He invented or popularized a startling array of the fundamental elements of film: the dissolve, the fade-in and fade-out, slow motion, fast motion, stop motion, double exposures and multiple exposures, miniatures, the in-camera matte, time-lapse photography, color film (albeit hand-painted), artificial film lighting, production sketches and storyboards, and the whole idea of narrative film.
By 1897, in a studio of his own design and construction – the first complete movie studio – his hand forged virtually everything on his screen. Norman McLaren writes, "He was not only his own producer, ideas man, script writer, but he was his own set-builder, scene painter, choreographer, deviser of mechanical contrivances, special effects man, costume designer, model maker, actor, multiple actor, editor and distributor." Also, his own cinematographer, and the inventor of cameras to suit his special conceptions. Not even auteur directors such as Charles Chaplin, Orson Welles, John Cassavetes, and Stanley Kubrick would personally author so many aspects of their films."Inside: 57 films by Georges Méliès, the Grandfather of Visual Effects. [more inside]
No mere transcription can give the true flavor of the original printing of The Eye of Argon. It was mimeographed with stencils cut on an elite manual typewriter. Many letters were so faint as to be barely readable, others were overstruck, and some that were to be removed never got painted out with correction fluid. Usually, only one space separated sentences, while paragraphs were separated by a blank line and were indented ten spaces. Many words were grotesquely hyphenated. And there were illustrations - I cannot do them justice in mere words, but they were a match for the text.The Eye of Argon (prev.), long hailed as the worst sci-fi story ever written, is at last available online in all its original glory.