Abstract
This study of the oeuvres of Emile Cohl, Marius O’Galop and Robert Lortac, united by reason of their biohistorical and aesthetic kinship, helps to reconstruct the specificities of the first school of animated film in France. In their films, these animators, formerly caricaturists, combined models whose function was either entertainment or educational, and specific either to the illustration industry or to the children’s books and toys market, with spectacular paradigms borrowed from the stage and other performance arts. By showing how these multiple cultural series combine and interact, this analysis of their oeuvres thus opens up an arena in which the historiography of the Seventh Art in its infancy can be viewed and appreciated as a whole.
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