1v1te )) h. e ed Made\e1 ,pectacle cintmatograp iqBu 'ton. GK. H;
· d Scenes os , ·
· ficallr Arrange ' The Nickleoc
ms, and a host of oth
'how lo h' er sorts of .
, h "b .. ng t is genre lasted(" ac!Ion ex i ,t1on via muto m the U S
vity) A 1 scopes m · ·
: s ate as 1905 bo h ay be a n this genre (e g B. t Pathe and 1 · · am du charbonnier*) 1 s Rube in · · IOgraph' A
(at least in number
ofi{
The genre. ms released)
f non-continuity is mor
1cate
films
which'co 1 . e complicated din f my earlier article si · n am thee! ements o genres. Rather this' nee.many of1g of shots. The dis g�nre Indicates '>!her, rather than rbUJJIIon caused by
d·t· ' mg, is actual! em . m1mized emg m· .
sruption on the 1/v I
f
has12ed (and nith's Let Me Dre e 0)10ry. A clear :a's Reve et realite�C:.aita,m1* (Great 's. a man drinkin a . e! 901). In ! In Smith'sfilm
t
�tr
1rtmg With a the same man wak" . urnng effect films the transitio��g ast in the film's st e Ween shots is:°
bed next t�ory : the
disconti-1es within this genr to fantasy being p�;r;th the many
nre may explain wh th! the most
mema, since the d Y dre�m is
I ,y a cut betw 1scontmu1ty it
.. 1 j. isrupt1on of editin . een two shot d s an at
·ns allowed s · .1 g on the storyim1 ar strateg· Th
ans and deaths in i_es. e
taker* and The . such films as
larly with the cuf;��;bo\iBridget t Happened in th Ti fl ges the veen two shots we un�e/(]903)leader covers a /h a disruption >nd shot the iss _made m thed man discover th tge places and he . . s . e
:ly imitated gag . is now k1ssmgm early cinema,
the descriptive filmog h
ume IL rap Y Cinema
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· Non-Continuity, Continuity, Discontinuity 107
finding its proto-type in two I 899 British films by Smith and Bamforth, both entitled A Kiss in the Tunnel and a later French version, Flirt en
chem in de fer* (Pa the, I 903?).
There are numerous other films which seem strongly related to this genre and should perhaps be included within it. Most important would be the magic or trick film, and not simply because many trick films are presented as dreams. In most magic films the rupture utilized is not primarily that between separate shots, but a rupture created within shots, between frames or photograms. The effect of magical transfor mation achieved through stop motion is certainly that of a disruption which calls attention to itself and ex presses a disruption on the story level - the magical ability of the sorcerer to transcend the laws of nature. Given the fuzzy differentiation between montage between shots and stop motion transformation (particularly with the revelation in the work of Jacques Malthete, John Frazer and Andre Gaudreault that in many cases such transformation were accomplished by splices as well as camera stoppage)/ 11, it would seem that the magic film should be included in this genre. Certain other forms, such as films which consist of a series of thematically linked tableaux without narrative links, such as Biograph's The Four Seasons* (1904) relate strongly to this genre.
A part from the trick film, it might be questioned how pervasive this genre is, and if it ever is truly dominant. It appears quite early but seems to fade away by 1904. Later trick films relate to it, of course, but after 1904 such films of transformation are most often multi-shot narratives that deal with the actual cuts between shots without expressing a disruption within the story. In many ways this genre of non-continuity blurrs into a number of transitional or mixed genres which would include narratives (such as the many versions of the Passion Play) in which a series of tableaux function semi-independently. Each shot in these films is a sort of micro-narrative, showing a single location and a complete action. However, continuity of characters and, frequently, the audience's foreknowledge of the story/ 12 maintain a sort of sluggish continuity, rather than emphasizing the disruptions between shots. This tableaux style functions, then, as a sort of transition between the narrative of non-continuity and the next genre, the narrative of continuity.
The narrative of continuity is unquestionably later than the previous genres. It is exemplified by a form often noted as a« genre » in early film / 11. See Malthete, <( MCiies technicienducollage >>and Gaudreault, «Tht3.tralite )>et
« narrativite i> dans l'ceuvre de Georges MCties )> both in Milies et la naissance du spectacle cinimatographique, ed. Madeleine Malthete-MClil!s, and John Frazer, Arti . fica/Jy Arranged Scenes, Boston, G.K. Hall and Co., 1979.
108
Tom Gu1111i11K - the chase film. In this genre the disruption of the cut is naturalized by
a continuity within the story. Specifically this continuity is the actual
movement of a character(s) that bridges the cuts. The end of one shot is
signalled by characters leaving the frame, while the next shot is inaugu rated by their reappearance. The disruption of the cut is, as it were,
smoothed over by the continuity of the character's movement and the brief ellipsis of his action between shots is minimized rather than emphasized. We find proto-types of this sort of continuity in early
multi-shot narratives, such as Melies' A Trip to the Moon* (1902), in
which the tableaux form is modified by the departure from one location at the end of the shot and their arrival in the next locale in the following
shots (not to mention the fully developed continuity of the sequence of the rocket's return to earth in Melies' films)/ 13. But this form of
continuity finds its complete expression in the chase film, in which the
action of dashing from one locale to the next provides the narrative armature of the film.
Although there are proto-types of the chase form from as early as 1901 (Williamson's Stop Thief
!*), it becomes an important form about
1904 with such films as Biograph's The Maniac Chase* and Personal*. These films form a sort of template from which an enormous series of
imitations and variations are produced over the next four years. The
pattern is consistent : a character is chased by a group of characters
from one location to the next, with each shot showing the character being chased at some distance from the pursuing mob, the shot held
until first the pursued and then the pursuers exit from the frame. The next shot begins this movement through the frame over again. This
continues until at some fairly arbitrary point the fleeing figure is captured. This form of narrative was extremely popular and appears in a large number of films. Its dominance is undoubtedly overdetermined,
but its mastery of the problem of the disruption of the cut through a
narrative continuity shows the way a genre responds to a formal issue
raised by preceding genres.
The approach to continuity established by the chase film also allows a series of variations in which continuity of action over a series of cuts
establishes a coherent synthetic geography. Films such as Rescued by
Rover* (Hepworth, Great Britain, 1905) are examples of this as is a sort
of sub-genre of the narrative of continuity in which the gags of the
single shot narratives are concatenated along the trajectory of a single
character. These films present a series of linked vignettes as a character sets off a series of comic disasters along his route, as in Hepworth's Thai Fatal Sneeze (Great Britain, 1907), in which a man d
oused with
/ 13. See Gaudreault, op. cir.
. . Discontinuity . ·,y Cont1nu1ty. t,:on-Conunu1
'
•
•
(Hepworth. \905). 11 · R,11•er ne.,nH'' )_, ' . hi\d causes, mischievous c ·1 of pepper by a . f locales. Fi ms .in a succession o d may signal a reco. quently in 1907 a� the decline of_ thechase format an the narrative , The fomth g��:edisruption of th,
introduction of disruption on the I<chase form. This . of parallel edit with the introdutminute rescues ou\�on d in the Biog'
el editing repre
appearance of par�f early film for i
ture in the h1story_f. tion . -1 spec1 ,ca of temp
, which is 1 s context of the su
shots. But m the se to the genre of
dialectical respon clear examples ol film. The earliest he Runaway Hor in such films as T h \906). Alth One Shot (V1tagrap
fr�quent to Sl · too 111 · 908
they rema111 It is only 111 I .
types of a genr�ke use of this ed1
re th e ,_sruption d · ofth
y. Specifically th" ecut is naturai· '
h b . at ndges th is cont · muity is th ized b Y ig the frame :hcrts. The end of one actual The disruption' e
Jh�
next shot isi
shot is uity of the char o t, e cut is, as . naugu. >et ween shots typ�s. of this Sort'F1mIUd rath:i:cter � m_ovement ,t nWere,dhthe
M elies' A T,
°
Cont1nuit . r t an dified bythe;'P to the Moon•Yi'n early arrival in the eparture from onI 1902\ in
developed co ne:'(t kicale in the fo ocat(on
in M ·1·, e ies' f,/ J . ntmu,ty of th e sequ llow,ng �pression in tf1s
h
13. But this f;nce of ca/e to the ne:t Cp�ii�lm, es the nar in WhiirtJ�:Jes of th h rative
*) .
e c ase form f
' It becomes an . rom as earJy h's The Maniac J�o�tant form aboi: fate from Which an e: and Persona/• .od_uced over the nexto/mous series of .r is chased by a our Years. Th v1th each shot shf�1iP of character: om the pursuing mo g the character
he
pursuers exit fro b, the shot heldthrough the fram m the frame. The ,rb1trary point th: over again. This ias extremely popuJafleemg figure is tnce IS_UndoubtedJ rand appears inthe disruption of{iverdetermined
Y a genre respond e cut through;
•
I
'
. s to a formal issue
>l1shed by the ch
'
muity of action ase film also allows /raphy. Films s�:� 05) are examples a series of cuts
of as .Rescued by •ntmu1ty in Which this as is a sortted along the
tr . the gags of the
,s of Jinked vign a{�ctory of a single tlong his route ea e� as a character 107), in Which � s m Hepworth's man doused with
'
I
;-Non-Continuity, Continuity, Discontinuity 109
RC'.H'lled hy Ro1·er (Hepworth, 1905).
pepper by a mischievous child causes disorder as he sneezes explosively in a succession of locales. Films of this sort appear particularly fre quently in 1907 and may signal a recognized need for variation from the chase format and the decline of the genre of continuity.
The fourth genre, the narrative of discontinuity, refers to the re introduction of the disruption of the cut into situations similar to the chase form. This disruption on the level of plot rather than story comes with the introduction of parallel editing and its locus classicus is the last minute rescues found in the Biograph films of D. W. Griffith. The. appearance of parallel editing represents a particularly important junc ture in the history of early film for a number of reasons, not the least of which is its specification of temporal and spatial relations between shots. But in the context of the succession of genres it can be seen as a dialectical response to the genre of continuity represented by the chase film. The earliest clear examples of parallel editing appear around 1907 in such films as The Runaway Horse (Pat he, 1907) and The.Hundred to
One Shot (Vitagraph, 1906). Although there may be earlier examples,
they remain too infrequent to signal anything other than the proto types of a genre. It is only in 1908 and 1909 that a large number of films appear that make use of this editing pattern.
110 Tom Gunning
. While the genre of continuity is based on the immediate continuation
of an action interrupted in the previous shot, parallel editing interrupts
this immediate continuity by interpellating another line of action. Griffith's first extended sequence of parallel editing in The Fatal Hour
( 1908)
can exemplify this form. A woman detective has been tied up infront of a gun-clock contraption rigged to fire a bullet into her heart at twelve o'clock. Learning of this, the police rush off to rescue her before
the gun goes off. The climactic shots proceed as follows :
Shot
10 :
Along a country road, a carriage filled with police rushestowards the camera, exiting from the frame (a trajectory familiar from
chase films).
Shot
11 :
The woman detective bound and gagged in the crook'shideout. The clock hands move to
11 : 52.
Shot
12 :
A different location on the same country road. The carriageagain enters the frame and rushes past the camera.
Shot
13 :
Return to the woman detective as the clock hands move to11 :
57.
Parallel editing represents a discontinuity on the level of plot (the actual assembly of shots) that disrupts the continuity of action on the level of story (the carriage rushing down the road, the movement of the clock hands). By intertwining two lines of action, it literally suspends the outcome of each one, creating that device of narrative delay which
is known as suspense.
By
1909
parallel editing has become dominant in such rush-to-therescue situations and has almost entirely displaced the older chase
format. More than any other element of film syntax, it represents the
transformation of film syntax that takes place during this period. With its specification of temporal/spatial relations, its effect of an omnis cient point of view on action, it is exemplary of the techniques that begin to allow films to formulate works that aspire to the genres of the
novel and drama. At this point the factors determining the cine-genres
become quite complex, and the sort of series I have been describing
would have to deal with a number of other factors, such as the influence
of literary and dramatic genres, the move towards longer lengths of
films, and the appearance of forms that use a variety of syntagmas in
dealing with relation between shots. Undoubtedly the next major syntagma to be introduced would be that of the scene. The scene in this
context would be defined as a series of shots which, rather than presenting a succession of locales, analyze and establish a single locale
and the action within it. The key articulation in the scene would be the cut-in (or cut-out) in which successive shots overlap spatially. This would find its beginnings in the cut-ins to medium shots in such films as
Mary Jane's Mishap (Smith,
1903),
but becomes a dominant practice around1912
(in such films as Griffith's The Lady and the Mouse or A•
'
. ·,y Discontinuity . · Contmut , Non-CononU1ty, ) However it do Girl and Her Trust . rform a differ< editing, but see;s �fsr:rical point neethat genre at
ht i; a succession of genr This sketc O
. • on of such genr<
terms of the reco��1 atterns that d_e If by genre we m
PfoJlowed by hl
. d patterns d ,
audience an ·ved by pro uce
way films were _conce_1on during the J.
needed. The d1fctss�ersonal shows :
graph over the 1 1dwin S. porter a1makers involved ( d Edison) nol
. B' ograph an d
companies I . ·1 as oppose to the genre of contmmriicu\arly clear t
context that it is pa treatment c
genres cannot rely Certainly other coon n !rns within tl ell The fo� the foregoing sket��:!rticuiation be their approach tot nt aspect of ':ine1is the most imli; tte co
nsiderat�on
may_ be room Likewise consider:
fi\m1c discoursed d lt is evident th, narrsitive is nee e
. enre is, in fac era the dominant gn to these earl
cinematic form giv\et·on to the fict
I \y in re a 1
more c ose hat early [!\ms we
The discovery t . -making wa than later style� 0�i�as a field of to discover _ear y I
of an art form. than as the.1nfanc� number of rece an insp1raft1ohn tt�ifference/ t6. Anc
history o t a
• << Edison Sales ,
/ \4. See David Levy John Fell. and G, Film be}ore GrfJ1th
;f;
sa
unethioriena,. Jilmique :rroler�= Paris\\\), PP· 244-thesis, Un1v.ers1 e ' dmirable << Re-c01I 15. David Le".Y 5 }·irn i> in Cinema American N3:rrauye l eared in Frenc· direction. This aru�l
te �i��s et le film nar
. \e's \es reconsll u
s1mu
theque. no 29. . h films as Kei:iJ / 16 One can cite sue ton's Gfona
Eurek·a and HC!llis fram:ny other ftlms rence to ear�y Cllr:�iy�inema. See �) the anomalies o A ant Garde}) in.
Early Film and the v
y is based on the im .
previous sho
mediate conti .
.·
. interpellati t, parallel editing int°uahon
ice of parallef!/?0ther line of :��Pis
. A_woman detedtt°g in
The Fa1a/�on.
n ngged to fire a b��/:s been tied u:rr
: tge police rush off t e mto her heart a�
;J
its proceed as fo�J����e her before
, carnage filled .
n the frame (a trajec�':t faol(cl� rushes
m, iarfrom
ve bound and
to 11 : 52. gagged in the crook's
, the same countr
es P
ast the came(a road. The carriage
·tect,ve as the clock h
.
andsmoveto 11.
,scontinuity on the l
rupts the continuity :�el 0( plot (the
.
: down the road th action on the
> lines of action' it �-�ovementofthe
that device of n'a 't erally suspends
rra ive delay Which
:ome dominant
entirely displa��ds��h rush-to-the
ent of film synt
ax . e older chase
t
akes p lace duri ' It_ repr7sents the
ll relations its nfg,this penod. With
exemplary of th
' e ,ect of
an
omnis-nks that aspire toetbechniques that
actors determin. e ge�res of the
·t of series I h mg the cine-genres
other factors sauvehbeen describing
,
, c as the· fl
. move towards l
m uence
:hat use a va · 1 onger lengths of
s. U ndou bt;��/ �{ syntagmas in
that of the seen e next major
ies of shots w�·. \he scene in this
alyze and establi 1� , �
ather than
ulation in the s s a single locale
Ye shots over] cene Would be the
: to medium sh
af _spatially. This
ut becomes a
J
s '� such films
as
's The Lad
yanJ':J,m��t practice
e mouseor
A'
•
•
{
1
i
Non-Continuity, Continuity, Discontinuity
111
Girl and Her Trust).
However it does not simply displace parallel
editing, but seems to perform a different narrative role, so we can see
that genre at this historical point needs to be re-theorized .
This sketch of a succession of genres needs further investigation in
terms of the recognition of such genres by film-makers and audiences.
If by genre we mean patterns that determine expectations aroused in
audience and patterns followed by film-makers, more evidence of the
way films were conceived by producers and understood by audiences is
needed. The discussion during the lawsuit between Edison and Bio
graph over the film
Personalshows a clear consciousness by the film
makers involved (Edwin S. Porter and Wallace Mc Cutcheon and the ·
companies Biograph and Edison) not only of the chase form but also of
the genre of continuity as opposed to the single shot film/ 14. It is in this
context that it is particularly clear that a theory of the succession of
genres cannot rely on a treatment of the films exclusively.
Certainly other concerns within the corpus of films can supplement
the foregoing sketch as well. The four genres I investigated derive from
their approach to the articulation between shots. Although I think this
is the most important aspect of cinematic plot during this period, there
may be room for the consideration of genres based on other aspects of
filmic discourse. Likewise consideration of genres outside of fictional
narrative is needed.
Itis evident that at least in the early period of this
era the dominant genre is, in fact, that of actualities. The sort of
cinematic form given to these early actualities needs to be examined
more closely in relation to the fictional genres I have discussed/15.
The discovery that early films were formulated in a different manner
than later styles of film-making was an important insight.
Itallowed us
to discover early film as a field of investigation in its own right, rather
than as the infancy of an art form. The fact that this difference has been
an inspiration to a number of recent avant-garde films is a part of the
history of that difference/ 16. And, paradoxically, the fact th_at these
/ 14. See David Levy, «Edison Sales Policy and the Continuous Action Film)) in Film before Grijjit h ed. John Fell, and Gaudreault, Ricit scriptural, ricit theiitral, Tecit Jilmique :pro/igomenes a une thiorie narratologique du cinima(unpublished doctoral thesis, Universite de Paris Ill), pp. 244-248.
/ 15. David Levy's admirable <( Re-constitued News Reels, Re-enactments and the American Narrative Film>> in Cinema /900-1906 is an important beginning in this direction. This article appeared in French: «The Fake Train Robbery»: les reportages simules, Jes reconstitutions et le film narratif amCricain », in Les Cahiers de/a Cinima theque, n°29.
/ 16. One can cite such films as Ken Jacobs Tom Tom the Piper's Son, Ernie Gehr's Eureka and Hollis Frampton's Gloria as obvious examples. But without direct refe rence to early cinema, many other films of the America Avant-Garde can be related to the anomalies of early cinema. See my article« An Unseen Energy Swallows Space:
112 Tom Gu1111i11g same early films are also the ancestors of later dominant practice is another part of the history of that difference. It is a difference that.must haunt us and impell us to discover a method of historical investigation that can do it justice.
L'histoire des debuts du cinema doit faire /'objet d'une nouvelle theorisation qui puisse rendre compte de la difference du cinema
a
ses debuts d'm•ec /es modes de realisation ulterieurs, et qui puisse aussi indiquer de que/!e .fa;on ces modes anterieurs sont historiquement reliesa
la pratique dominante qui suivit. L'approche de la notion de genre par /es Forma/istes russes est ici proposee comme un moyen de decrire historiquement /es debuts du cinema. Pour eux, le genre est unprocessus dynamique de naissance, de domination et de decadence, clans leque/ /es genres riva/isent pour la domination.
En m'appuyant sur le conceptforma/iste de «cine-genres» (qui sont de.finis aussi bien par leur.faron d'utiliser /es moyens cinematographi ques d'expression, que par leur contenu narratif), je propose une succession de quatre genres pour /es debuts du cinema. Le premier est le genre des films narrati.fs
a
plan unique. J'appe/le le second «genre de non-continuite)): narrati.f; ii consiste en .films narratifs d'au mains deux plans et clans lesquels la rupture causee par la coupure entre /es deux plans exprime une rupture au plan de /'histoire racontee. J'appelle le genre suivant <<genre de continuite»,
oU une continuiti de /'action recouvr,: la coupure, comme par exemple clans le .film-poursuite. Le dernier genre est celui de la discontinuite clans leque/ /es actions qur sont continues au plan de /'histoire sont discontinues clans /eur representation, comme clans /es sequences en montage alterne.
' t
'
•
t
Noel Bu
de de represen
Un mo
, . s J·e me su , · nteneur ,Dans mes ecnts a ., propose , d'appeler le . . . t
definir ce que J a, J'aimerais ,c, tn tionnel (M. R.\c1 ·ne'ma pour essay .)/ \r d'en degag' st const1tue,e_r I� 1
·1 ne s e . I comme on
k �
a, ' S'agit-il « s1mP en
·1nnees de cinema., seraient dues a,
dont \es sing�la
n�;alors _ poid_s du va·,I\ent le cinema f ns econom1que
d'une part, aspira ,10 . t ii d'un « mo< l'autre'' Ou b:,en s_at� �n M.R.1.? S
meme titre_qu ii e:is rope durabi\ite? pro pre \og1que, s p
deux a la fo1s. II a effect1ve1:1en xiste,je cro1s,, ��nd nombre de Ies films (un tr��� certain deve\oppques. ca p.able d_ uement que le� pauvre se11,1ant1q
· Histoire cl w remarquab\es,
�i'fi�t
de Melies jus dans /a Lune ( G d ou fan tom 1910) de Nielsen et : sa \ente ero de I 906_ commr��rupage nee dan concept1on d, menta », u e I qui co-ex11plus «exi:en
. rsateur, ma1s qu che7. le meme rea 1
. ltre . la Luca
.
r e a para*Chapitre dun ivr
ou l'ambiva\e�ce ))
; I Voir {< Porter . Flammanon,
Ray�ond Be\\our. Pans\Vinter 1978-7�
ambivalence i>, _sc;;;;;;panying Co1-rec\
Pictures: notes a . < Passion, poursu