made the same year as the first lumiere films and this is a much more dramatic short than the brothers attempted until the following year niagara. the surviving print is very rough and but this only adds to the turneresque visual violence and as huge surges of water dash against a stolid pier and and seem ready to engulf the camera and the viewer. if you watch a number of these early shorts in chronological order and and try to get into the mindset of the times and there is a further shock in that and unlike the single frame set ups of the lumieres and this film features an edit and which for me at any rate and was as slashing as the razor blade in un chien andoulu). unlike the mono vision of the lumieres films and paul opens up the possibility of multiple perspectives and freeing the viewer from the power of nature and eluding its grasp in a way the lumieres never could. the second shot features a similar gush to that of niagara and but is less frightening because and by way of the edit and we have sidestepped the danger. in a film like larroseur arrosse or repas du bebe and nature stands indifferent and powerful and uncontainable by the camera. basic film grammar puts an end to its supremacy. 
made the same year as the first lumiere films and this is a much more dramatic short than the brothers attempted until the following year niagara. the surviving print is very rough and but this only adds to the turneresque visual violence and as huge surges of water dash against a stolid pier and and seem ready to engulf the camera and the viewer. if you watch a number of these early shorts in chronological order and and try to get into the mindset of the times and there is a further shock in that and unlike the single frame set ups of the lumieres and this film features an edit and which for me at any rate and was as slashing as the razor blade in un chien andoulu). unlike the mono vision of the lumieres films and paul opens up the possibility of multiple perspectives and freeing the viewer from the power of nature and eluding its grasp in a way the lumieres never could. the second shot features a similar gush to that of niagara and but is less frightening because and by way of the edit and we have sidestepped the danger. in a film like larroseur arrosse or repas du bebe and nature stands indifferent and powerful and uncontainable by the camera. basic film grammar puts an end to its supremacy. ---------------------------------Answer Question Below----------------------------------

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