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copyright 2006, Jump Cut: A Review of Contemporary Media
Jump Cut, No. 48, winter 2006
Les Archives de la Planète
A cinematographic atlas
by Teresa Castro
The purpose of this article is twofold. It aims, on the one hand, to introduce to you an
extraordinary corpus of non-fiction films produced between 1912 and 1931 and, on the
other hand, to argue the case for the cinematographic expression of a primarily
cartographic instrument: the atlas. Atlases constitute one of the possible ways of
representing the world as an ensemble; but they also illustrate a method of assembling
images that goes well beyond the field of geography. I will argue that Albert Kahn’s
Archives de la Planète represent one of the first cinematographic figures of the atlas.
Founded in 1912 with the purpose of documenting the "surface of the globe as inhabited
and developed by Man," they constitute a systematic collection of images, a form of
knowledge, and a means of its transmission. Such a project, encyclopaedic and utopian,
shows us that atlases may take shape in and by the specificity of film.
Brief introduction to atlases
What is an atlas then? How does it distinguish itself from other ways of looking at and
representing the world? In 1594, Gerhard Mercator (b. 1512), a Flemish geographer, died
in Duisburg (nowadays in Germany) without completing the work to which he had
devoted 25 years of his life: a collection of original maps representing the totality of the
world. The originality of the project lay on the fact that the maps in question were for the
first time especially conceived for an anthology; and of course, that the opus was given
the title “Atlas.” Otherwise, the geographer, collector and humanist Abraham Ortelius
(1527-1598) had already published in 1570 a compilation of 53 maps under the title
Theatrum Orbis Terrarum. His book was the first to reduce the collected maps to a
uniform size, and it quickly became both a commercial and a critical success. Mercator’s
title "atlas" became the term by which these collections of images are known; the initial
reference was to King Atlas, a mythical Libyan king said to have made the first celestial
globe. Soon however, the figure of the homonymous hero condemned by Zeus to bear the
weight of the globe upon his shoulders (the Titan Atlas) was to become a more frequent
illustration on the cover or on the front pages of atlases.
The extremely brief history that I’ve just outlined has, I hope, one merit. It shows us that
atlases constitute a collection of maps (i.e. images), assembled in relation to an overall
scheme that aims for thoroughness and completeness. It also refers to a further
important point: atlases were conceived as easy to handle and easy to consult books. In
this way, they were made possible – or, at the very least, facilitated – by the major
technical and intellectual revolution brought about by the invention of printing (one
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could say “mechanical reproduction”). Atlases constitute therefore, from their very
beginning, genuine editorial projects. They were conceived for a specific public and their
goal was as much (if not more) financial as it was scientific. More than a practical step
forward in the art of cartography, they were the result of cultural and intellectual needs,
and at the time of their appearance, they constituted a sign of culture and social
distinction.
Like world maps, atlases aim for exactness and comprehensiveness, but unlike the first,
they demand to be browsed and navigated. If world maps offer totality at a glance — their
synoptic view anticipating the look of modern day satellite photographs — atlases allow
for contemplation of details and meditation upon the universal. World maps invite
fleeting, dreaming looks; atlases call for being looked at more attentively. The
completeness for which they aim also differs significantly from the one verified by world
maps: atlases constitute the visual archive (i.e. the summary) of the geographical
knowledge of a certain time. It’s in this sense that the French historian and critic
Christian Jacob refers to them as “an apparatus that allows for the conciliation of the
whole and the detail,” “governed by a cumulative and analytic logic,” and lent to “a
different way of grasping the world, more intellectual and encyclopaedic.”[1][open notes
in new window]
During the 19th century, the notion of “atlas” extended itself to other fields of knowledge
and creation. According to the Trésor de la Langue Française, the word denoted already
“any assemblage of plates, pictures and drawings appended to a work.”[2] With the
development of new and better techniques of graphic reproduction and the blossoming of
new disciplines (such as anthropology, art history, linguistics, etc.), “scientific” atlases
thrived and succeeded one another. These visual inventories with their taxonomical
classifications aimed at the transmission of information. They also illustrate a new form
of knowledge, organized around the associations that may be established between
different elements. At this particular historical moment — the “Age of Empire”[3] — the
“visualist inclinations of Western anthropological discourse”[4] found in the atlas an
exhilarating visual apparatus. From then on, “atlases” clearly stand for a powerful
ideological tool and particular way of thinking about and with images .[5] It’s in this
sense that I’ve put forward the idea that the “atlas” can be argued to constitute what in
French is called a “dispositif,” i.e. an ensemble of material and structural elements that
condition our encounter with particular images.
I would like to insist on the notion of “atlas” as an open and flexible “dispositif” governed
by a specific logic. According to Christian Jacob, such logic would be “analytic and
cumulative." As the author reminds us, an atlas necessarily implies the act of “cutting”
(découpage), in as much as a given space, such as the continents, countries, or regions, is
detached from the spatiotemporal continuum. This “cutting” delimitates and
circumscribes, it imposes a frame and a viewpoint. It also brings about a sense of
progress, in space and in the book. This sense of progress obeys to a particular logic, since
the succession of maps or plates in a book is far from arbitrary. It is also characterized by
its own rhythms, the feeling of slowing down or accelerating. Jacob goes as far as to speak
of atlases as “cinematography.”[6]
Besides the unexpected similarities between atlases and the cinematographic apparatus,
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the question remains: can atlases take shape in and by the specificity of film? Atlases
changed over the centuries, remaining nonetheless a specific means of organizing,
associating and thinking about images, a means that found its multifarious way through
photography and contemporary art practices. But can one find an example of a
cinematographic atlas? What happens when atlases are crossed with the cinematic
apparatus? How are images collected and brought together? I would like to argue that the
Archives de la Planète constitutes one such example.
Albert Kahn and the
Archives de la Planète
The Archives de la Planète were founded in 1912 by Albert Kahn, a wealthy banker of
Alsatian origin who devoted his life and fortune to the carrying out of a broad
philanthropic project. Born in 1860, Albert Kahn experienced in the aftermath of the
Franco-Prussian War of 1870-71 a “voluntary” exile in Paris. There he started a career as
a modest bank employee in 1881. Seventeen years later, after some opportune and
successful speculation in South African diamond mines, he was able to start his own
bank. Only three years before, in 1895, he had moved to Boulogne, in the outskirts of
Paris, and there he had started building his now-famous gardens. The garden brings
together distinct traditions (French, English, Japanese), as if to illustrate the utopia of a
world reconciled, where different realities can coexist in perfect harmony.
In fact, Albert Kahn’s gardens cannot be separated from the rest of his project, which was
to include, among other things, the creation of travel scholarships for young graduates,
the foundation of different intellectual circles and political forums, and the funding of no
less than fourteen publications .[7] Among these varied philanthropic ventures, and long
before Albert Kahn's financial collapse, brought about by the stock market crash of 1929,
cinema was to find its own place in the context of the Archives de la Planète.
The Archives de la Planète gather 4,000 stereoscopic plaques, 72,000 autochromes
(constituting therefore one of the largest collections in the world) and around 183,000
meters of film, which amount to more than 100 hours of projection. They document
forty-eight countries in the world, from every continent except Oceania. They were shot
between 1912 and 1931 by five cameramen under the close supervision of the French
geographer Jean Brunhes (1869-1932), chosen by Albert Kahn to oversee the constitution
of the archives from their very beginning. To these films one should add an additional
17,000 meters of newsreels and other material bought from Gaumont and Pathé. The
collection's purpose was, to quote Kahn, “to put into effect a sort of photographic
inventory of the surface of the globe as inhabited and developed by Man at the beginning
of the twentieth century.”[8]
Most films in the collection came down to us as unedited rushes: these range from
scientific and ethnographic genres to actualities and other “pre-documentary” forms.
They include, to quote but two examples, a 12-minute film shot in Mongolia in 1912-13;
and the only known cinematographic testimonial of the 1920 Congress of Tours, where
the left-wing faction of the French Socialist Party split away, giving origin to the French
Communist Party. The collection constitutes therefore an extraordinary historical
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document. It contains an unique testimonial of public and everyday life in the interwar
years, and it represents one of the first projects in film history to envisage film strictly as
an historical document. Furthermore, it can also be considered “an archive of non-fiction
film styles.”[9]
A cinematographic atlas
My purpose however is not to discuss the exceptional value of this little known collection,
but to demonstrate in what way Albert Kahn’s archive constitutes a cinematographic
atlas. Besides the fortunate coincidence provided by their name and the undisputable
“geographical” nature of the venture, the Archives de la Planète display a number of
distinguishing traits. They constitute:
1. a methodical assemblage of images;
2. a means of knowledge and its transmission; and
3. a specific means of organizing, and associating images.
I will therefore mainly focus on the project as a whole and not so much on specific films
in the collection. With regards to the films themselves, and in order to outline their
properly filmic qualities in a few words, several elements should be pointed out. The films
seem to be in line with what Tom Gunning calls the “aesthetic of the view.” This is “a
descriptive mode based on the act of looking and display”[10] relying mainly on the
succession of individual shots (as in travelogues). As I’ve already mentioned, most films
in the Albert Kahn collection came down to us an unedited rushes; despite this, we can
nonetheless verify a growing complexity in the films shot during the 1920s. These films
contain multi-perspectival shots and organized sequences, revealing a strong rhythmic
sense and the developing stages of a discursive context. (Some of the “edited” films
contain intertitles, which impose a logic to the sequences.) Concerning the films' subject
matter, everyday life scenes and city views are clearly the themes of choice. In this sense,
it has been pointed out that the Archives de la Planète anticipate many of the themes of
later documentary films .[11]
1. A methodical assemblage of images
To return to atlases and cinema, the first point in my argument (that the Archives de la
Planète constitute a cinematographic atlas because they illustrate a methodical way of
assembling images) relates to Albert Kahn’s purpose: “to put into effect an inventory of
the surface of the globe." The collection represents indeed a structured attempt to
document the planet. Its director, Jean Brunhes, prepared every mission with great care.
All of the men in his command received a copy of his book La géographie humaine (first
edited in 1910). In the absence of a detailed program, it remains our main source of
information as to the philosophy of the project. (The only known document is a simple
list of the subjects to be recorded, dating from 1913 and effectively working as a reminder
for the cameramen.) According to Brunhes, and in line with the scientific principles of the
time, human geography was predominantly a visual affair. Photography, seen as a
descriptive tool, was expected to play a major role in the gathering of documentary
evidence .[12]
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The autochromes' predominance in the whole of the collection constitutes the most
expressive outcome of this belief. Able to duplicate the world in colour, the autochromes
encompass a wide range of themes, which they cover in an exhaustive manner. Thus,
architectural motifs and details are photographed from different angles at different times
of the day. Film, capable of reproducing movement, “i.e. the rhythm of life”[13] came to
complement and enrich the still images, which include a smaller number of stereoscopic
photographs (recreating the illusion of depth). Brunhes trusted his cameramen to always
keep “an open eye”[14] and to pay attention to human environment, habitat, and
everyday activities. Despite the absence of a rigid model, it is interesting to note how the
cameramen seem to have integrated a filmic grammar that allows them to film similar
subjects in similar ways.
Nowhere is this more evident than in the films that cover different Arabic-Islamic cities
(Fez and Marrakech in Morocco, Cairo in Egypt, Istanbul and Ankara in Turkey, Teheran
in Iran, Baghdad in Iraq). Shot at different times by different people, they nonetheless
evince similar choices concerning the composition, camera angles, camera shots and
camera movements, as well as the motifs chosen. In short, by proceeding methodically,
each view illustrates an aspect of the Arabic-Islamic urban landscape and the whole
becomes the visual record of a certain space, the summary of its views. Film becomes a
way of describing space.
2. A means of knowledge and
its transmission
If the images are collected and assembled in a methodical manner, it’s because of their
abiding goal: the creation of a visual archive of the planet at the beginning of the
twentieth century. The Archives de la Planète constitute a bold documentary project
fuelled by the same positivist historical conscience that spurred the constitution of
modern archives. Albert Kahn’s purpose was, to quote him again, “to fix once and for all
the aspects, practises, and modes of human activity whose inevitable disappearance is
just a question of time.”[15] The images were therefore collected and assembled for their
relevance as historical documents. They intend to illustrate a rural, pre-capitalistic world
as well as the changes brought about by modernization or the devastating effects of the
First World War. Their utopian goal of serving as “memory of the world” effectively
represents an attempt to symbolically appropriate it. It is no coincidence that this archive
takes shape at a time of widespread colonial expansion (not to mention the development
of modern capitalism that Albert Kahn illustrates so well) .[16]
As a matter of fact, the Archives de la Planète cannot be fully appreciated without taking
their particular historical moment into consideration. Despite Albert Kahn’s laudable
intentions (informed among other elements by a strong pacifist philosophy[17] ), it
remains indisputable that the expansion of western imperialism and the ideological
issues it entailed played a significant role in the shaping of his project. As Ella Shohat and
Robert Stam point out, the institutional configuration of cinema during the first decades
of the twentieth century was strongly informed by the consolidation and dissemination of
imperialist discourse .[18]
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Significantly, this process seems to be driven by a general “mapping impulse," which
deems cinema capable of transforming “the obscure mappa mundi into a familiar,
knowable world.”[19] . The Archives de la Planète bestow upon this “mapping impulse”
an ambitious goal: the description and classification of the entire planet. The collection
illustrates, by its avowed purpose and its extraordinary visual outcome, the “imperialist
ordering of the globe under a panoptical regime.”[20] . If Hollywood studios, like
Universal or RKO, favoured the globe as their (ideologically charged) logo, the Archives
de la Planète found in the figure of the “atlas” their ultimate means of expression. More
than a trope of the pervasive imperialist discourse, “mapping” is here the underlying
technique that oversees the constitution of the archive.
Each new item in the archive, be it a film or an autochrome, added to this infinite
collection, constitutes a unit that describes an aspect of reality. One could argue that the
Encyclopaedia, i.e. the exhaustive inventory of all human knowledge initiated by Diderot
and D’Alembert (an inventory similarly founded on the descriptive capacity of images), is
in many ways similar to Albert Kahn’s ambitions. It is true that just like the
Encyclopaedia (and any other type of atlas), the Archives de la Planète result from the
articulation between the whole and its parts. I have already quoted Christian Jacob, who
refers to the atlas as “an apparatus that allows for the conciliation of the whole and the
detail," lent to “a different way of grasping the world, more intellectual and
encyclopaedic.”[21] .
However, both the nature of Albert Kahn’s project – the inventory of the world — and the
ideological issues outlined above – the imperialist context that informed cinema’s
topography of the world — indicate that the figure of the atlas reveals more accurately the
complexity of issues at stake in the Archives de la Planète. So, if in principle the atlas, the
archive, and the encyclopaedia all constitute a lasting reminder and ultimately, a
monument, illustrating a form of knowledge and its transmission, only the atlas conveys
the wider problems that underlie this particular enterprise .[22] The Archives de la
Planète may constitute an epistemological descendant of the Encyclopaedia, as well as an
archive, nominally and methodically speaking, but with regards to their figurative and
ideological problems they are best addressed as an atlas. Just like any other atlas, from
Mercator’s pioneering example to the 19th century original attempts, they beg the same
fundamental questions about the disciplining of space and nature through the image.
3. A distinctive way of
putting images together
Last but not least, the Archives de la Planète show us that atlases can take shape in and
by the specificity of film because of their distinctive way of organizing and associating
images. This final argument would relate both to the “cumulative and analytic logic” that
governs the atlas and the descriptive mode of the films in question. To return to the
example of the films shot in the Arabic-Islamic cities, what we can observe is a succession
of single views of a particular aspect of the city: panoramas of its surroundings, closer
shots of its ramparts and walls, detailed shots of its architectonical landmarks and street
views. This is in line with Tom Gunning’s “view aesthetic” where “descriptive” single
views are organized according to a larger, multiple-shot logic of exposition. In the case of
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these films, there is a sense of progression from the general to the particular and the
effective delimitation of the outside and the inside (of a city). This is also a cumulative
logic, i.e. a logic that proceeds by the accumulation of images: these shots succeed one
another, offering themselves to our gaze and effacing those who came before. They suffice
themselves as descriptive propositions: they show what is considered important to be
seen. Just as in an atlas, the accumulation of point of views constitutes a progression in
space. This progression in space is determined by didactical aims –essentially the
description of urban space – that imply both a logic of exposition – the sequence of
motifs mentioned before – and an order of vision – the progression from the general to
the detail (from panoramas to street views). By being put together, these images
contribute to the description of a wider space: the Arabic-Islamic city. The filmic image
becomes a mnemonic unit within a wider system, the means to describe and to archive
“the world about to disappear."
Conclusion
It seems then that Albert Kahn’s archive is unexpectedly informed by the primary way of
representing and describing the world as an ensemble: the atlas. This primarily
cartographic tool is one of the basic ways of putting the world into image. To call upon it
here allows us to place the Archives de la Planète within a particular visual tradition and
to reassess some of the issues at stake. The inventory of the world outlined by Abraham
Ortelius little more than five hundred years ago was similarly founded on the same
general impulse to collect that was to prompt the constitution of cabinets of curiosities,
museums, or the Encyclopaedia, and that spurred the creation of modern day archives,
among which those of Albert Kahn. It also drew on the possibility of symbolically
dominating and grasping the world through vision, constituting an important episode in a
history that went from global reach (the so-called Age of “Discoveries”) to that of global
domination. As visual devices, atlases beg a number of important of questions concerning
the role and power of images in the context of this particular history: the disciplining of
the globe as a space of knowledge, subject to different types of control and domination.
Finally, atlases constitute one of the possible ways of enunciating the question of the
hypothetical (figurative) relations between cinema and cartography. In as much as these
two different but major elements of our visual culture are both preoccupied with the
representation of the world and the description of space, they are bound to come across
with one another. Could it be that this encounter has taken shape in the figure of the
atlas? And are the Archives de la Planète but one of the first examples of a
cinematographic atlas?
Notes
1. " L’atlas est un dispositif qui permet de concilier le tout et le détail "; "(…) régi par une
logique cumulative et analytique"; " L’atlas se prête à une forme différente de maîtrise
du monde, plus intellectuelle et encyclopédique" in Christian Jacob, L’empire des cartes.
Approche théorique de la cartographie à travers l’histoire (Paris: Albin Michel, 1992), p.
97 [English translation: The Sovereign Map. Theoretical Approaches in Cartography
throughout History, University of Chicago Press, forthcoming 2006].
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2. Trésor de la Langue Française. Dictionnaire de la langue du XIXe et du XXe siècle
(1789-1960) (Paris: Éditions du CNRS, 1974).
3. I’m referring to Eric Hobsbawm’s well-known periodization: “the Age of Revolution:
Europe (1789-1848)," “the Age of Capital (1848-1875) and “the Age of Empire
(1875-1914)."
4. Shohat, Ella, Stam, Robert, Unthinking Eurocentrism: Multiculturalism and the
Media (London: Routledge, 1994, p. 106).
5. Among many possible examples, the Mnemosyne project of the German art historian
Aby Warburg (1866-1929) is perhaps one of the most interesting and enlightening.
Warburg’s “image atlas” (Bilderatlas), left unfinished at the time of his death in 1929, has
been somewhat rediscovered in recent decades. It consists of a large collection of images,
ranging from reproductions of all sorts of artworks to stamps, magazine snapshots and
maps, assembled in more than forty large exhibition screens. Over the years, Warburg
constantly rearranged these images on a series of wooden boards covered in black cloth.
He was interested in the persistence of classical motifs in European art and by reshuffling
the collected pictures on large black screens, he was attempting to map out what he called
the “migration of images” (Bilderwanderung). He described his atlas as an exercise in the
“iconography of the interval”; such a method was not aimed at the deeper meaning of
artworks in themselves but at the set of relations that can be established between
different images. Warburg’s approach proceeds by discontinuous sequences (the spaces
between the images being a significant element), allowing its "jumps" and "cuts" to reveal
the differences and repetitions where, he believes, cultural memory operates. He isn’t
simply juxtaposing images, but attempting a kaleidoscopic visual simultaneity that leaps
to the eye. See, among others, Philippe-Alain Michaud, Aby Warburg and the Image in
Motion (New York: Zone Books, 2004).
6. Jacob 1992: 106-109.
7. For more information on Albert Kahn and the different aspects of his project see the
catalogue Albert Kahn (1860-1940). Réalités d’une utopie (Boulogne: Musée Albert Kahn,
1995).
8. Albert Kahn quoted by Emmanuel de Margerie, letter to Jean Brunhes, January 26
1912 (reproduced in Jeanne Beausoleil et Mariel Jean-Brunhes Delamarre, "Deux
témoins de leur temps: Albert Kahn et Jean Brunhes," in Jean Brunhes: Autour du
monde, regards d’un géographe/ regards de la géographie (Boulogne: Musée Albert
Kahn, 1993, p. 92).
9. Amad, Paula, « "Cinema’s sanctuary’: From pre-documentary to documentary film in
Albert Kahn’s Archives de la Planète (1908-1931) », in Film History, vol. 13, no. 2, 2001,
p. 146.
10. Tom Gunning, "Before documentary: early nonfiction films and the 'view aesthetic,'"
in Daan Hertogs et Nico de Klerk (dir.), Uncharted Territory: Essays on Early
Nonfiction Films (Amsterdam: Nederlands Filmmuseum, 1997), p. 22.
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11. Amad 2001: 149. Amad’s article remains one of the finest introductions to the films of
the Archives de la Planète.
12. Both Jean-Paul Gandolfo’s article "1880-1930: la photographie au service de la
géographie, méthodes et moyens," in Jean Brunhes: Autour du monde, regards d’un
géographe/ regards de la géographie (Boulogne: Musée Albert Kahn, 1993, pp. 66-89)
and Marie-Claire Robic’s "Jean-Brunhes, un 'géo-photo-graphe' expert aux Archives de la
Planète," in Jean Brunhes: Autour du monde, regards d’un géographe/ regards de la
géographie (Boulogne: Musée Albert Kahn, 1993, pp. 109-137) develop this point.
13. Jean Brunhes, La géographie de l’histoire. Introduction à la seconde année du cours
de Géographie Humaine (College de France, 1913-1914», in Revue de Geographie
annuelle, VIII, fasc. 1, Paris: Delagrave, 1914, p. 7).
14. Jean Brunhes in Marie Bonhomme et Mariel Jean-Brunhes Delamarre, "La méthode
des missions des Archives de la Planète," in Jean Brunhes: Autour du monde, regards
d’un géographe/ regards de la géographie (Boulogne: Musée Albert Kahn, 1993, pp.
202-203).
15. Albert Kahn quoted by Emmanuel de Margerie, letter to Jean Brunhes, January 26
1912 (reproduced in Beausoleil et Delamarre 1993: 92).
16. A point further developed by Sam Rohdie in “Geography, Photography, The Cinema,"
in http://www.haussite.net/haus.0/SCRIPT/txt2000/01/geoall.HTML
17. Incidentally, the only written work left by Albert Kahn – an opuscule entitled Des
droits et des devoirs des gouvernements (1918) – is a reflection on pacifism as a political
option.
18. Shohat and Stam 1994: 100-136.
19. Shohat and Stam 1994: 106. The expression “mapping impulse” comes from Svetlana
Alpers, The Art of Describing: Ducth Art in the Seventeeth Century, Chicago, University
of Chicago Press, 1983.
20. Shohat and Stam 1994: 100.
21. Jacob 1992: 97.
22. For a definition of “monument," see Françoise Choay, L’allégorie du patrimoine
(Paris: Seuil, 1992), pp. 14-15.
Acknowledgment
Research for this paper has been made possible by the Fundação de Ciência e Tecnologia,
Portugal.
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