Light is the core of photography. In the early years of cinematography natural light was the first choice for filmmakers. When one (re)readsLes Vues cinématographiques, published by Georges Méliès in 1907, one thing becomes obvious: working with natural light was a nightmarefor him. From today’s standpoint it is touching to read the filmmaker’s emotional commentaries about the cruelty of moving clouds during his shoots (for a long time his studio was only illuminated by sunlight). But natural light was the sole choice for many early cinematographers and they relied almost entirely on bright daylight. Artificial lighting was a still a very complicated and expensive operation.So cameramen often headed outside to realise their films (like during the shooting of most French films presented in this programme). Besidesmovie cameras, another technical object became omnipresent on the streets around the turn of the 20th century. Bicycles conquered the public space and appeared regularly on film (eg [Ladies Training for Cycle Races]). Suffragists proclaimed the bicycle as a “freedom machine”: safety bikes (see Rudge-Whitworth – Britain’s Best Bicycle) guaranteed a greater amount of social mobility for women. The boomin road traffic allowed filmmakers to capture the quintessence of cinema: movement. Many films show us absurd and hilarious traffic accidents (eg How to Stop a Motor Car), a filmmaking practice that never grows old – just think of the contemporary and apparently never-ending action blockbuster series Fast & Furious. Another obsession of film directors at that time was their interest in social issues such aspoverty (see most of the British films in this programme). The endless battle between authorities and the poor is an inexhaustible source ofscreenplays. Contrary to reality, these narratives mostly turn out well for the underdog. In this sense these stories enable the rise of one of thestrongest powers of cinema: the promise of a quantum of solace.

Karl Wratschko