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Before all this, that is, in 1901, there was “Par le trou de la serrure,” a French parody of keyhole films, a micro-genre (apparently famous and although overshadowed (see below), since a parody was already made) that depicted someone peeping through a keyhole, thus having strong voyeuristic tones, so much so that at the time, the so-called black evenings were organized, during which the keyholes had a pin-up theme, meaning behind the door there was always a girl undressing; present also in this parody only initially, as she reveals herself to be a he, thus horrifying the voyeurist with whom—and this is why I want to talk about it because in itself, the film isn't much nor does it aim to be—thanks to a gigantic cardboard keyhole placed on the camera, the viewer would experience one of the first examples of point-of-view imagery. Discover the review
Before all this, that is, in 1901, there was “Par le trou de la serrure,” a French parody of keyhole films, a micro-genre (apparently famous and although overshadowed (see below), since a parody was already made) that depicted someone peeping through a keyhole, thus having strong voyeuristic tones, so much so that at the time, the so-called black evenings were organized, during which the keyholes had a pin-up theme, meaning behind the door there was always a girl undressing; present also in this parody only initially, as she reveals herself to be a he, thus horrifying the voyeurist with whom—and this is why I want to talk about it because in itself, the film isn't much nor does it aim to be—thanks to a gigantic cardboard keyhole placed on the camera, the viewer would experience one of the first examples of point-of-view imagery.
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