The Transformation of Loie Fuller and the Beginnings of Vampires on Film
A bat appears on a balcony, hovering over the balcony’s ledge, one could assume it to be flapping its wings, if the obviously fake bat had wings that were independently capable of flapping. Suddenly, using a transition that has the bat linger momentarily on the woman’s head, the bat turns into a woman standing on the ledge, bathed in layers of fabric that are spread like the wings of a bat. She steps down from the ledge onto the balcony and begins weaving and swirling her arms, manipulating the fabric into undulating patterns and billowing spirals, as the colors on her costume change. The woman is short and round faced, with her hair in ringlets. She spins in circles, moving her arms and swirling the fabric as she does. She’s almost like a cyclone of swirling fabric rather than a bat or a vampire. Then she fades and disappears. Is she a supernatural vampire? Is this a horror film?
Released in the United States in 1905, this French film from Pathe Freres is titled Loie Fuller, named after the famous dancer and performance artist Loie Fuller, who, one can assume, is the dancer performing in this film. There are commentators in the online community who do not believe that this is Loie Fuller in this film, but one of her many imitators. Indeed, according to Tom Gunning, Professor Emeritus of Art History, Cinema and Media Studies at the University of Chicago (Tom Gunning, n.d.), film catalogues and archives are filled with many such dancing films, produced by unknown production companies, and featuring unknown performers, all dancing in the style of Loie Fuller (Gunning, 2003).
Edison produced four such films between 1894 and 1897 featuring Loie Fuller-imitator Annabelle Whitford. The German Skladanowski Brothers produced one with presumably Émilienne d'Alençon, also imitating Fuller. And the Lumiere Company produced one featuring the Italian quick-change artist, Leopoldo Fregoli, performing the dance in drag (Gunning, 2003). So it is reasonable to question whether this is actually Loie Fuller. Dr. Gary D. Rhodes, a Professor of Media Production at Oklahoma Baptist University, seems to believe that it is indeed Loie Fuller, when discussing the film in his book, The Birth of the American Horror Film.
I’ve tried to examine her face when watching the film and comparing it to pictures of Loie Fuller and, it’s a bit hard to determine for certain whether or not it is Loie Fuller, as various pictures illustrate that her weight fluctuated, which can affect the appearance of her face. While her weight and the quality of the film may be obscuring the appearance of her face, the dancer in the film certainly seems to have the likeness of Loie Fuller. The performer is short and stout, which is how Fuller is described in multiple books and articles that I’ve read on her. And her round face matches many photographs of Loie Fuller. So, while maybe those in the online community do know better or are more versed in the works of Loie Fuller, I’m going to rely on Dr. Rhodes’ expertise and assume it is Loie Fuller in this film.
But to put the film and its release into context, let’s look at what was happening in the world in 1905.
The Russo-Japanese War came to an end, with the Japanese military’s victory over the Russians being seen as significantly raising Japan’s profile internationally as a power to be reckoned with on the world stage, while Russia’s defeat was seen as diminishing its power and influence in Europe (Wikipedia, 2023). Russia’s defeat helped lead to the unrest that caused Russian Revolution of 1905; while Japan’s victory allowed it to force the Korean Empire to effectively become a protectorate under its control. (Wikipedia, 2023)
Also in 1905, Albert Einstein published his paper on the special theory of relativity, titled, "On the Electrodynamics of Moving Bodies”, establishing his scientific theory regarding the relationship between time and space. The Wright Brothers built a plane that was able to stay in the air for more than 30 minutes. Also, French law on the Separation of the Churches and the State was passed. (Wikipedia, 2023)
What was happening in the world of film?
Arguably the most important film to be produced in 1905 was Rescued by Rover. According to Michael Brooke, a contributor to the BFI who specializes in British and Central/Eastern European cinema:
Rescued By Rover marks possibly the only point in film history when British cinema unquestionably led the world. It marks a key stage in the medium's development from an amusing novelty to the "seventh art", able to hold its own alongside literature, theatre, painting, music, and other more traditional forms.
By 1905, most films consisted of multiple shots, but their narratives were still conceived on an essentially "theatrical" model, in that they consisted of a series of self-contained "acts". By contrast, Rescued By Rover's director Lewin Fitzhamon regarded individual shots as small pieces of a larger jigsaw making up the whole film, a much more "cinematic" treatment. (Brooke, n.d.)
In France, Alice Guy-Blache directed the first film version of The Hunchback of Notre Dame, titled Esmerelda. Though she is often listed as co-director with Victorin-Hippolyte Jasset, this is incorrect, according to the BFI’s film magazine, Sight and Sound, as he was merely her assistant (Lacassin, 2023).
Georges Melies produced and directed several films, including Rip’s Dream.
In China, the first film made in China by Chinese filmmakers was released. Conquering Jun Mountain, a.k.a. Dingjun Mountain, was a filmed segment of a stage performance produced by the Beijing Opera and was based on an historical event involving the mid-first century/early-second century King of Wei, Cao Cao, attacking the neighboring state of Shu (Xiao, 1998).
So, let’s discuss Loie Fuller. Who was she?
As one critic stated: “There once was a woman who caused light to dance” (Current, 1997). Being short, overweight, and 30 years old by the time of her star-making debut at the Folies-Bergere (Garelick, 2019), Loie Fuller was not a likely candidate to become a star dancer and performance artist at the dawn of the 20th century. Only now are we, culturally, slowly starting to allow visibility to dancers and other types of performers whose bodies don’t conform to certain standards of beauty or fit within what has been considered the norm of how such performers are supposed to look.
Offstage Fuller was unglamorous, wearing oversized clothing and spectacles, and tied her hair in a tight bun—and she was often accompanied by her elderly mother, who Fuller took care of. As Eve Curie, the daughter of the famous physicists and chemists Marie and Pierre Curie, who were friends of Fuller, later recalled: “She had a shapeless figure. She was an odd, badly dressed girl”. Indeed, a reviewer once wrote of Fuller that: “You should see her, she walks like a bird, but that bird is a duck” (Garelick, 2019).
And, yet, when Fuller was onstage, she was able to use movement, fabric, and light to transform herself, through the creation of various swirling shapes, into butterflies, serpents, lilies, infernos (Garelick, 2019). According to Dr. Rhonda Garelick, Dean of the School of Art and Design History and Theory at Parsons/The New School:
What so captivated [the audience] was the unique amalgam of Fuller's human agency, the creativity and force she exhibited as she wielded the enormous costumes; the power of her technology, the innovative stagecraft that she had designed and patented herself; and the oneiric, ephemeral landscapes evoked by this combination of body and machine, the disembodied, rising and falling silken shapes. “She acquires the virginity of un-dreamt of places", wrote Stéphane Mallarmé in his famous essay on Fuller (Garelick, 2019).
Loie Fuller was born during the American Civil War as Mary Louise Fuller, with Loie deriving from “Louie”, a childhood nickname for Louise. Fuller was born near Chicago in a farmhouse 2 miles east of Fullersburg, IL, which had been settled by her grandfather, Jacob Fuller. The family moved to Chicago when Fuller was 2 years old to open a boardinghouse, as Fullersburg missed out on the newly built railroad, and the economic boom that would have come with it, by a few miles. Fuller learned to dance from her father, who had even opened the short-lived Monmouth Dancing Academy in Monmouth, Illinois (Current, 1997).
She began on the Chicago stage as stage-struck teenager, changing her name at that time from Louie to Loie (Current, 1997) — with the exotic-looking diaresis, or umlaut, as Gunning calls it—though it seems to me that it must function as a diaresis rather than an umlaut, if it has an actual function at all—over the “I” in Loie being added later during her time in Paris (Gunning, 2003)—and by the age of 19, was touring with Buffalo Bill Cody’s troupe (Current, 1997). After leaving the troupe, she became a singer, with aspirations of becoming an opera star. Indeed, during the production of a farce called “Humbug” at the Bijou Opera House in 1886, which marked Fuller’s New York debut, The New York Times stated that she was “better as a songstress than as an actress … [as] She has yet to learn the value of repose and the meaning of gesture and facial expression. But she has been taught to sing, and she has a fairly good voice” (Current, 1997).
Nonetheless, she attracted the attention of actor and producer Nat C. Goodwin (Current, 1997), who in 1912 would portray Fagin in the first feature film production of Oliver Twist (Library of Congress, 2017). Goodwin cast her as the lead in “Little Jack Shepard” at the Bijou in 1886, shortly after “Humbug” closed, and he continued to cast her in parts at the Bijou (Current, 1997). Having become a lead actress on the New York stage, she formed her own production company with actor William Morris, who later acted in both silent and sound films—and toured the West Indies with him.
During this time, she married Colonel William B. Hayes, a pudgy man in his fifties who posed as the nephew of former president, Rutherford B. Hayes (Current, 1997). Believing he could help finance her theatrical productions, she agreed to marry Hayes primarily with financial security and backing for her productions in mind—and in the fall of 1889, she even leased London’s Royal Globe Theatre (Current, 1997). The Royal Globe Theatre, not to be confused with the Globe, was located on Newcastle Street, and operated from 1868 until it was demolished in 1902 (Arthur Lloyd.co.uk, 2023) to make way for the formation of the street, Aldwych (Arthur Lloyd.co.uk, 2023), in the City of Westminster (Wikipedia, 2023).
When her play at the Royal Globe turned out to be a flop, Fuller’s supposed husband seemed to abandon her and did not back her financially as promised. Adding insult to injury, she discovered that she was never really married to him, as he never divorced his previous wives, and was, therefore, a bigamist. But the most traumatic blow came when her father, who had accompanied Fuller, along with her mother, to London, returned to New York to confront Hayes. Fuller’s father already believed that his supposed son-in-law had swindled him out of four thousand dollars—a significant amount of money at the end of the 19th century. He now wanted to confront him regarding his bigamist marriage, abandonment, and financial promises to his daughter. Shortly after having dinner with Hayes, Fuller’s father suddenly died—after which Hayes quickly had his body embalmed. While the cause of death on the death certificate was listed as typhoid fever, Fuller always believed that Hayes had her father poisoned (Current, 1997).
After the failure at the Royal Globe Theatre, Fuller had trouble getting work, though she started getting some jobs during the 1890-1891 season at a variety of London theaters, such Drury Lane, Opera Comique, and the Gaiety Theatre. Her time at the Gaiety Theatre was significant, because one of its popular attractions was its Gaiety Girls, who did several dances, one of which was a skirt dance, where long, flowing skirts were manipulated in artful choreography. Fuller soon after returned to America, where she was cast in the lead role in Quack, M.D. I don’t know what Quack, M.D. was about, but it sounds like it should have been one of those 1960’s Disney films starring Dean Jones about a duck who becomes a medical doctor. Anyway, during the entr’acte of Quack, M.D., Fuller herself performed a skirt dance, most likely adapted from what she had learned working at the Gaiety. During the six weeks that this play toured, Fuller developed the basic elements of her “serpentine” dance, which involved projecting various colored lights onto a reflective robe (Current, 1997).
Fuller likely invented her serpentine dance, according to Gunning, by “cobbl[ing] together several related practices” and was inspired “from the realm of popular spectacle and the turn-of-the-century fascination in the new decorative possibilities of electrical light” (Gunning, 2003). When Quack, M.D. closed, she attempted to form her new dance into a solo act. Initially, theatre managers were uninterested, though her act was finally put into a touring production produced by Casino theatre manager, Rudolph Aronson. The quality of her act slowly evolved, and though her first performance of it was in a theatre only lit by a single gas jet, by the time the company reached the large Eastern cities, the lighting available in the theatres drastically improved—thereby improving Fuller’s act.
An interesting compilation of Fuller's The Serpentine Dance performed by various dancers, and filmed by such early pioneers as Georges Melies, William K. L. Dickson, William Heise, Alice Guy, Louis Lumiere, and Segundo de Chomon.
In 1892, the 30-year-old Fuller first performed the “Serpentine Dance” in New York City. Though her act would evolve, the basics of her act were that with rods sewn into her sleeves (Garelick, 2019), Fuller was able to manipulate hundreds of yards of Chinese silk to create shapes with her costume. With the addition of colored electric lights (Gunning, 2003) that were sharply focused and projected as beams onto her costume, Fuller was able to use light and shadow and color, combined with movement, to create a variety of mesmerizing shapes that hid and revealed and metamorphosed.
The “Serpentine Dance”, as it was named by Aronson (Current, 1997), was an immediate minor sensation. As one New York reviewer wrote:
Suddenly the stage is darkened, and Loie Fuller appears in a white light which makes her radiant and a white robe which surrounds her like a cloud. She floats around the stage, her figure now revealed, now concealed by the exquisite drapery which takes forms of its own and seems instinct with her life. … It is unique, ethereal, delicious. As she vanishes, leaving only a flutter of her robe upon the stage, the theater resounds with thunders of applause. Again she emerges from the darkness … and again the audience rise at her and insist on seeing her pretty, piquant face before they can believe that the lovely apparition is really a woman (Gunning, 2003).
Fuller knew she had created a sensation and a valuable commodity, and shortly after her performance in New York City, attempted to copyright her dance (Gunning, 2003). As the untold number of Loie Fuller imitators that emerged in the years that followed illustrates, she was unsuccessful. And, so, with this success, Fuller headed, along with her aging mother, to Paris and the Folies-Bergere. Within a few days of her arrival there, Fuller had secured an interview with Edouard Marchand, the director of the Folies-Bergere. But she hadn’t gotten to Paris quickly enough (Garelick, 2019).
One of the audience members in New York City had admired Fuller’s dance and had the idea of bringing it to Paris. Maybelle Stewart, of New York City, was now headlining at the Folies-Bergere with her very own “Serpentine” dance. Fuller had to audition after Stewart’s performances had finished for the evening, and Fuller was at first anxious and fearful as she sat watching her competitor who had stolen her creation. But, as Fuller herself later stated, “The longer she danced the calmer I became. I could gladly have kissed her for her . . . inefficiency.” When Fuller finally performed her audition, it was to an empty theater, with a lone violinist to accompany her. But she so outperformed Stewart that not only was Fuller given her own solo show with her own choreography, but Maybelle Stewart was dismissed from the Folies-Bergere (Garelick, 2019).
Various posters advertising Loie Fuller at the Folies-Bergere. Public domain, via Wikimedia Commons.
Though Fuller agreed to perform a few shows under Stewart’s name, as she had already been advertised, on November 5, 1892, Fuller debuted at the Folies-Bergere under her own name. Garelick describes the scene as follows:
Swathed in a vast costume of billowing white Chinese silk that left only her face and hands visible, Fuller began her performance. … As she turned onstage, her arms lifted and molded the silk into undulating patterns. At the same time, rotating, colored spotlights dyed the silken images a variety of deep jewel tones. The audience saw not a woman, but a giant violet, a butterfly, a slithering snake, and a white ocean wave. Each shape rose weightlessly into the air, spun gently in its pool of changing rainbow lights, hovered, and then wilted away to be replaced by a new form. After forty-five minutes, the last shape melted to the floorboards, Fuller sank to her knees, head bowed, and the stage went black. The audience was silent for a few seconds. When the lights went back on, Fuller reappeared to the thunderous applause that signaled the beginning of her triumphant new career. (Garelick, 2019)
Loie Fuller was such a sensation that she would perform at the Folies-Bergere for an unprecedented 300 consecutive nights (Garelick, 2019), with the musical piece, “Loin du bal”, or “Far from the ball”, by Ernest Gillet, which was just playing behind the description of Fuller’s performance, becoming particularly associated with her performances (Sommer, 1981). Edouard Marchand, the director of the Folies-Bergere, later stated that Fuller’s “success [was] without precedence in this theatre” and that she had “transformed the Folies-Bergère”. Her performance became a phenomenon, and she became an overnight celebrity in her own right (Garelick, 2019). For example, either the month of or the month after her first performance at the Folies-Bergere, the American painter, James McNeill Whistler, drew, in pen and black ink, tracings of her dancing.
Her image would eventually be captured in glass and crystal objects by the American artist and designer, Louis Comfort Tiffany, who is most famous for work in stained glass; her image would also be sculpted in marble by the Parisian sculptor, Pierre Roche. Not only did she inspire Mallarme, but W.B. Yeats wrote about her. And she inspired music, for Claude Debussy and Jules Massanet each wrote music for her (Garelick, 2019).
She also developed friendships with artistic luminaries, like Auguste Rodin (DeVaan, n.d.)--even though she was never able to master French, with her proficiency lacking and her French remaining jumbled, even after decades of living there. And the upper class, including Queen Marie of Romania, sought out her friendship (Garelick, 2019).
The press adored her, as well, and wrote of her “chaste” personal life, even though she lived rather openly with her female partner, who would eventually remain her partner of over 20 years, the French-Jewish banking heiress, Gabrielle Bloch. Bloch was conspicuous in her sexual and gender non-conformity, as she dressed only in men’s suits (Garelick, 2019).
Nevertheless, Loie skirts, scarves, ties, even cocktails were being sold. But Loie Fuller knew that popular art is ephemeral, and so she continued to innovate. She filed patents related to her many costumes, as her dances evolved (Garelick, 2019). She introduced Japanese geisha and dancer, Sada Yacco, at the 1900 Paris Exposition at the Theatre Loie Fuller on the rue de Paris (Emery, 2020). Yes, at the 1900 Paris Exposition, she even had her own, custom-designed pavilion, complete with the latest in modern electrical illumination(Fine Arts Museum of San Francisco, 2023) Fuller’s interest in promoting Sada Yacco was most likely a product of the influence and popularity of Japonisme (Emery, 2020). Japonisme is a French term coined at the end of the 19th century to describe the intense interest in and popularity of Japanese art and design in the West (Tate Modern, 2023). And she became an impresario and, eventually, a teacher, with Isadora Duncan among her protégées (Current, 1997).
And Fuller explored how her dances could be used in other media. Not just in wanting Rodin to sculpt her likeness, with Fuller originally wanting a sculpture in time for the 1900 Paris Exposition (DeVaan, n.d.), though a sculpture for the Exposition was never created—but also in new media, like film.
One of the major attractions of the 1900 Paris Exposition was the Lumiere Brothers’ Cinematographe Geant, which was in the Festival Hall of the Galerie des Machines (Miyao, 2015). With “geant” translating to “giant”, the Cinematographe Geant was an oversized, “giant” screen, measuring 52 ½ feet high by nearly 69 feet wide, which screened every evening, free of charge, a program lasting 25 minutes (Miyao, 2015). While the number of the audience averaged around 5,000 people, it could be as many as 25,000 people during the busiest evenings (Miyao, 2015).
It seems natural that Fuller would find a connection to and another outlet for her art with cinema. As the filmmaker Germaine Dulac would later write, “Loie Fuller created her first color harmonies at the moment that the Lumiere Brothers gave us the cinema … [but her art] also was cinema, the play of light and of colors in relief and in movement” (Gunning, 2003). Gunning adds: “[Fuller] created the cinema before cinematography by wedding movement to light” (Gunning, 2003).
With color being such an important element of Fuller’s performances, tint was applied directly to the film stock, so that it could then be illuminated by the projector beam. The “Serpentine” films produced by both Edison and Lumiere utilized a hand-tinted application. According to Gunning: “… the changing patterns of free-form color, as opposed to the attempt at color consistency and subordination to photographic form that characterizes most tinted films, make these first color films perhaps the most satisfying instances of the art of motion in early cinema;” (Gunning, 2003) though historian and noted Abraham Lincoln scholar (Holtzer, 2013), Dr. Richard Nelson Current and his wife Marcia Ewing Current, instead dismiss Fuller’s films as “hardly more than a curiosity [as] they failed to give the viewer any conception of what it was really like to watch her perform in person” (Current, 1997).
Regarding the possible vampire film, Loie Fuller, Rhodes states that the transition used at the beginning of the film to turn the bat into a woman, and the dissolve at the end of the film to cause this possibly vampiric woman to disappear or fade away are “cinematic sign[s] of her potential supernaturalism”. But he also notes that “vampire” dances had been performed since the 1890s and became even more popular through Kipling’s influence.
As we discussed in Episode 7, “Lilith Fair”, around the time Dracula was published, Rudyard Kipling wrote a poem called The Vampire, which was inspired by a painting by his cousin, Philip Burne-Jones, also called The Vampire and first exhibited in 1897. The poem was not about a supernatural being, but instead about a woman who basically used and abused a man and threw him away with little regard (Kipling, 2023). By WWI, a vamp, as such a woman came to be known, came to be defined as “a woman who uses her charm or wiles to seduce and exploit men” (Marriam-Webster Dictionary, 2023).
Theda Bara famously played a character called “The Vampire” in the 1915 film, A Fool There Was, where she manipulated, used, degraded, and ruined the man foolish enough to love her. And before Theda Bara, there was Alice Hollister, playing a similar type of vampire in the 1913 film, The Vampire. A “vampire dance” is even included in this film, performed by Alice Eis and Bert French. Eis and French were dancers who toured internationally with their “vampire dance” act, and images from their act show that their dance took its influence from Philip Burne-Jones’ painting.
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Fuller may have been playing with these ideas when she performed her dance in the film, perhaps marrying the two types of vampires—the supernatural, literally-lethal blood sucking type and the earthly, emotionally-lethal femme fatale type. According to Rhodes: “… the key issue is that Loie Fuller, as a bat transforming into a woman and performing a dance, potentially represented the intersection of both supernatural and natural vampires of the era, a point that might [have] been readily understood by some audience members.” (Rhodes, 2017)
Though, I must mention, she doesn’t seem seductive or sexual, as one might expect her to be, if she was intending to evoke a femme fatale-type of vampire. Nor, with her hair in ringlets, does she resemble the disheveled vampire in Burne-Jones’ painting. So perhaps she is purely a supernatural vampire and not an earthly femme fatale one at all. Or perhaps she isn’t even a vampire, but simply using the possibilities that trick films allow to transform as she did onstage—this time into a bat, rather than a serpent or a raging fire. Catalogue synopses don’t shed any light on the film’s intention. It remains ambiguous—there is enough there to make one think it may be a vampire film, but there is also a lot lacking for any real confirmation. So, if you have not seen it, I suggest you go online and watch it—and judge for yourself. This film is as close to a supernatural vampire film as we will get for several years, as the vamps will take over during this interlude.
It wasn’t until 1914, nearly a decade after the release of Loie Fuller in the United States, that one of the first films to refer to supernatural vampirism was released. It is the serial, The Exploits of Elaine.
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Works Cited
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