Turkish Dance, Ella Lola

Plot

This short Edison film captures professional dancer Ella Lola performing a traditional Turkish belly dance, or 'Danse Du Ventre,' in authentic costume. Against a plain studio backdrop, Lola demonstrates remarkable physical control as she executes energetic movements including hip shakes, torso twists, and graceful turns. Her traditional Turkish dress accentuates the distinctive elements of the dance as it swings and flows with her movements. Unlike many exotic dance films of the era that emphasized eroticism, this performance focuses on the technical artistry and cultural authenticity of the Turkish dance form. The film showcases Lola's professional training and her ability to convey the rhythm and spirit of the dance through pure physical expression, despite the absence of accompanying music.

Historical Background

This film was created during the birth of commercial cinema in 1898, a time when moving pictures were still a novel attraction shown in vaudeville theaters and penny arcades. The Spanish-American War was underway, and America was expanding its global influence, which coincided with increased public fascination with foreign cultures and 'exotic' subjects. The late 1890s saw the rise of 'Orientalism' in Western culture, with Turkish and Middle Eastern themes becoming popular in entertainment, art, and literature. Thomas Edison's company was at the forefront of film technology, having developed the Vitascope projection system the previous year, making films accessible to larger audiences. This period also saw the emergence of the first film stars, though most performers, like Ella Lola, were stage performers adapting their acts to the new medium.

Making Of

James H. White, who directed this film, was one of Edison's principal filmmakers in the late 1890s and directed hundreds of short subjects. The Black Maria studio where it was filmed was a cramped, tar-paper-covered building that could rotate to follow the sun, providing consistent lighting throughout the day. Ella Lola would have performed multiple takes to ensure the camera captured her best performance, as film stock was expensive and retakes were costly. The studio's lack of heating meant filming could be uncomfortable in winter months. The film was created during a period when Edison was competing with other early filmmakers like the Lumière brothers and American Mutoscope, leading to rapid innovation in film subjects and techniques.

Visual Style

The film was shot using a single stationary camera positioned at eye level to capture the full body of the performer. The lighting came from natural sunlight through the Black Maria's retractable roof, creating the bright, even illumination characteristic of Edison studio productions. The composition places Ella Lola centrally in the frame against a dark, neutral background that emphasizes her movements and costume. The camera work is straightforward and functional, typical of early cinema where the technology itself was the main attraction rather than artistic cinematography.

Innovations

While not technically innovative for its time, the film represents the standardization of Edison's production methods. It was shot on 35mm film at approximately 16 frames per second using Edison's patented equipment. The film demonstrates the effective use of the Black Maria studio's lighting system and the successful capture of rapid movement without the motion blur that plagued early cameras. The preservation of the film showcases the durability of Edison's early film stock and printing processes.

Music

The film was originally silent, as all films were in 1898. When exhibited, it would have been accompanied by live music, typically a pianist or small orchestra in the venue. The musical accompaniment would likely have been Turkish-inspired or exotic-sounding pieces popular in the late 19th century. Modern restorations sometimes add period-appropriate music, but no original score exists as none was created for the film.

Memorable Scenes

• The complete performance showcases Ella Lola's remarkable control as she executes complex hip movements while maintaining graceful arm positions, her Turkish costume creating flowing patterns that emphasize the dance's distinctive characteristics. The moment when she performs a series of rapid torso twists demonstrates the technical precision that distinguished her from other dance performers of the era.

What Critics Said

Contemporary reviews from trade publications like the New York Clipper and The Phonoscope noted the film's technical quality and praised Ella Lola's performance as 'graceful and skillful.' Modern film historians recognize it as an important example of early dance cinema and a valuable document of performance practices from the period. Critics today often discuss it in the context of orientalism in early cinema and the documentation of dance forms. The film is frequently cited in academic studies of early film and dance history, appreciated for its relatively authentic approach compared to more sensationalistic contemporary works.

What Audiences Thought

The film was well-received by audiences of its time, who were fascinated by the novelty of moving pictures and exotic subjects. Dance films were particularly popular in penny arcades and vaudeville houses, as they offered visual spectacle without requiring narrative understanding. Ella Lola's performances were noted in contemporary accounts as being among the more sophisticated dance films available. Modern audiences viewing the film in archives and museums often express surprise at the dancer's technical skill and the film's preservation of 19th-century performance styles.

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