lace black alabaster white

Ask me anythingNext pageArchive

Photo by Nina Leen for LIFE, 1950

lostsplendor:

Cigarette Card Starlets of the Jazz Age via The New York Public Library

(via girlflapper)

"Cendrillon ou la pantoufle merveilleuse" - drawing by Georges Méliès (1912)
Collection Cinémathèque française Georges Méliès
Georges Méliès directing “Cendrillon”.
"Cinderella’ is the first of what early cinema historians have termed  Féeries (or fairy films), to distinguish them from the generally  shorter, less narrative-driven trick films, which Méliès and others also  made many of. Central to the fairy film is, of course, the fairy  godmother. She (played here, as with other such films, by Méliès’ lover  Jeanne d’Alcy) is the magician-director’s surrogate, creating the tricks  and manipulating the narrative. Subsequent Méliès Féeries would be more  polished and elaborate, including ‘Bluebeard’ (1901), ‘Kingdom of the  Fairies’ (1903) and, to an extent, ‘A Trip to the Moon’ (1902), although  it doesn’t feature a central fairy godmother. ‘Cinderella’, however, is  an important film landmark for getting these story films started."
(From IMDB: more here)
Jeanne d’Alcy as the Fairy Godmother, and Barral as Cendrillon, in Méliès’ “Cendrillon” (“Cinderella”), 1899
Jehanne d’Alcy, favourite actress & lover of Georges Méliès
Jehanne (Jeanne) d’Alcy in “The Astronomer’s Dream La Lune a un metre” (Méliès)

"The Astronomers Dream" - directed by Georges Méliès 1898

(Source: youtube.com)

"L’homme a la tête en caoutchouc" - directed by Georges Méliès (1901) 

(Source: youtube.com)