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Cinema history now looks back to Georges Méliès , creator of 1902′s A Trip to the Moon and other early motion pictures previously featured here , as the medium’s first master of the fantastical. Visual effects, imagined worlds, and the seemingly impossible made seemingly real remain reliable draws for modern-day filmgoers, but so does something far simpler to produce: skin. But Méliès knew that, and he even demonstrated the extent of his knowledge in 1897′s After the Ball , viewable in all of its 19th-ce
Michael Brooke’s Georges Méliès blog describes the action, shall we say, as follows: “A woman enters her boudoir, and her maid helps her to undress, peeling off her outer garments until she is clad in a shift and stockings. She sits down, and the maid helps remove the latter. Almost naked aside from skimpy underwear, the woman gets into a tub and the maid pours the contents of a large jug over her, drying her off with a towel afterwards. They leave the room together.” While modern-day adult filmmakers can a
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