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This paper examines the evolution of consumption practices in Venice in the long eighteenth century through the combined use of post‐mortem inventories and household budgets. Although Italy experienced a period of relative decline between the seventeenth and eighteenth centuries, our findings suggest that Venetian households enjoyed a rich and vibrant material culture that was fully comparable with those of the most advanced European urban economies. However, although new products, practices, and fashions were adopted by Venetian society, the architecture of consumption did not undergo sudden and extreme changes; rather, consumption was gradually refined, following the path that it had begun during the Renaissance. We therefore argue that the Venetian economy did not experience a consumer revolution but, instead, consumer evolution. Moreover, this study shows that sophisticated consumption practices were not exclusive to the more dynamic economies of the continent but were widespread even in those regions that were victims of the Little Divergence. We thus suggest that the relationship between consumption development and economic development was not necessarily causal and that the diffusion of new consumption practices throughout society was a necessary, but insufficient, prerequisite for economic take‐off. [ABSTRACT FROM AUTHOR]

This paper analyzes why child film star series produced by major French production companies (Pathé, Gaumont, Eclectic, and Éclair) in the early 1900s (Bébé, Bout‐de‐Zan, Willy, and the Maria Fromet series) were received with such interest by global audiences. This period, prior to World War I, was a brief era when French cinema held significant hegemony worldwide, before Hollywood's dominance began. There are ideas suggesting that child film stars emerged with American cinema. Contrary to this, however, French producers competed fiercely in the 10 years following 1906, producing series featuring child film stars. Substantial budgets were allocated for the marketing of these series, ultimately gaining a considerable fan base not only in Europe but also in America. When examining these film stars from the early 20th century within their historical context, they emerge as the first international child stars with international fame and financial success, unlike child musicians, vaudeville artists, and theater actors from the 18th and 19th centuries. Inspired by the field analysis of French sociologist Pierre Bourdieu, this article aims to establish a connection between the struggles within the field and the symbolic needs of the audience as reflected in the content of child star films. The films were viewed at the Eye Film Museum archive. [ABSTRACT FROM AUTHOR]