A Trip to the Moon

This article is about the lm. For the historical fair ride,
see A Trip to the Moon (attraction).
Le voyage dans la lune redirects here. For the opra
ferie, see Le voyage dans la lune (operetta). For the Air
album, see Le Voyage dans la lune (album).
A Trip to the Moon (French: Le Voyage dans la
Lune)[lower-alpha 1] is a 1902 French silent lm directed by
Georges Mlis. Inspired by a wide variety of sources, including Jules Verne's novels From the Earth to the Moon
and Around the Moon, the lm follows a group of astronomers who travel to the Moon in a cannon-propelled
capsule, explore the Moons surface, escape from an underground group of Selenites (lunar inhabitants), and return with a splashdown to Earth with a captive Selenite.
It features an ensemble cast of French theatrical performers, led by Mlis himself in the main role of Professor
Barbenfouillis, and is lmed in the overtly theatrical style
for which Mlis became famous.

The iconic image of the Man in the Moon

The lm was an internationally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special eects, and emphasis
on storytelling were markedly inuential on other lmmakers and ultimately on the development of narrative
lm as a whole. Scholars have commented upon the lms
extensive use of pataphysical and anti-imperialist satire,
as well as on its wide inuence on later lm-makers and
its artistic signicance within the French theatrical ferie
tradition. Though the lm disappeared into obscurity after Mliss retirement from the lm industry, it was rediscovered in the late 1920s, when Mliss importance to
the history of cinema was rst recognized by lm devotees. An original hand-colored print was discovered in
1993 and restored in 2011.

1 Plot
At a meeting of the Astronomic Club, its president,
Professor Barbenfouillis,[lower-alpha 2][lower-alpha 3] proposes
a trip to the Moon. After addressing some dissent,
ve other brave astronomersNostradamus, Alcofrisbas, Omega, Micromegas and Parafaragaramusagree
to the plan. They build a space capsule in the shape of
a bullet, and a huge cannon to shoot it into space. The
astronomers embark and their capsule is red from the
cannon with the help of marines, most of whom are
played by a bevy of young women in sailors outts. The
Man in the Moon watches the capsule as it approaches,
and it hits him in the eye.[lower-alpha 4]

A Trip to the Moon was named one of the 100 greatest

lms of the 20th century by The Village Voice, ranked
84th.[6] The lm remains the best-known of the hundreds
of lms made by Mlis, and the moment in which the
capsule lands in the Moons eye remains one of the most
iconic and frequently referenced images in the history of
cinema. It is widely regarded as the earliest example of
the science ction lm genre and, more generally, as one
of the most inuential lms in cinema history.

Landing safely on the Moon, the astronomers get out of

the capsule (without the need of space suits) and watch
the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a
comet passes, the Big Dipper appears with human faces
peering out of each star, old Saturn leans out of a window
in his ringed planet, and Phoebe, goddess of the Moon,
appears seated in a crescent-moon swing. Phoebe causes
a snowfall that awakens the astronomers, and they seek
shelter in a cavern where they discover giant mushrooms.
One astronomer opens his umbrella; it promptly takes
root and turns into a giant mushroom itself.
At this point, a Selenite (an insectoid alien inhabitant of
1

PRODUCTION

the Moon, named after one of the Greek moon goddesses, tails can be reconstructed from available evidence:
Selene) appears, but it is killed easily by an astronomer,
as the creatures explode if they are hit with force. More
Georges Mlis as Professor Barbenfouillis.[1][12]
Selenites appear and it becomes increasingly dicult for
Mlis, a pioneering French lm-maker and magithe astronomers to destroy them as they are surrounded.
cian now generally regarded as the rst person to
The Selenites capture the astronomers and take them to
recognize the potential of narrative lm,[13] had althe palace of their king. An astronomer lifts the Selenite
ready achieved considerable success with his lm
King o his throne and throws him to the ground, causing
versions of Cinderella (1899) and Joan of Arc
him to explode.
(1900).[14] His extensive involvement in all of his
lms as director, producer, writer, designer, techThe astronomers run back to their capsule while continunician, publicist, editor, and often actor makes him
ing to hit the pursuing Selenites, and ve get inside. The
one of the rst cinematic auteurs.[15] Speaking about
sixth astronomer, Barbenfouillis himself, uses a rope to
his work late in life, Mlis commented: The greattip the capsule over a ledge on the Moon and into space.
est diculty in realising my own ideas forced me to
A Selenite tries to seize the capsule at the last minute.
sometimes play the leading role in my lms ... I was
Astronomer, capsule, and Selenite fall through space and
a star without knowing I was one, since the term did
land in an ocean on Earth, where they are rescued by a
not yet exist.[16] All told, Mlis took an acting role
ship and towed ashore. The nal sequence (missing from
in at least 300 of his 520 lms.[17]
some prints of the lm) depicts a celebratory parade in
honor of the travelers return, including a display of the
Bleuette Bernon as Phoebe (the woman on the crescaptive Selenite and the unveiling of a commemorative
cent moon). Mlis discovered Bernon in the 1890s,
statue bearing the motto "Labor omnia vincit".[lower-alpha 5]
when she was performing as a singer at the cabaret
L'Enfer. She also appeared in his 1899 adaption of
Cinderella.[18]

Cast

Franois Lallement as the ocer of the marines.

Lallement was one of the salaried camera operators
for the Star Film Company.[18]
Henri Delannoy as the captain of the rocket[1]
Jules-Eugne Legris as the parade leader. Legris
was a magician who performed at Mliss theater
of stage illusions, the Thtre Robert-Houdin in
Paris.[19]
Victor Andr, Delpierre, Farjaux, Kelm, and Brunnet as the astronomers. Andr worked at the Thtre
de Cluny; the others were singers in French music
halls.[20]
Ballet of the Thtre du Chtelet as stars[20]
Acrobats of the Folies Bergre as Selenites[20]

3 Production
3.1 Inspiration

Georges Mlis

When A Trip to the Moon was made, lm actors performed anonymously and no credits were given; the practice of supplying opening and closing credits in lms was
a later innovation.[11] Nonetheless, the following cast de-

When asked in 1930 what inspired him for A Trip to

the Moon, Mlis credited Jules Verne's novels From the
Earth to the Moon and Around the Moon. Cinema historians, the mid-20th-century French writer Georges Sadoul
rst among them, have frequently suggested H. G. Wells's
The First Men in the Moon, a French translation of which
was published a few months before Mlis made the lm,
as another likely inuence, with Sadoul arguing that the
rst half of the lm (up to the shooting of the projectile) is derived from Verne and that the second half (the

3.2

Filming

Stereoscope card showing a scene from Jacques Oenbach's Le

voyage dans la lune

travelers adventures on and in the moon) is derived from

Wells.[21]
In addition to these literary sources, various lm scholars have suggested that Mlis was heavily inuenced by
other works, especially Jacques Oenbach's operetta Le
voyage dans la lune (an unauthorized parody of Vernes
novels) and the A Trip to the Moon attraction at the 1901
Pan-American Exposition in Bualo, New York.[22][23]
The French lm historian Thierry Lefebvre hypothesizes
that Mlis drew upon both of these works, but in different ways: he appears to have taken the structure of
the lm"a trip to the moon, a moon landing, an encounter with extraterrestrials with a deformity, an underground trek, an interview with the Man in the Moon, and a
brutal return to reality back on earthdirectly from the
1901 attraction, but also incorporated many plot elements
(including the presence of six astronomers with pseudoscientic names, telescopes that transform into stools,
a moonshot cannon mounted above ground, a scene in
which the moon appears to approach the viewer, a lunar snowstorm, an earthrise scene, and umbrella-wielding
travelers), not to mention the parodic tone of the lm,
from the Oenbach operetta.[24]

3.2

Mlis (at left) in the studio where A Trip to the Moon was lmed

salary than that oered by competitors, and had a full free

meal at noon with Mlis.[32]
Mliss lm studio, which he had built in Montreuil,
Seine-Saint-Denis in 1897,[33] was a greenhouse-like
building with glass walls and a glass ceiling to let in
as much sunlight as possible, a concept used by most
still photography studios from the 1860s onward; it was
built with the same dimensions as Mliss own Thtre
Robert-Houdin (13.56.6m).[34] Throughout his lm career, Mlis worked on a strict schedule of planning lms
in the morning, lming scenes during the brightest hours
of the day, tending to the lm laboratory and the Thtre
Robert-Houdin in the late afternoon, and attending performances at Parisian theaters in the evening.[32]

Filming

As the science writer Ron Miller notes, A Trip to

the Moon was one of the most complex lms that
Mlis had made, and employed every trick he had
learned or invented.[25] It was his longest lm at the
time;[lower-alpha 6] both the budget and lming duration
were unusually lavish, costing 10,000 to make[29] and
taking three months to complete.[30] The camera operators were Thophile Michault and Lucien Tainguy, who
worked on a daily basis with Mlis as salaried employees
for the Star Film Company. In addition to their work as
cameramen, Mliss operators also did odd jobs for the
company such as developing lm and helping to set up
scenery, and another salaried operator, Franois Lallement, appeared onscreen as the marine ocer.[31] By
contrast, Mlis hired his actors on a lm-by-lm basis,
drawing from talented individuals in the Parisian theatrical world, with which he had many connections. They
were paid one Louis d'or per day, a considerably higher

The workshop set includes a glass roof, evoking the actual studio.

According to Mliss recollections, much of the unusual

cost of A Trip to the Moon was due to the mechanically
operated scenery and the Selenite costumes in particular,
which were made for the lm using cardboard and canvas. Mlis himself sculpted prototypes for the heads,
feet, and kneecap pieces in terra cotta, and then created
plaster molds for them; a specialist in mask-making used

STYLE

these molds to produce cardboard versions for the actors 3.4 Music
to wear.[35] One of the backdrops for the lm, showing the
inside of the glass-roofed workshop in which the space
capsule is built, was painted to look like the actual glassThough Mliss lms were necessarily silent, they were
roofed studio in which the lm was made.[36]
not intended to be seen silently; exhibitors often used a
Many of the special eects in A Trip to the Moon, as in bonimenteur, or narrator, to explain the story as it unnumerous other Mlis lms, were created using the stop folded on the screen, accompanied by sound eects and
trick technique (also known as substitution splicing), in live music.[45] Mlis himself took considerable interwhich the camera operator stopped lming long enough est in musical accompaniment for his lms, and prefor something onscreen to be altered, added, or taken pared special lm scores for several of them, includaway. Mlis carefully spliced the resulting shots together ing The Kingdom of the Fairies[46] and The Barber of
to create apparently magical eects, such as the transfor- Seville.[47] However, Mlis never required a specic mumation of the astronomers telescopes into stools[37] or sical score to be used with any lm, allowing exhibitors
the disappearance of the exploding Selenites in pus of freedom to choose whatever accompaniment they felt
smoke.[38] The use of special eects in the lm as a result, most suitable.[48] When the lm was screened at the
as Barbara Creed puts it, present the trip to the moon as Olympia music hall in Paris in 1902, an original lm score
pure fantasy rather than as a scientic event.[39]
was reportedly written for it.[49]
The pseudo-tracking shot in which the camera appears
to approach the Man in the Moon, was accomplished using an eect Mlis had invented the previous year for
the lm The Man with the Rubber Head.[40] Rather than
attempting to move his weighty camera toward an actor, he set a pulley-operated chair upon a rail-tted ramp,
placed the actor (covered up to the neck in black velvet)
on the chair, and pulled him toward the camera.[41] In addition to its technical practicality, this technique also allowed Mlis to control the placement of the face within
the frame to a much greater degree of specicity than
moving his camera allowed.[41] A substitution splice allowed a model capsule to suddenly appear in the eye of
the actor playing the Moon, completing the shot.[37] Another notable sequence in the lm, the plunge of the capsule into real ocean waves lmed on location, was created through multiple exposure, with a shot of the capsule falling in front of a black background superimposed
upon the footage of the ocean. The shot is followed by
an underwater glimpse of the capsule oating back to the
surface, created by combining a moving cardboard cutout
of the capsule with an aquarium containing tadpoles and
air jets.[10] The descent of the rocket from the Moon was
covered in four shots, taking up only about twenty seconds of lm time.[42]

3.3

In 1903, the English composer Ezra Read published a

piano piece called A Trip to the Moon: Comic Descriptive Fantasia, which follows Mliss lm scene by scene
and may have been used as a score for the lm;[50] it
may have been commissioned by Mlis himself, who
had likely met Read on one of his trips to England.[48]
More recent composers who have recorded scores for A
Trip to the Moon include Nicolas Godin and Jean-Benoit
Dunckel of Air (for the 2011 restoration; see the Handcolored version section below),[51] Frederick Hodges,[51]
Robert Israel,[51] Eric Le Guen,[52] Lawrence Lehrissey
(a great-great-grandson of Mlis),[53] Donald Sosin,[54]
and Victor Young (for an abridged print featured as a prologue to the 1956 lm Around the World in 80 Days).[55]

4 Style

Coloring

As with at least 4% of Mliss output (including major

lms such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville), some prints of A
Trip to the Moon were individually hand-colored by Elisabeth Thuilliers coloring lab in Paris.[43] Thuillier, a former colorist of glass and celluloid products, directed a
studio of two hundred people painting directly on lm
stock with brushes, in the colors she chose and specied;
each worker was assigned a dierent color in assembly
line style, with more than twenty separate colors often
used for a single lm. On average, Thuilliers lab pro- Uncropped production still from the lm, showing the
edges of the backdrop and the oor of the studio
duced about sixty hand-colored copies of a lm.[44]

5
unconventional by the standards of Grith and his followers, but before the development of continuity editing
it was not uncommon for lmmakers to make similar experiments with time; Porter, for instance, used temporal
discontinuity and repetition extensively in his 1902 lm
Life of an American Fireman.[62][63] Later in the twentieth century, with sports television's development of the
instant replay, temporal repetition again became a familiar device to screen audiences.[62]

The scene as it appears in the hand-colored print of the

lm
The lms style, like that of most of Mliss lms, is deliberately theatrical, with a stylized mise en scne recalling
the traditions of the 19th-century stage, and lmed by a
stationary camera placed to evoke the perspective of an
audience member sitting in a theatre.[56][lower-alpha 7] This
stylistic choice was one of Mliss rst and biggest innovations. Although he had initially followed the popular
trend of the time by making mainly actuality lms (short
"slice of life" documentary lms capturing actual scenes
and events for the camera), in his rst few years of lming
Mlis gradually moved into the far less common genre of
ctional narrative lms, which he called his scnes composes or articially arranged scenes.[11] The new genre
was extensively inuenced by Mliss experience in theatre and magic, especially his familiarity with the popular
French ferie stage tradition, and in an advertisement he
proudly described the dierence between his innovative
lms and the actualities still being made by his contemporaries: these fantastic and artistic lms reproduce stage
scenes and create a new genre entirely dierent from the
ordinary cinematographic views of real people and real
streets.[58]
Because A Trip to the Moon preceded the development
of narrative lm editing by lmmakers such as Edwin
S. Porter and D. W. Grith, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the
purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other lmic
ideas.[59] Rather, each camera setup in Mliss lm is
designed as a distinct dramatic scene uninterrupted by
visible editing, an approach tting the theatrical style in
which the lm was designed.[60][lower-alpha 8] Similarly, lm
scholars have noted that the most famous moment in A
Trip to the Moon plays with temporal continuity by showing an event twice: rst the capsule is shown suddenly appearing in the eye of an anthropomorphic moon; then, in
a much closer shot, the landing occurs very dierently,
and much more realistically, with the capsule actually
plummeting into believable lunar terrain.[62] This kind of
nonlinear storytelling, in which time is treated as repeatable and exible rather than linear and causal, is highly

Because Mlis does not use a modern cinematic vocabulary, some lm scholars have created other frameworks
of thought with which to assess his lms; for example,
some recent academicians, while not necessarily denying Mliss inuence on lm, have argued that his works
are better understood as spectacular theatrical creations
rooted in the 19th-century stage tradition of the ferie.[64]
Similarly, Tom Gunning has argued that to fault Mlis
for not inventing a more intimate and cinematic storytelling style is to misunderstand the purpose of his lms;
in Gunnings view, the rst decade of lm history may
be considered a cinema of attractions, in which lmmakers experimented with a presentational style based on
spectacle and direct address rather than on intricate editing. Though the attraction style of lmmaking declined
in popularity in favor of a more integrated story lm
approach, it remains an important component of certain
types of cinema, including science ction lms, musicals,
and avant-garde lms.[65]

5 Themes

The statue of Barbenfouillis (here seen in a frame from the handcolored print) may be intended to satirize colonialism[66]

With its pioneering use of themes of scientic ambition and discovery, A Trip to the Moon is widely considered to be the rst science ction lm;[39][67] A Short
History of Film argues that it codied many of the basic generic situations that are still used in science ction
lms today.[68][lower-alpha 9] David Seed also considers the
spaceship in the lm to be one of the key icons of science
ction, with its sleek rocket design, promising freedom

6 RELEASE

and escape.[71]
However, A Trip to the Moon is also highly satirical in
tone, poking fun at nineteenth-century science by exaggerating it in the format of an adventure story.[72] The
lm scholar Alison McMahan calls it one of the earliest examples of pataphysical lm, saying it aims to
show the illogicality of logical thinking with its satirically portrayed inept scientists, anthropomorphic moon
face, and impossible transgressions of laws of physics.[73]
The lm historian Richard Abel believes Mlis aimed
in the lm to invert the hierarchal values of modern
French society and hold them up to ridicule in a riot of the
carnivalesque.[73] Similarly, the literary and lm scholar
Edward Wagenknecht described the lm as a work satirizing the pretensions of professors and scientic societies while simultaneously appealing to mans sense of
wonder in the face of an unexplored universe.[74]
There is also a strong anti-imperialist vein in the lms
satire.[4][66] The lm scholar Matthew Solomon notes that
the last part of the lm (the parade and commemoration
sequence missing in some prints) is especially forceful
in this regard. He argues that Mlis, who had previously worked as an anti-Boulangist political cartoonist,
mocks imperialistic domination in the lm by presenting
his colonial conquerors as bumbling pedants who mercilessly attack the alien lifeforms they meet and return with
a mistreated captive amid fanfares of self-congratulation.
The statue of Barbenfouillis shown in the lms nal
shot even resembles the pompous, bullying colonialists
in Mliss political cartoons.[66] The lm scholar Elizabeth Ezra agrees that Mlis mocks the pretensions of
colonialist accounts of the conquest of one culture by another, and adds that his lm also thematizes social differentiation on the home front, as the hierarchical patterns on the moon are shown to bear a curious resemblance to those on earth.[4]

Release

Mlis, who had begun A Trip to the Moon in May 1902,

nished the lm in August of that year and began selling
prints to French distributors in the same month.[35] From
September through December 1902, a hand-colored print
of A Trip to the Moon was screened at Mliss Thtre
Robert-Houdin in Paris. The lm was shown after Saturday and Thursday matinee performances by Mliss
colleague and fellow magician, Jules-Eugne Legris, who
appeared as the leader of the parade in the two nal scenes.[19] Mlis sold black-and-white and color
prints of the lm through his Star Film Company,[19]
where the lm was assigned the catalogue number
399411[2][lower-alpha 10] and given the descriptive subtitle
Pice grand spectacle en 30 tableaux.[12][lower-alpha 11] In
France, black-and-white prints sold for 560, and handcolored prints for 1,000.[29] Mlis also sold the lm indirectly through Charles Urban's Warwick Trading Com-

Preliminary sketch by Mlis for a poster for the lm

pany in London.[19]
Many circumstances surrounding the lmincluding its
unusual budget, length, and production time, as well as its
similarities to the 1901 New York attractionindicate
that Mlis was especially keen to release the lm in
the United States.[30][lower-alpha 12] Because of rampant lm
piracy, Mlis never received most of the prots of the
popular lm.[78] One account reports that Mlis sold a
print of the lm to the Paris photographer Charles Gerschel for use in an Algiers theatre, under strict stipulation
that the print only be shown in Algeria. Gerschel sold the
print, and various other Mlis lms, to the Edison Manufacturing Company employee Alfred C. Abadie, who sent
them directly to Edisons laboratories to be illegally duplicated and sold by Vitagraph. Copies of the print spread
to other rms, and by 1904 Siegmund Lubin, the Selig
Polyscope Company, and Edison were all redistributing it
illegally.[19] Edisons print of the lm was even oered in
a hand-colored version available at a higher price, just as
Mlis had done.[43] Because these American copies were
illegal, Mlis was often uncredited altogether; for the
rst six months of the lms distribution, the only American exhibitor to credit Mlis in advertisements for the
lm was Thomas Lincoln Tally,[79] who chose the lm as
the inaugural presentation of his Electric Theater.[29]
In order to combat the problem of lm piracy that became clear during the release of A Trip to the Moon,
Mlis opened an American branch of the Star Film
Company, directed by his brother Gaston Mlis, in New
York in 1903. The oce was designed to sell Mliss
lms directly and to protect them by registering them under United States copyright.[80] The introduction to the

7
English-language edition of the Star Film Company cat- 8
alog announced: In opening a factory and oce in New
York we are prepared and determined energetically to
8.1
pursue all counterfeiters and pirates. We will not speak
twice, we will act!"[81]
In addition to the opening of the American branch, various trade arrangements were made with other lm companies, including American Mutoscope and Biograph,
the Warwick Trading Company, the Charles Urban Trading Co., Robert W. Paul's studio, and Gaumont.[80] In
these negotiations, a print sale price of US$0.15 per foot
was standardized across the American market, which
proved useful to Mlis; later price standardizations by
the Motion Picture Patents Company in 1908 hastened
Mliss nancial ruin, as his lms were impractically expensive under the new standards. In addition, in the years
following 1908 his lms suered from the fashions of the
time, as the fanciful magic lms he made were no longer
in vogue.[80]

Reception

Rediscovery
Black-and-white print

The incomplete LeRoy print of A Trip to the Moon, with the nal
sequence missing

After Mliss nancial diculties and decline, most

copies of his prints were lost. In 1917, his oces were
occupied by the French military, who melted down many
of Mliss lms to gather the traces of silver from the
lm stock and make boot heels from the celluloid. When
the Thtre Robert-Houdin was demolished in 1923, the
prints kept there were sold by weight to a vendor of
second-hand lm. Finally, in that same year, Mlis had
a moment of anger and burned all his remaining negatives
in his garden in Montreuil.[86] In 1925, he began selling
toys and candy from a stand in the Gare Montparnasse
in Paris.[87] A Trip to the Moon was largely forgotten to
history and went unseen for years.[83]

According to Mliss memoirs, his initial attempts to sell

A Trip to the Moon to French fairground exhibitors met
with failure because of the lms unusually high price.
Finally, Mlis oered to let one such exhibitor borrow a
print of the lm to screen for free. The applause from the
very rst showing was so enthusiastic that fairgoers kept
the theater packed until midnight. The exhibitor bought
the lm immediately, and when he was reminded of his
initial reluctance he even oered to add 200 to compensate for [Mliss] inconvenience.[81] The lm was Thanks to the eorts of lm history devotes, especially
a pronounced success in France, running uninterrupted at Ren Clair, Jean-George Auriol, and Paul Gilson, Mlis
the Olympia music hall in Paris for several months.[49]
and his work were rediscovered in the late 1920s. A
A Trip to the Moon was met with especially large enthu- Gala Mlis was held at the Salle Pleyel in Paris on
siasm in the United States, where (to Mliss chagrin) 16 December 1929 in celebration of the lmmaker, and
its piracy by Lubin, Selig, Edison and others gave it wide he was awarded the Legion of Honor in 1931.[88] Durdistribution. Exhibitors in New York City, Washington ing this renaissance of interest in Mlis, the cinema
D.C., Cleveland, Detroit, New Orleans, and Kansas City manager Jean Mauclaire and the early lm experimenter
reported on the lms great success in their theaters.[82] Jean Acme LeRoy both set out independently to locate
The lm also did well in other countries, including Ger- a surviving print of A Trip to the Moon. Mauclaire obmany, Canada, and Italy, where it was featured as a head- tained a copy from Paris in October 1929, and LeRoy
line attraction through 1904.[82]
one from London in 1930, though both prints were inA Trip to the Moon was one of the most popular lms complete; Mauclaires lacked the rst and last scenes,
of the rst few years of the twentieth century, rivaled and LeRoys was missing the entire nal sequence featuronly by a small handful of others (similarly spectacular ing the parade and commemorative statue. These prints
Mlis lms such as The Kingdom of the Fairies and The were occasionally screened at retrospectives (including
Impossible Voyage among them).[83] Late in life, Mlis the Gala Mlis), avant-garde cinema showings, and other
sometimes in presentations by Mlis
remarked that A Trip to the Moon was surely not one of special occasions,
[89]
himself.
my best, but acknowledged that it was widely considered
his masterpiece and that it left an indelible trace because
it was the rst of its kind.[84] The lm which Mlis was
proudest of was Humanity Through the Ages, a serious
historical drama now presumed lost.[85]

Following LeRoys death in 1932, his lm collection was

bought by the Museum of Modern Art in 1936; the museums acquisition and subsequent screenings of A Trip
to the Moon, under the direction of MoMAs lm curator

LEGACY

Iris Barry, opened the lm up once again to a wide audience of Americans and Canadians[89] and established
it denitively as a landmark in the history of cinema.[37]
LeRoys incomplete print became the most commonly
seen version of the lm and the source print for most other
copies, including the Cinmathque franaise's print.[89]
A complete version of the lm, including the entire celebration sequence, was nally reconstructed in 1997 from
various sources by the Cinmathque Mlis, a foundation set up by the Mlis family.[90]

13,375 fragments of images from the print to be saved.[94]

In 2010, a complete restoration of the hand-colored
print was launched by Lobster Films, the Groupama Gan
Foundation for Cinema, and the Technicolor Foundation
for Cinema Heritage.[91] The digitized fragments of the
hand-colored print were reassembled and restored, with
missing frames recreated with the help of a black-andwhite print in the possession of the Mlis family, and
time-converted to run at an authentic silent-lm speed,
14 frames per second. The restoration was completed in
2011[95] at Technicolor's laboratories in Los Angeles.[96]

8.2

The restored version premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the 2011 Cannes Film Festival, with a new
soundtrack by the French band Air.[97] The restoration
was released by Flicker Alley in a 2-disc Blu-Ray and
DVD edition also including The Extraordinary Voyage,
a feature-length documentary by Bromberg and Lange
about the lms restoration, in 2012.[98] In The New York
Times, A. O. Scott called the restoration surely a cinematic highlight of the year, maybe the century.[99]

Hand-colored print

9 Legacy
See also: Georges Mlis in culture A Trip to the Moon
As A Short History of Film notes, A Trip to the Moon
The restored hand-colored print

No hand-colored prints of A Trip to the Moon were

known to survive until 1993, when one was given to the
Filmoteca de Catalunya by an anonymous donor as part
of a collection of two hundred silent lms.[91] It is unknown whether this version, a hand-colored print struck
from a second-generation negative, was colored by Elisabeth Thuilliers lab, but the perforations used imply that
the copy was made before 1906. The ag waved during
the launching scene in this copy is colored to resemble the
ag of Spain, indicating that the hand-colored copy was
made for a Spanish exhibitor.[92]
In 1999, Anton Gimenez of the Filmoteca de Catalunya
mentioned the existence of this print, which he believed
to be in a state of total decomposition, to Serge Bromberg
and Eric Lange of the French lm company Lobster
Films. Bromberg and Lange oered to trade a recently
rediscovered lm by Segundo de Chomn for the handcolored print, and Gimenez accepted. Bromberg and
Lange consulted various specialist laboratories in an attempt to restore the lm, but because the reel of lm had
apparently decomposed into a rigid mass, none believed
restoration to be possible. Consequently, Bromberg and
Lange themselves set to work separating the lm frames,
discovering that only the edges of the lm stock had decomposed and congealed together, and thus that many
of the frames themselves were still salvageable.[93] Between 2002 and 2005, various digitization eorts allowed

Segundo de Chomns Excursion to the Moon, a remake of the

lm

combined spectacle, sensation, and technical wizardry

to create a cosmic fantasy that was an international
sensation.[68] It was profoundly inuential on later lmmakers, bringing creativity to the cinematic medium and
oering fantasy for pure entertainment, a rare goal in
lm at the time. In addition, Mliss innovative editing and special eects techniques were widely imitated
and became important elements of the medium.[100] The
lm also spurred on the development of cinematic science ction and fantasy by demonstrating that scientic
themes worked on the screen and that reality could be
transformed by the camera.[68][101] In a 1940 interview,

10.2

Citations

Edwin S. Porter said that it was by seeing A Trip to

the Moon and other Mlis lms that he came to the
conclusion that a picture telling a story might draw the
customers back to the theatres, and set to work in this
direction.[37] Similarly, D. W. Grith said simply of
Mlis: I owe him everything.[13] Since these American directors are widely credited with developing modern lm narrative technique, the literary and lm scholar
Edward Wagenknecht once summed up Mliss importance to lm history by commenting that Mlis profoundly inuenced both Porter and Grith and through
them the whole course of American lm-making.[74]
It remains Mliss most famous lm as well as a classic example of early cinema, with the image of the capsule stuck in the Man in the Moons eye particularly
well-known.[102] The lm has been evoked in other creative works many times,[19] ranging from Segundo de
Chomn's 1908 unauthorized remake Excursion to the
Moon[103] through the extensive tribute to Mlis and
the lm in the Brian Selznick novel The Invention of
Hugo Cabret and its 2011 Martin Scorsese lm adaptation Hugo.[104] Film scholar Andrew J. Rausch includes A
Trip to the Moon among the 32 most pivotal moments in
the history of [lm], saying it changed the way movies
were produced.[105] Chiara Ferraris essay on the lm in
1001 Movies You Must See Before You Die, which places
A Trip to the Moon as the rst entry, argues that the lm
directly reects the histrionic personality its director,
and that the lm deserves a legitimate place among the
milestones in world cinema history.[100]

10
10.1

References
Notes

[1] A Trip to the Moon, the common English-language

title,[2][4] was rst used in Mliss American catalogues.
It was initially labeled in British catalogues as Trip to the
Moon, without the initial article.[5] Similarly, though the
lm was rst sold in France without an initial article in the
title,[5] it has subsequently been commonly known as Le
Voyage dans la Lune.[2][4]
[2] Proper names taken from the authorized English-language
catalogue description of the lm: see Mlis 2011a, pp.
227229.
[3] Barbenfouillis is French for Tangled-Beard.[7] It has
been suggested that the name parodies President Impey
Barbicane, the hero of Jules Vernes From the Earth to the
Moon,[8] although Mlis had previously used the name in
a non-Verne context in 1891, for a stage magic act.[7]
[4] The image is a visual pun: the phrase dans l'il, literally
in the eye, is the French equivalent of the English word
"bullseye.[9]
[5] Labor omnia vincit is Latin for work conquers all.[10]

[6] The lms total length is about 260 meters (roughly 845
feet) of lm,[2] which, at Mliss preferred projection
speed of 12 to 14 frames per second,[26] is about 17
minutes.[3] Films made in the same era by Mliss contemporaries, the Edison Manufacturing Company and
the Lumire Brothers, were on average about one-third
this length.[27] Mlis went on to make longer lms; his
longest, The Conquest of the Pole, runs to 650 meters[28]
or about 44 minutes.[3]
[7] The stationary position of the camera, which became
known as one of Mliss characteristic trademarks, was
one of the most important elements of the style. Though
he often moved his camera when making actualities outdoors (for example, 15 of his 19 short lms about the 1900
Paris Exposition were shot with a moving camera setup),
he considered a theatrical viewpoint more appropriate for
the ction lms staged in his studio.[57]
[8] The specication of visible editing is necessary because,
in reality, Mlis used much splicing and editing within
his scenes, not only for stop-trick eects but also to break
down his long scenes into smaller takes during production.
Thus, A Trip to the Moon actually contains more than fty
shots. All such editing was deliberately designed to be
unnoticeable by the viewer; the camera angle remained
the same, and action continued uidly through the splice
by means of careful shot-matching.[61]
[9] Mliss earlier lm Gugusse and the Automaton has also
been nominated as the rst science ction lm.[69] Mlis
himself advertised the lm as belonging to the "pice
grand spectacle" genre;[12] see the Release and reception
section. Richard Abel describes the lm as belonging to
the ferie genre,[49] as does Frank Kessler.[70]
[10] In Mliss numbering system, lms were listed and numbered according to their order of production, and each
catalogue number denotes about 20 meters of lm; thus
A Trip to the Moon, at about 260 meters long, is listed as
#399411.[75]
[11] In French, the term pice grand spectacle is usually used
to describe the spectacular stage extravaganzas popular
in Paris in the second half of the nineteenth century.[76]
The word tableau, used in French theatre to mean scene
or stage picture, refers in Mliss catalogues to distinct
episodes in the lm, rather than changes of scene; thus,
Mlis counted thirty tableaux within the scenes of A Trip
to the Moon.[27]
[12] The historian Richard Abel notes that stories involving
trips to the moon, whether in print, on stage, or as themed
attractions, were highly popular in America at the time;
indeed, a previous lm of Mliss, The Astronomers
Dream, was often shown in the United States under the
title A Trip to the Moon.[77]

10.2 Citations
[1] Wemaere & Duval 2011, p. 186
[2] Hammond, Paul (1974), Marvellous Mlis, London:
Gordon Fraser, p. 141, ISBN 0-900406-38-0

10

[3] Frame rate calculations produced using the following formula: 845 feet / ((n frame/s * 60 seconds) / 16 frames
per foot) = x. See Elkins, David E. (2013), Tables &
Formulas: Feet Per Minute for 35mm, 4-perf Format,
The Camera Assistant Manual Web Site (companion site
for The Camera Assistants Manual [Burlington, MA: Focal Press, 2013]), retrieved 8 August 2013.
[4] Ezra 2000, pp. 120121
[5] Malthte & Mannoni 2008, p. 344
[6] Village Voice Critics Poll (2001), 100 Best Films,
lmsite.org (AMC), retrieved 2 August 2013
[7] Rosen 1987, p. 748
[8] Deschamps, Jean-Marc (2005), Jules Verne: 140 ans
d'inventions extraordinaires, Boulogne-Billancourt: Du
May, p. 110, Ainsi, le prsident Impey Barbicane de De
la Terre la Lune devient le professeur Barbenfouillis...
[9] Kessler 2011, p. 123
[10] Frazer 1979, p. 98
[11] Ezra 2000, p. 13
[12] Malthte & Mannoni 2008, p. 125
[13] Cook 2004, p. 18
[14] Malthte & Mannoni 2008, p. 106
[15] Ezra 2000, p. 17
[16] Wemaere & Duval 2011, p. 166
[17] Malthte & Mannoni 2008, p. 88
[18] Wemaere & Duval 2011, p. 165
[19] Solomon 2011, p. 2
[20] Mlis 2011b, p. 234: I remember that in Trip to the
Moon, the Moon (the woman in a crescent,) was Bleuette
Bernon, music hall singer, the Stars were ballet girls, from
theatre du Chteletand the men (principal ones) Victor Andr, of Cluny theatre, Delpierre, FarjauxKelm
Brunnet, music-hall singers, and myselfthe Slenites
were acrobats from Folies Bergre.
[21] Lefebvre 2011, pp. 50, 58
[22] Wemaere & Duval 2011, pp. 166167
[23] Lefebvre 2011, pp. 5158
[24] Lefebvre 2011, pp. 5358
[25] Miller, Ron (1 January 2006), Special Eects: An Introduction to Movie Magic, Twenty-First Century Books, p.
15, ISBN 978-0-7613-2918-3
[26] Solomon 2012, p. 191
[27] Cook 2004, p. 15
[28] Malthte & Mannoni 2008, p. 285
[29] Frazer 1979, p. 99

10

REFERENCES

[30] Lefebvre 2011, p. 51

[31] Wemaere & Duval 2011, pp. 165167
[32] Frazer 1979, pp. 4243
[33] Malthte & Mannoni 2008, p. 9
[34] Frazer 1979, p. 41; dimensions from Wemaere & Duval
2011, p. 163
[35] Mlis 2011b, pp. 233234
[36] Frazer 1979, p. 95
[37] Solomon 2011, p. 6
[38] Wemaere & Duval 2011, p. 85
[39] Creed, Barbara (2009), Darwins Screens: Evolutionary
Aesthetics, Time and Sexual Display in the Cinema, Academic Monographs, p. 58, ISBN 978-0-522-85258-5
[40] Frazer 1979, p. 96
[41] Frazer 1979, pp. 9193
[42] Gunning, Tom (1994), D.W. Grith and the Origins of
American Narrative Film: The Early Years at Biograph,
University of Illinois Press, p. 37, ISBN 978-0-25206366-4
[43] Yumibe, Joshua (2012), Moving Color: Early Film, Mass
Culture, Modernism, New Brunswick, N.J.: Rutgers University Press, pp. 7174, ISBN 978-0-8135-5296-5
[44] Wemaere & Duval 2011, p. 169
[45] Ezra 2000, p. 27
[46] Frazer 1979, p. 118
[47] Marks, Martin Miller (1997), Music and the Silent Film:
Contexts and Case Studies, 1895-1924, New York: Oxford
University Press, p. 72, ISBN 0195068912, retrieved 21
July 2013
[48] Bayer, Katia (26 May 2011), Le Voyage dans la lune de
Georges Mlis par Serge Bromberg, Format Court, retrieved 8 March 2014
[49] Abel, Richard (1998), The Cin Goes to Town: French
Cinema, 18961914, Berkeley: University of California
Press, p. 70
[50] Marks, Martin (4 February 2012), Music for A Trip to the
Moon: An Obscure English Score for a Famous French
Fantasy (conference abstract), American Musicological
Society, retrieved 8 March 2014
[51] Bennett, Carl, A Trip to the Moon, Silent Era, retrieved
7 September 2014
[52] Mlis the magician, WorldCat, retrieved 27 September
2014
[53] Lefvre, Franois-Olivier (18 April 2012), Georges
Mlis - A la conqute du cinmatographe, DVDClassik,
retrieved 7 September 2014

10.2

Citations

[54] A Trip to the moon, WorldCat, retrieved 7 September

2014

11

[79] Abel 2011, p. 136

[80] Frazer 1979, pp. 4648

[55] Cohn, Art (1956), Michael Todds Around the World in 80

Days Almanac, New York: Random House, pp. 5961

[81] Rosen 1987, p. 755

[56] Cook 2004, pp. 1516

[82] Solomon 2011, pp. 23

[57] Malthte 2002, 2

[83] Solomon 2011, p. 3

[58] Kovcs, Katherine Singer (Autumn 1976), Georges

Mlis and the Ferie", Cinema Journal 16 (1): 1,
doi:10.2307/1225446, JSTOR 1225446

[84] Wemaere & Duval 2011, p. 162

[59] Dancyger 2007, pp. 34

[86] Frazer 1979, p. 54

[60] Cook 2004, p. 14

[87] Malthte & Mannoni 2008, p. 10

[61] Solomon 2011, pp. 67

[88] Frazer 1979, pp. 5556

[62] Sklar, Robert (1993), Film: An International History of

the Medium, New York: Harry N. Abrams, pp. 3336

[89] Solomon 2011, pp. 35

[63] Cook 2004, p. 22

[64] Gaudreault, Andr; Le Forestier, Laurent (2011), Mlis,
carrefour des attractions (academic conference program),
Centre culturel international de Cerisy-la-Salle, retrieved
23 July 2013
[65] Cook 2004, pp. 1617
[66] Solomon 2011, pp. 912
[67] Fischer, Dennis (17 June 2011), Science Fiction Film Directors, 18951998, McFarland, p. 9, ISBN 978-0-78648505-5
[68] Dixon, Wheeler Winston; Foster, Gwendolyn Audrey
(2008), A Short History of Film, Rutgers University Press,
p. 12, ISBN 978-0-8135-4475-5
[69] Menville, Douglas; Reginald, R. (1977), Things to Come:
An Illustrated History of the Science Fiction Film, New
York: Times Books, p. 3
[70] Kessler 2011
[71] Seed, David (23 June 2011), Science Fiction: A Very Short
Introduction, Oxford University Press, p. 15, ISBN 9780-19-162010-2
[72] Frazer 1979, pp. 9899

[85] Frazer 1979, p. 191

[90] Solomon 2011, p. 8

[91] Wemaere & Duval 2011, p. 12
[92] Bromberg, Serge (October 2012), "Le Voyage dans la
Lune: Une restauration exemplaire, Journal of Film
Preservation 87: 13, retrieved 12 January 2014
[93] Wemaere & Duval 2011, p. 183
[94] Wemaere & Duval 2011, pp. 1834
[95] Wemaere & Duval 2011, pp. 1846
[96] Savage, Sophia (2 May 2011), Cannes 2011: Mliss
Fully Restored A Trip To The Moon in Color To Screen
Fests Opening Night, Thompson on Hollywood, retrieved
23 February 2014
[97] Festival de Cannes (20 May 2011), A Trip to the Moon
a return journey, The Daily 2011 (Cannes Film Festival),
retrieved 23 February 2014
[98] Flicker Alley (21 January 2012), Your Questions Answered A Trip to the Moon in Color, Flicker Alley, retrieved 23 February 2014
[99] Scott, A. O.; Dargis, Manohla (14 December 2011), OldFashioned Glories in a Netix Age, The New York Times:
AR8, retrieved 2 August 2013

[100]
[73] McMahan, Alison (2005), The Films of Tim Burton: Animating Live Action in Contemporary Hollywood, Continuum International Publishing Group, p. 4, ISBN 0-8264[101]
1566-0
[74] Wagenknecht 1962, pp. 356
[75] Solomon 2011, p. 7

Schneider, Steven Jay (1 October 2012), 1001 Movies You

Must See Before You Die 2012, Octopus Publishing Group,
p. 20, ISBN 978-1-84403-733-9
Kawin, Bruce F. (January 1992), How Movies Work, University of California Press, p. 51, ISBN 978-0-52007696-9

[102] Solomon 2011, p. 1

[76] Margot, Jean-Michel (2003), Introduction, in Verne, [103] Solomon 2011, p. 13

Jules, Journey Through the Impossible, Amherst, N.Y.:
[104] Hoberman, J. (24 February 2012), Hugo and the Magic
Prometheus Books, p. 13, ISBN 1-59102-079-4
of Film Trickery, The Guardian, retrieved 4 May 2014
[77] Abel 2011, pp. 130135
[105] Rausch, Andrew J. (2004), Turning Points In Film History,
[78] Frazer 1979, p. 46
Citadel Press, ISBN 978-0-8065-2592-1

12

10.3

11

Bibliography

Abel, Richard (2011), "A Trip to the Moon as

an American Phenomenon, in Solomon, Matthew,
Fantastic Voyages of the Cinematic Imagination:
Georges Mliss Trip to the Moon, Albany: State
University of New York Press, pp. 129142, ISBN
978-1-4384-3581-7
Cook, David A. (2004), A History of Narrative Film,
New York: W. W. Norton & Company, ISBN 0393-97868-0

EXTERNAL LINKS

Rosen, Miriam (1987), Mlis, Georges, in Wakeman, John, World Film Directors: Volume I, 1890
1945, New York: The H. W. Wilson Company, pp.
747765, ISBN 0-8242-0757-2
Solomon, Matthew (2011), Introduction, in
Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Mliss Trip to the
Moon, Albany: State University of New York Press,
pp. 124, ISBN 978-1-4384-3581-7

Dancyger, Ken (2007), The Technique of Film and

Video Editing: History, Theory, and Practice, New
York: Focal Press, ISBN 978-0-240-80765-2

Solomon, Matthew (Fall 2012), Georges Mlis:

First Wizard of Cinema (18961913)/Georges
Mlis Encore: New Discoveries (18961911)",
Moving Image 12 (2): 187192, ISSN 1532-3978,
JSTOR 10.5749/movingimage.12.2.0187

Ezra, Elizabeth (2000), Georges Mlis, Manchester: Manchester University Press, ISBN 0-71905395-1

Wagenknecht, Edward (1962), The Movies in the

Age of Innocence, Norman: University of Oklahoma
Press

Frazer, John (1979), Articially Arranged Scenes:

The Films of Georges Mlis, Boston: G. K. Hall &
Co., ISBN 0-8161-8368-6

Wemaere, Sverine; Duval, Gilles (2011), La

couleur retrouve du Voyage dans la Lune,
Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage, retrieved
10 August 2013

Kessler, Frank (2011), "A Trip to the Moon as

Ferie", in Solomon, Matthew, Fantastic Voyages of
the Cinematic Imagination: Georges Mliss Trip to
the Moon, Albany: State University of New York
Press, pp. 115128, ISBN 978-1-4384-3581-7
Lefebvre, Thierry (2011), "A Trip to the Moon: A
Composite Film, in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges
Mliss Trip to the Moon, Albany: State University
of New York Press, pp. 4964, ISBN 978-1-43843581-7
Malthte, Jacques (2002), "Les Vues spciales de
l'Exposition de 1900, tournes par Georges Mlis,
1895: Revue de l'Association franaise de recherche
sur l'histoire du cinma 36, retrieved 24 January
2014
Malthte, Jacques; Mannoni, Laurent (2008),
L'oeuvre de Georges Mlis, Paris: ditions de La
Martinire, ISBN 978-2-7324-3732-3
Mlis, Georges (2011a) [originally published
1902], A Fantastical ... Trip to the Moon, in
Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Mliss Trip to the
Moon, Albany: State University of New York Press,
pp. 227232, ISBN 978-1-4384-3581-7
Mlis, Georges (2011b) [written 1930], Reply to
Questionary, in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Mliss
Trip to the Moon, Albany: State University of New
York Press, pp. 233234, ISBN 978-1-4384-35817

11 External links
A Trip to the Moon at the Internet Movie Database
A Trip to the Moon at AllMovie
A Trip to the Moon at Rotten Tomatoes
Was the NASA splash down inspired by Georges
Mlis? A letter to NASA
A Trip to the Moon is available for free download at
the Internet Archive
A Trip to the Moon is available for free download at
the Internet Archive
The hand-colored, restored version of A Trip to the
Moon on Hulu
A Trip to the Moon complete lm on YouTube
A Trip to the Moon (Hand-colored) complete lm
on YouTube

13

12
12.1

Text and image sources, contributors, and licenses

Text

A Trip to the Moon Source: http://en.wikipedia.org/wiki/A%20Trip%20to%20the%20Moon?oldid=640185320 Contributors: Danny,

William Avery, Modemac, Paul A, Ciphergoth, Astudent, Vargenau, WhisperToMe, Phoebe, AnonMoos, PuzzletChung, SD6-Agent,
Donarreiskoer, Fredrik, RedWolf, Modulatum, Davodd, Pabouk, Anville, Gamaliel, The Singing Badger, OwenBlacker, Kuralyov, Sam,
Burschik, KillerChihuahua, Cacycle, Crooow, Aecis, 96T, O18, NetBot, 23skidoo, Shaka, Pharos, Gssq, CyberSkull, Damnreds, Torstein,
Kusma, Gene Nygaard, Ringbang, Japanese Searobin, The JPS, Qnonsense, Woohookitty, FeanorStar7, Jvsett, Lockley, Bensin, MarnetteD, FlaBot, Valermos, Alphachimp, Chobot, Bgwhite, YurikBot, Kollision, Gaius Cornelius, Kyorosuke, RadioKirk, Grafen, Voyevoda,
DanManX, GHcool, Iow, Tony1, Bota47, AlexLehm, Pegship, Nikkimaria, Piecraft, Sugar Bear, Andy prohias, Andman8, Ozzmosis,
SmackBot, Brian1979, InverseHypercube, Felix Dance, ScaldingHotSoup, ZS, Betacommand, Oscarthecat, Ppntori, Chris the speller,
Catchpole, Kleinzach, Tianxiaozhang, Colonies Chris, AdamSmithee, Mike hayes, Varsil, Konczewski, TKD, Al Fecund, Either way,
Wybot, Ligulembot, Chopin1810, Curly Turkey, JzG, Moquist, Gonioul, Mr Stephen, Feureau, Mets501, Neddyseagoon, Ryulong, Quaeler,
Hombrelobo, Clarityend, Mwhite66, Twas Now, Cbrown1023, Danproduct, J Milburn, CmdrObot, Baronvon, Psycadelc, Charvex, THF,
Rustoleum2k, .onion, Cydebot, Marcman411, Lugnuts, Mallanox, Thijs!bot, TonyTheTiger, Purple Paint, Ackatsis, Alientraveller, Yaeir,
Escarbot, RobotG, Fru1tbat, Dr. Blofeld, Gamle Bailey, Vanjagenije, Spartaz, Ingolfson, Andrzejbanas, JAnDbot, WANAX, Wumbo, Awien, Adam keller, JNW, Ling.Nut, Duggy 1138, Giggy, Japo, SnapSnap, Falcor84, Lildu90, Roja4349, MartinBot, CommonsDelinker,
J.delanoy, Cop 663, Doctor Sunshine, Skier Dude, Inwind, Sgeureka, TreasuryTag, Anonymous Dissident, Qxz, PlayStation 69, Nadsozinc, Drabbyscott, ConGBE, Porchindex, Plushxc, Truthanado, Gary Mackowiak, SieBot, The Parsnip!, Polbot, Rosiestep, The Great
Simonski, ClueBot, TheOldJacobite, Niceguyedc, Ficbot, DragonBot, Jammy0002, Rhododendrites, Coinmanj, Another Believer, PotentialDanger, Adamnmo, XLinkBot, SilvonenBot, MagnesianPhoenix, Addbot, Markaeste, Smetanahue, Ronhjones, CanadianLinuxUser,
Download, MrVanBot, Lightbot, WikiDreamer Bot, JEN9841, Luckas-bot, Nallimbot, AnomieBOT, Jim1138, Racconish, Xqbot, MrSaturn33, RibotBOT, INeverCry, Dinux, FrescoBot, Jawsua, Wonderboy316, Tcwing, Barry Waddle, Lord Oblivion, FriscoKnight, Jedi94,
Jonkerz, Dinamik-bot, DragonofFire, Cowlibob, MaxEspinho, RjwilmsiBot, Me6620, DASHBot, EmausBot, JustinTime55, Wesker007,
Gimmetoo, MikeyMouse10, DLSieving, NathanielTheBold, Zainthabrain, AndrewOne, SporkBot, AbsoluteGleek92, Huandy618, ChuispastonBot, TYelliot, Contributor2099, Western John, ClueBot NG, Shrewmania, Another n00b, Turn685, Lemuellio, Rezabot, Jacob
Paul Bernard, Myuphrid, Kailash29792, JLFPcam, Flax5, Smurfandbualo, George Ponderevo, SamEtches, Te35b, Cygnature, Henry
McClean, WebTV3, Nineteen-Eightyit(s), Prismbreak, GoShow, Mogism, MDYRIP, Typijay, Anonymous-232, OSHIKIMA, Monkbot,
Belle, Ghostsax and Anonymous: 176

12.2

Images

File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original

artist: ?
File:Excursion_dans_la_lune_(1908).ogv Source: http://upload.wikimedia.org/wikipedia/commons/a/ae/Excursion_dans_la_lune_
%281908%29.ogv License: Public domain Contributors: Internet Archive Original artist: Segundo de Chomn
File:George_Melies.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/63/George_Melies.jpg License: Public domain Contributors: Libration.fr: http://pointscommuns.liberation.fr/img/realisateur/1617588.jpg Original artist: unidentied photographe
File:Le_Voyage_dans_la_Lune_(Georges_Mlis,_1902).ogv
Source:
http://upload.wikimedia.org/wikipedia/commons/a/
a2/Le_Voyage_dans_la_Lune_%28Georges_M%C3%A9li%C3%A8s%2C_1902%29.ogv License:
Public domain Contributors:
http://www.archive.org/details/Levoyagedanslalune Original artist: Georges Mlis
File:Le_Voyage_dans_la_lune.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/04/Le_Voyage_dans_la_lune.jpg License: Public domain Contributors: Roger-Viollet Original artist: Georges Mlis
File:Le_Voyage_dans_la_lune_(1902).webm Source: http://upload.wikimedia.org/wikipedia/commons/5/59/Le_Voyage_dans_la_
lune_%281902%29.webm License: Public domain Contributors: Vimeo (copyrighted soundtrack removed) Original artist: Georges Mlis
File:Melies{}s_Montreuil_studio.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/39/Melies%27s_Montreuil_studio.
jpg License: Public domain Contributors: http://ailonuage.canalblog.com/archives/2012/01/30/23371705.html, probably from the print
in the collection of the Museum of Modern Art (MoMA) Original artist: Unknown
File:Offenbach_Voyage_stereoscope_3.jpg Source:
http://upload.wikimedia.org/wikipedia/commons/0/0a/Offenbach_Voyage_
stereoscope_3.jpg License: Public domain Contributors: http://www.julesverne.ca/jvstereocards.html Original artist: Published by
Actualits Thtrales J.M. (Paris) ca. 18801890
File:Symbol_support_vote.svg Source: http://upload.wikimedia.org/wikipedia/en/9/94/Symbol_support_vote.svg License: Public domain Contributors: ? Original artist: ?
File:Trip_to_the_Moon_Selenite_on_Shell.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/db/Trip_to_the_Moon_
Selenite_on_Shell.jpg License: Public domain Contributors: Screenshot from the only surviving hand-colored print of the lm (restored
2011 by Lobster Films). Original artist: Georges Mlis
File:Trip_to_the_Moon_Statue_Color.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/cd/Trip_to_the_Moon_Statue_
Color.jpg License: Public domain Contributors: http://www.npr.org/blogs/allsongs/2011/12/08/143170071/first-watch-air-parade Original
artist: Georges Mlis
File:Trip_to_the_Moon_Workshop.png
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Contributors:
https://drnorth.wordpress.com/2010/06/10/
a-trip-to-the-moon-le-voyage-dans-la-lune/ Original artist: Georges Mlis
File:Voyage_dans_la_Lune_affiche.jpg Source:
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Original artist: Georges Mlis
File:Voyage_dans_la_Lune_cliff_still.jpg Source:
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cliff_still.jpg License: Public domain Contributors: http://futuregiraffes.com/2011/12/15/trip-to-the-moon/ Original artist: Georges
Mlis

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