This essay aims to address the question of the painted portrait as it was posed at its origins in the vast field of early cinema. After having recalled various forms of portraiture specific to this inceptive period, my analysis will focus on The Portrait of Lady Anne (Thanhouser, 1912), a little-known film which nevertheless appears particularly revealing in regard to the staging devices and the wider stakes of the painted portrait in the cinema of the early 1910s.
CLIL theme: 3157 -- SCIENCES HUMAINES ET SOCIALES, LETTRES -- Lettres et Sciences du langage -- Sciences de l'information et de la communication