Published by SONNEUR, 2012
ISBN 10: 291613655X ISBN 13: 9782916136554
Seller: medimops, Berlin, Germany
Condition: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.
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Published by Centre Nat. Photographie, 1992
ISBN 10: 2867540321 ISBN 13: 9782867540325
Seller: Ammareal, Morangis, France
Softcover. Condition: Très bon. Ancien livre de bibliothèque. Edition 1992. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 1992. Ammareal gives back up to 15% of this item's net price to charity organizations.
Published by MIT Press for the Institute for Architecture and Urban Studies Cambridge, MA, 1984
ISBN 10: 0262751798 ISBN 13: 9780262751797
Seller: Specific Object / David Platzker, New York, NY, U.S.A.
120 pp.; 22.7 x 17.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Edited by Rosalind Krauss and Annette Michelson. Essays "On the Eve of the Future: The Reasonable Facsimile and the Philosophical Toy," by Annette Michelson; "Cinematographic Views," by Georges Méliès; "A Picturesque Stroll around Clara-Clara," by Yve-Alain Bois; "The Index of the Absent Wound (Monograph on a Stain)," by Georges Didi-Huberman; "Interview with Jonas Mekas," by Scott MacDonald "On First Hearing about Hermeneutics," by Joseph Rykwert. Fair / Poor. Significant water damage and staining of covers. Partial separation of pages 1-6 from spine and full separation of pages 7-14 from spine. Light wave to pages, contents otherwise clean and unmarked.
Published by Casimiro, España, 2013
ISBN 10: 8415715145 ISBN 13: 9788415715146
Seller: KALAMO BOOKS, Burriana, CS, Spain
Encuadernación de tapa blanda. Condition: Nuevo. Las memorias de Georges Méliès, pionero del cine. Apenas descubrió el invento de los hermanos Lumière, Méliès se convirtió en un hombre orquesta del cine; al mismo tiempo inventor, productor, empresario, director, guionista, decorador, operador, montador y actor, Georges Méliès abrió los caminos del cinematógrafo.
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Published by The MIT Press, 1984
Seller: Armadillo Books, Chapel Hill, NC, U.S.A.
Magazine / Periodical
Soft cover. Condition: Very Good. A nice copy of this scarce title. A lightly handled copy, very good plus in printed wraps. Hint of a wave to the cover pages. (120 pages.) Ships from NC. All periodicals are sealed in recycled plastic, packaged securely with recycled cardboard backing (and recycled packaging when available), and shipped promptly with tracking information. (I-4.).
Paris : Seghers (Collection "Cinéma d'aujourd'hui"), 1962 - un volume 13,6x16cm sous couverture illustrée, de 239 pages illustrées de planches hors texte en noir - bon état - Edition originale du premier volume de la collection. Présentation et bio-filmographie par Georges Sadoul. Choix de textes, correspondance et propos de Mliès. Scénarions, impressions et témoiganges. Bibliographie. Documents iconographiques. Livres.
Published by Centre Nat. Photographie (13 novembre 1992), 1992
Seller: BOOKIT!, Genève, Switzerland
Condition: Used: Like New. Broché, comme neuf.
Published by Fondation Groupama Gan, 2011
ISBN 10: 2918040428 ISBN 13: 9782918040422
Seller: ANARTIST, New York, NY, U.S.A.
Softcover, 194 pages; in English and French; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.
Published by Ombres, 2016
ISBN 10: 2841422003 ISBN 13: 9782841422005
Seller: Librairie La Canopee. Inc., Saint-Armand, QC, Canada
ÉTAT NEUF /NEW CONDITION 453-00200 '9782841422005 08/08/2016 Poche Bibliothèques Ombres.
Published by Stroemfeld/Roter Stern Basel, Frankfurt, 1993
Seller: Antiquariat Niedersaetz Berlin-Zürich, Berlin, Germany
gr.8°, 207 S., 15,5x22 OBrosch Schönes, sauberes Exemplar Dem Werk Georgs Méliès' gewidmetes Kintop-Jahrbuch; Inhalt u.a.: Georges Méliès: Die Filmaufnahme; André Gaudreault: Theatralität, Narrativität und 'Trickästhetik'. Eine Neubewertung der Filme von Georges Méliès; Jacques Malthête: Die Organisation des Raums bei Méliès; Guy Gauthier: Von Jules Verne zu Méliès oder Von der Gravur zur Leinwand; Thierry Lefebvre: Georges Méliès und die Welt der Scharlatane; Stephen Bottomore: 'Zischen und Murren'. Die Dreyfus-Affäre und das frühe Kino; Frank Kessler/Sabine Lenk: Ein Leben für Méliès - Ein Interview mit Madeleine Malthête-Méliès, der Enkelin des Zauberers von Montreuil; Deniz Göktürk: Neckar-Western statt Donau-Walzer. Der Geschmack von Freiheit und Abenteuer im frühen Kino; Sebastian Hesse: Ernst Reicher alias Stuart Webbs - König der deutschen Film-Detektive; Uwe Schriefer: Edy Dengel alias Fred Repps. Detektivfilme aus Wiesbaden fürs lokale Publikum; Martin Loiperdinger: Repps und Webbs - Ein verschollener Detektivfilm von Edy Dengel; Frank Kessler: Georges Méliès und die 'Star Film' - eine Bibliographie; mit einigen Abbildungen. Schlagworte: Film* Versandkostenfrei in Deutschland. PayPal on request. Für Schweizer Kunden: Versand von Zürich möglich und günstiger. Zahlung mit CH- Einzahlungsschein.
Published by Jean-Jacques Pauvert, Paris, 1961
Seller: LLIBRERIA KEPOS-CANUDA, Barcelona, Spain
Oficial. Condition: Parfait état. 220pp.
Published by Paris Fondation Groupama Gan pour le Cinéma 2011, 2011
Condition: Très bon état. in-8, broché, 191 pp., photos en noir et en couleurs. Texte bilingue français-anglais. Très bon état. Exemplaire provenant de la bibliothèque d'Alain Resnais.
Condition: Très bon état. in-8 oblong, agrafé, couv. illustrée, (16) p., photos et dessins en noir. Fascicule de présentation du 1er cycle de courts métrages de Méliès proposé par Les Amis du cinéma muet en 1977. Bien complet de la liste dactylographiée des 16 films. Très bon état.
Published by Jean-Jacques Pauvert Editeur, Paris 1961, 1961
Seller: Antiquariaat Paul Nederpel, Den Haag, Netherlands
Soft cover. Condition: Very Good. Text in french, 8vo, soft cover with dust jacket, 220 pages, illustrated, very good copy.
Published by Paris, Musée des Arts décoratifs (Pavillon du Louvre, Pavillon de Marsan), 1961
Seller: Antiquariat Uhlmann, Zürich, Switzerland
First Edition
Brosch. 8°, 79 S., zahlr., tlw. farbige Abb. (tlw. auf Tafeln). Einband min. unfrisch, kleines Exlibris auf Innendeckel. EA. U. a. mit dem Text von Georges Méliès: «Vues cinématographiques» und einer «Filmographie approximative».
Published by Paris. Espace EDF Electra., 2002
Seller: Antiquariat Querido - Frank Hermann, Düsseldorf, NRW, Germany
Erste Auflage. 29 x 25,5 cm. 277 S., 1 Blatt. Illustrierter OPappband. Einbandkanten mit kleinen Bereibungen, oberer Rücken minimal beschabt. Gutes Exemplar. Katalog zur Ausstellung Paris 26. April bis 1. September 2006 zu Leben und Werk von Georges Meliés durchgehend mit Abbildungen versehen. Text in französischer Sprache. Sprache: französisch.
Published by Published by Gordon Fraser Gallery Ltd., Fitzroy Road, London First Edition . 1974., 1974
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
First Edition Signed
First edition hard back binding in publisher's original Wedgwood blue cloth covered boards, blocked and lettered yellow back and end sheets. 8vo. 8½'' x 6''. Contains 159 pp with monochrome illustrations and photographs throughout. Fine condition book in Fine condition dust wrapper, not price clipped. SIGNED by the author to the front free end paper 'For Peter and Janet, on our first meeting | Paul Hammond, London 12th June 1983.' Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. CINEMA, SCREEN & FILMS.
Published by Musee Des Arts Decoratifs, 1961
Seller: The Cary Collection, Bristol, CT, U.S.A.
First Edition
Soft cover. Condition: Very Good. No Jacket. 1st Edition. Organisée par La Cinémathèque française, Musée du Cinéma, et L'Union Centrale des Arts décoratifs [80] pp. Musee Des Arts Decoratifs 1961 9" x 6 1/4" Marie-Georges-Jean Méliès (8 December 1861- 21 January 1938), was a French illusionist, actor, and film director who led many technical and narrative developments in the earliest days of cinema. Méliès was well known for the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted colour. He was also one of the first filmmakers to use storyboards. His films include A Trip to the Moon (1902) and The Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films, though their approach is closer to fantasy.
Published by Paris/ Prisma, 1945
Seller: Eugen Küpper, Muenster, Germany
Expl. No. 2675. 4°. 205 S. Olwd. Sprache: Französisch, durchgängig reich bebildert. Einband dezent berieben u. minimal fleckig; Ränder minimal bestoßen; Papier altersbedingt sehr leicht nachgedunkelt; Text sauber u. tadellos. Insgesamt sehr gutes Exemplar!. Buch.
Published by The Cinematheque Fracaise & L'Union Centrale Des Arts Decoratifs, Paris, 1961
Seller: Ira Joel Haber - Cinemage Books, Brooklyn, NY, U.S.A.
Small Paper. TEXT IN FRENCH. Lovely 80 page catalog celebration the cenenary of Melies. Includes essays along with 4 double page color drawing by the great filmmaker along with 8pgs. of historical photos on plates and some black and white in text drawings.The beautiful color cover is by Felix Labisse. Light sunfading to the back cover, and a very small bookstore label on the top corner of the title pg.m otherwise a near fine tight and clean copy of a rare catalog. Book.
Published by La Caixa
ISBN 10: 8499000797 ISBN 13: 9788499000794
Seller: Librovicios, Azanuy, Spain
Condition: Bueno. 1230 2013,rústica con solapas,29 cm. Abundantes fotografías.SINOPSIS:¿Cómo forjó Méliès su extraordinario universo? ¿Cuáles fueron sus fuentes de inspiración? ¿Qué alcance tuvo su obra?Entre 2013 y 2016, la Fundación «la Caixa» itineró la exposición Georges Méliès. La magia del cine. La muestra recorría la obra del cineasta francés, incidiendo en su diversidad y en su decisiva contribución a la historia del cine.
4°. 205 S. Mit zahlr. tlw. farb. Abb. OLn. Gelenke gelockert. Nr. 2032 einer begrenzten Anzahl von herausgegebenen Exemplaren. Georges Méliès (1861-1938) war ein französischer Illusionist, Theaterbesitzer, Filmpionier und Filmregisseur. Méliès zählt zu den Pionieren der Filmgeschichte und gilt als Erfinder des `narrativen Films` und der Stop-Motion-Filmtechnik. Gewicht in Gramm: 2000.
Published by N.p., N.p., 1950
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Two vintage photographs of French director, actor, and illusionist Georges Méliès, struck circa 1950s. Included is one portrait photograph of Méliès circa 1920s, and the other photograph shows Méliès and others at his studio in Montreuil-sous-Bois, circa 1910s. From the collection of René Dazy, with his stamp on the versos. Méliès created France's first film studio on a property in Montreuil-sous-Bois in 1896. A hybrid photography studio and stage, the studio was constructed entirely of glass and iron in order to maximize natural light. Although initially successful, World War I and the substantial competition from larger American studios led to Méliès facing bankruptcy by 1913, and he was ultimately forced to abandon filmmaking in order to survive. The studio was co-opted by the French army for use as a hospital, and much of Méliès' original celluloid confiscated and melted down to make heels for the soldiers' shoes. Portrait photograph 5 x 7 inches, studio photograph 9.5 x 7 inches. About Near Fine.
1947. Tours Revue Confidentielle des Magiciens puis Revue Confidentielle d'Informations et de Documentations Magiques puis Revue Magique d'Informations et de Documentations Inédites du n°1 janvier-février 1947 au n°121 novembre-décembre 1966 dernier numéro paru - Plié 14 cm x 23 cm 1956 pages (pagination continue) ills et photos noir et blanc in et hors-texte du n°1 au n°73 sous 3 trois reliures classeurs cartonnées marquées G.M.R.T. (Groupe Régional des Magiciens de Touraine) en lettres dorées les autres sont simplement brochés ? Rédacteur en chef :Robelly (Robert Rouet) textes de Yanovsky A. Demont Mister Sanz Jean Chavigny Georges Méliès Carrington Maurice Sardina Edith O'Rial ? ?Quelques numéros mal coupés sinon très bon état ; Programme de la soirée du 19 décembre 1949 au Ciné-Palace de Blois à la gloire de Robert-Houdin bien complet des tables des matières 1947-1951 1952-1956 ; il manque le n°68. Bon état.
Published by Paris, 21. XI. 1928., 1928
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
8vo. 4 pp. on bifolium. Charming and insightful letter to Auguste Drioux in Lyon, publisher of the magic magazine Passez Muscade, thanking him for the most recent issues and promising an article on Robert Houdin's illusion "Le Décapité récalcitrant" from 1890. Méliès mentions that he is currently very busy, as he was taking care of his gravely ill daughter Georgette and restoring some of Robert Houdin's automatons that he had donated to the Musée des Arts et Métiers in Paris: "Je suis obligé de nettoyer tout cela, et de remettre les têtes, mains, costumes, peintures et dorures en bon état. Il y a pas mal de travail, car tout ce matériel est resté 5 ans dans un endroit assez humide, et il en a souffert. Mais une fois retapé il n'y paraîtra plus, et il pourra affronter l'éternité dans les vitrines du Musée. à moins qu'il ne soit, un jour, détruit par un incendie". - The ominous remark that a fire could destroy the museum seems to be an allusion to Méliès' destruction of his own negatives, film sets, and costumes after he lost his legal battle with Pathé over his Montreuil studio in 1923. Méliès praises the performance of Drioux's fellow magicians from Lyon at a banquet by the Chambre syndicale du Cinema that was probably held in his honour. In a postscript he reports that the politician Édouard Herriot, who had also been present at the banquet, apologized to him for not being able to award Méliès with "the famous red ribbon" anymore, having lost his post as Minister of Culture days earlier. However, Herriot promised to put in a good word for Méliès with his successor, also alluding to the possibility that he might get a job in the insurance of the movie industry "Mutuelle du Cinéma," possibly as the director of its retirement home. This prospect gave Méliès hope to be able to finally escape his "dreadful Montparnasse prison": "Il avait promis, pour moi, le fameux ruban rouge, à la demande de Brézillon. Mais c'est bien ma veine, il venait de perdre sa place de ministre 5 jours auparavant. Il a été charmant avec moi, s'est excusé d'avoir été contraint de se 'débarquer' lui-même, ce sont ses propres expressions, mais m'a promis son appui [.] auprès du nouveau Ministre de l'Instruction publique et des beaux arts. [.] En tous cas, j'ai su qu'il est question de me donner une situation intéressante dans l'état major de la Mutuelle du Cinéma; peut-êtrela direction de la maison de retraite. Inutel de dire que cela ferait fort bien mon affaire, en me libérant de mon affreuse prison de Montparnasse". - Following his bankruptcy in 1925, Méliès and his second wife Jehanne d'Alcy barely made a living with a small candy and toy stand in Gare Montparnasse. Around this time Méliès, who had been slipping into oblivion since 1913, was slowly rediscovered and recognized as a film pioneer by journalists and enthusiasts such as Auguste Drioux. Despite the renewed interest and official recognition like the award of the Legion of Honour, Méliès' financial situation improved little. While the post as director never materialised, Méliès, his wife, and his granddaughter received a place in the retirement home in Orly in 1932.
Published by N.p., N.p., 1932
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Manuscript / Paper Collectible Signed
Archive of six extraordinary Autograph Letters Signed, including five in French and one in English, by the pioneering film director Georges Méliès, revealing a great deal about his little-discussed but profoundly important origins in the Robert-Houdin Theatre in Paris, as well as his work as a magician and ultimately a film director. Equally interesting in these letters are various revelations regarding his character, a combination of innocence, boundless enthusiasm, a quizzical nature, a photographic memory, and a great love for artists, magicians, and all performers whose work came under the umbrella of "illusion." One image shown. Additional images of the letters in the archive are available on request. Méliès began his career in theater at the Theatre Robert-Houdin, doing extremely creative work in an area that could be described as an intersection of live theater, pantomime, magic, and vaudeville. After seeing an 1895 demonstration by the Lumiere Brothers, he became very interested in cinema, and betweem 1896 and 1914 made over 500 short films. His film work utilized many of the elements from his live performance as a basis for content, and the portion of his work that has survived reveals a storytelling style that revels in Jules Verne-esque fantastical adventure fiction. The films ranged from 1 to 40 minutes in length, and many were completely abstract, with his intense interest in the effect of "illusion" on an audience that ultimately led to him becoming the inventor of "special effects." Importantly, the "effects" he invented on celluloid were not just a component of his cinema, they were the essence of it. Just as importantly, Méliès made the first cinematic foray into science fiction and horror, and was a pioneer in the making of fantastical adventure films. "Le Manoir du diable" ("The House of the Devil," 1896) and "Le Caverna maudite" ("The Cave of the Unholy One, 1898) are generally considered to be the first horror films ever made. A print of the former was acquired upon its release by Thomas Edison, who duplicated and distributed it with great financial success in the United States. Though Edison paid no royalties to Méliès, the director's name became well-known to filmgoers all over the Western world as a result. Six years later, Méliès produced what is today his most famous short feature, "Le voyage dans la lune" ("A Trip to the Moon," 1902), the first known science fiction film, and the first to depict space travel. The film was based very loosely on two popular novels of the time, "From the Earth to the Moon" by Jules Verne and "The First Men in the Moon" by H.G. Wells. The film includes a celebrated scene in which a spaceship pokes itself into the eye of the man in the moon. It is also thought to be the first pataphysical film, illustrating the "illogicality of logical thinking," a notion that is at the heart of Méliès' filmmaking style. Méliès did not grasp the value of his films, which in large part led to his film company being forced into bankruptcy in 1913 by large French and American studios. The company was bought out of receivership by Pathe Freres, and because the concept of film preservation was still nearly 20 years away, most of his films were ultimately melted down for boot heels during World War I or recycled to make new film. Méliès spent the last 24 years of his life working as a toy merchant in Montparnasse Station, and it was during this period that these letters were written. The content of the letters is quite broad and uniformly fascinating, and divides into 4 groupings: (a) a brief but extraordinary 1932 letter in English about his days as a filmmaker. (b) a grouping of 3 letters from 1928 regarding his earliest days at Robert-Houdin Theatre, details regarding a series of short pieces he is writing about his life (for a magazine or newspaper), and a proposal to gather the pieces for publication in book form. (c) a letter from 1929 regarding the proofs of caricatures that Méliès has drawn for the purpose of publication as postcards to be sold to fans of his work. (d) a brief but significant letter from 1931 regarding the annual "magician's gala," mentioning several of the magicians who performed, a gathering of artists that was clearly at the heart of what preserved Méliès spirit during the years after his film company collapsed. In the first letter, Méliès speaks candidly of his days as a filmmaker, and the collapse of his company: "You will find me every day, even Sundays, in the hall of Montparnasse station, from 10 o'clock A.M. to 10 P.M. I keep there a shop of toys and sweets, since I have unfortunately, lost 3 millions of francs during the war, which I had gained as a producer of motion pictures and pioneer of cinematography." The next three letters represent the heart of the content of this archive, and have to do with Méliès' earliest days working as a magician in the Robert-Houdin Theatre. These letters deal in some detail with an ongoing memoir being written by Méliès, ending with a letter responding to a proposal for the memoirs to be expanded and published as a book. In the first letter, Méliès writes: "I think by now you must have received the first two articles. .I believe that information on the subject of the Robert-Houdin Theatre will interest your readers, so I won't hesitate to send more details. .Today I constructed the exact floor plans of the stage and back stage from memory and I am enclosing them here. Your are right if you think that nothing that that happened in my little old theater has escaped my memory. With an average of 750 performances per year, that makes 27,000 performances! When I think about it, that is simply staggering." He goes on to remark on the irony of his current profession: " [This is] written in great haste (and on my knees, above the market).from my little store atelier where there is no space for me and I am crowded by, or should I say, drowned in merchandise. I, at 67, a merchant! I who was always.