Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter explores Germaine Dulac's family background, drawing on personal records, memoirs, and correspondence. Her early upbringing and encounters with certain people, events, and tendencies ...
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This chapter explores Germaine Dulac's family background, drawing on personal records, memoirs, and correspondence. Her early upbringing and encounters with certain people, events, and tendencies during France's Belle Époque later impacted Dulac's political and aesthetic views and the many alternatives and choices that shaped her film career. These include the influence of moderate socialism on her views of class, gender, sexuality, and national politics, and the impact of nineteenth-century symbolist and naturalist tendencies on her inventive rhetorical and representational strategies as they contributed to her filmmaking and activism. The chapter examines Dulac's “women's portraits,” as well as her early political activities and nonfiction writings as a pacifist and feminist from 1906 to 1913.Less
This chapter explores Germaine Dulac's family background, drawing on personal records, memoirs, and correspondence. Her early upbringing and encounters with certain people, events, and tendencies during France's Belle Époque later impacted Dulac's political and aesthetic views and the many alternatives and choices that shaped her film career. These include the influence of moderate socialism on her views of class, gender, sexuality, and national politics, and the impact of nineteenth-century symbolist and naturalist tendencies on her inventive rhetorical and representational strategies as they contributed to her filmmaking and activism. The chapter examines Dulac's “women's portraits,” as well as her early political activities and nonfiction writings as a pacifist and feminist from 1906 to 1913.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an ...
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This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.Less
This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm ...
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This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony” and a “pure cinema” free from the conventions of literature and theater.Less
This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony” and a “pure cinema” free from the conventions of literature and theater.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter traces Dulac's transition to nonfiction filmmaking in the early 1930s, in her work as founding director of one of the most important news reel companies of the period ...
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This chapter traces Dulac's transition to nonfiction filmmaking in the early 1930s, in her work as founding director of one of the most important news reel companies of the period (France-Actualités-Gaumont, 1932–35). It examines the aesthetic and social dimensions of her conception of the newsreel and its capacity for objectivity, as well as its ability to reveal reality and inner meanings beyond that which is visible with the human eye. The chapter also considers Dulac's socially and politically engaged nonfiction films and projects of the Popular Front, particularly her unique newsreel-based, pacifist documentary feature, Le Cinéma au service de l'histoire (1935), which investigates cinema's role as an actor within history.Less
This chapter traces Dulac's transition to nonfiction filmmaking in the early 1930s, in her work as founding director of one of the most important news reel companies of the period (France-Actualités-Gaumont, 1932–35). It examines the aesthetic and social dimensions of her conception of the newsreel and its capacity for objectivity, as well as its ability to reveal reality and inner meanings beyond that which is visible with the human eye. The chapter also considers Dulac's socially and politically engaged nonfiction films and projects of the Popular Front, particularly her unique newsreel-based, pacifist documentary feature, Le Cinéma au service de l'histoire (1935), which investigates cinema's role as an actor within history.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter focuses on Dulac's wartime activism and literary writings, as well as the debut of her film career—from her first activities as a film producer for Pathé (La Lumière du coeur, 1916) to ...
More
This chapter focuses on Dulac's wartime activism and literary writings, as well as the debut of her film career—from her first activities as a film producer for Pathé (La Lumière du coeur, 1916) to her first directorial efforts (Soeurs ennemies to Le Bonheur des autres, 1917–18)—and evaluates the historical significance of her incursion into and negotiated course within the French film industry as a female artist and entrepreneur. A close examination of archival sources documenting Dulac's early professional activities provides insight into her humanist egalitarianism, universalism, and her strong belief in the emancipatory potential of art, as well as her early rhetorical strategies.Less
This chapter focuses on Dulac's wartime activism and literary writings, as well as the debut of her film career—from her first activities as a film producer for Pathé (La Lumière du coeur, 1916) to her first directorial efforts (Soeurs ennemies to Le Bonheur des autres, 1917–18)—and evaluates the historical significance of her incursion into and negotiated course within the French film industry as a female artist and entrepreneur. A close examination of archival sources documenting Dulac's early professional activities provides insight into her humanist egalitarianism, universalism, and her strong belief in the emancipatory potential of art, as well as her early rhetorical strategies.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0008
- Subject:
- Film, Television and Radio, Film
This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac ...
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This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from Impressionist to abstract. A careful study of Dulac's life and work establishes the importance of her voice in the diffusion and legitimization of French film and film culture, as evidenced through her prolific writings and lectures. She also played a prominent role in several cultural organizations such as the Society of Film Authors (SAF), the French Federation of Cine-Clubs (FFCC), the International Council of Women (ICW), the International Educational Cinematographic Institute(IECI), and the League of Nations' International Committee for Intellectual Cooperation (ICIC), among others.Less
This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from Impressionist to abstract. A careful study of Dulac's life and work establishes the importance of her voice in the diffusion and legitimization of French film and film culture, as evidenced through her prolific writings and lectures. She also played a prominent role in several cultural organizations such as the Society of Film Authors (SAF), the French Federation of Cine-Clubs (FFCC), the International Council of Women (ICW), the International Educational Cinematographic Institute(IECI), and the League of Nations' International Committee for Intellectual Cooperation (ICIC), among others.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.001.0001
- Subject:
- Film, Television and Radio, Film
Best known for directing the Impressionist classic The Smiling Madame Beudet and the first Surrealist film The Seashell and the Clergyman, Germaine Dulac—feminist and pioneer of 1920s French ...
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Best known for directing the Impressionist classic The Smiling Madame Beudet and the first Surrealist film The Seashell and the Clergyman, Germaine Dulac—feminist and pioneer of 1920s French avant-garde cinema—made close to thirty fiction films as well as numerous documentaries and newsreels. Through her filmmaking, writing, and cine-club activism, Dulac's passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth-century film history and theory. This book—making unprecedented use of the filmmaker's personal papers, production files, and archival film prints—is the first full-length historical study and critical biography of Dulac. The book's analysis explores the artistic and sociopolitical currents that shaped Dulac's approach to cinema while interrogating the ground-breaking techniques and strategies she used to critique conservative notions of gender and sexuality. Moving beyond the director's work of the 1920s, the book examines Dulac's largely ignored 1930s documentaries and newsreels establishing clear links with the more experimental Impressionist and abstract works of her early period. This vivid portrait will be of interest to general readers, as well as to scholars of cinema and visual culture, performance, French history, women's studies, queer cinema, in addition to studies of narrative avant-garde, experimental, and documentary film history and theory.Less
Best known for directing the Impressionist classic The Smiling Madame Beudet and the first Surrealist film The Seashell and the Clergyman, Germaine Dulac—feminist and pioneer of 1920s French avant-garde cinema—made close to thirty fiction films as well as numerous documentaries and newsreels. Through her filmmaking, writing, and cine-club activism, Dulac's passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth-century film history and theory. This book—making unprecedented use of the filmmaker's personal papers, production files, and archival film prints—is the first full-length historical study and critical biography of Dulac. The book's analysis explores the artistic and sociopolitical currents that shaped Dulac's approach to cinema while interrogating the ground-breaking techniques and strategies she used to critique conservative notions of gender and sexuality. Moving beyond the director's work of the 1920s, the book examines Dulac's largely ignored 1930s documentaries and newsreels establishing clear links with the more experimental Impressionist and abstract works of her early period. This vivid portrait will be of interest to general readers, as well as to scholars of cinema and visual culture, performance, French history, women's studies, queer cinema, in addition to studies of narrative avant-garde, experimental, and documentary film history and theory.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter details the evolution of Dulac's socialist humanist politics under the Popular Front, from her activism and syndicalism or labor union work within the context of the vast cultural ...
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This chapter details the evolution of Dulac's socialist humanist politics under the Popular Front, from her activism and syndicalism or labor union work within the context of the vast cultural movement of Mai '36, to a rather controversial shift that led to her complex political position under the Vichy regime. During this era, from 1936 to 1938, Dulac's activism for the cinema and by way of the cinema blossomed. She undertook several Socialist film projects, and played a major role in restructuring the French film industry and in cultivating a propitious environment for the future of the medium. Her role was central on several fronts, from the nationalization of the industry to the creation of a French cinematheque and a film directors' union.Less
This chapter details the evolution of Dulac's socialist humanist politics under the Popular Front, from her activism and syndicalism or labor union work within the context of the vast cultural movement of Mai '36, to a rather controversial shift that led to her complex political position under the Vichy regime. During this era, from 1936 to 1938, Dulac's activism for the cinema and by way of the cinema blossomed. She undertook several Socialist film projects, and played a major role in restructuring the French film industry and in cultivating a propitious environment for the future of the medium. Her role was central on several fronts, from the nationalization of the industry to the creation of a French cinematheque and a film directors' union.
Tami Williams
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038471
- eISBN:
- 9780252096365
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038471.003.0007
- Subject:
- Film, Television and Radio, Film
This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been ...
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This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been limited to a few films, and predominantly to a feminist theoretical approach that launched a recovery of this great filmmaker in the Anglophone context. In contrast, in the French context, Dulac's work has long been subject to a depoliticized formalism, where identity politics and gender considerations have only slowly been making their way into film studies. Drawing on various archival materials (manuscript, printed, filmic) and secondary sources, and considering the environment's dynamic sociopolitical context, the chapter further reveals Dulac's films and her filmic ontology of a “pure cinema,” a cinema of suggestion and potentiality.Less
This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been limited to a few films, and predominantly to a feminist theoretical approach that launched a recovery of this great filmmaker in the Anglophone context. In contrast, in the French context, Dulac's work has long been subject to a depoliticized formalism, where identity politics and gender considerations have only slowly been making their way into film studies. Drawing on various archival materials (manuscript, printed, filmic) and secondary sources, and considering the environment's dynamic sociopolitical context, the chapter further reveals Dulac's films and her filmic ontology of a “pure cinema,” a cinema of suggestion and potentiality.
Maite Conde
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780520290983
- eISBN:
- 9780520964884
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520290983.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter undertakes a close reading of the Brazilian experimental silent film Limite, made in 1930 by Mário Peixoto. It pays close attention to the context of the film’s production: Peixoto’s ...
More
This chapter undertakes a close reading of the Brazilian experimental silent film Limite, made in 1930 by Mário Peixoto. It pays close attention to the context of the film’s production: Peixoto’s contact with the world of cinephilia in Brazil and his links to the European avant-garde. In doing so, it analyzes the film’s style in the light of Germaine Dulac’s emphasis on cinema’s visual rhythms. Rather than providing us with a story or even presenting us with the psychological state of mind among its characters, it shows how Peixoto’s film “thinks” in pictures, movements, and angles, trying to intertwine diverse visual fields by using certain symbolic themes and variations. The chapter this shows how Limite accomplishes what Dulac had demanded in 1927: the “real” filmmaker should “divest cinema of all elements not particular to it, to seek its true essence in the consciousness of movement and visual rhythms.”Less
This chapter undertakes a close reading of the Brazilian experimental silent film Limite, made in 1930 by Mário Peixoto. It pays close attention to the context of the film’s production: Peixoto’s contact with the world of cinephilia in Brazil and his links to the European avant-garde. In doing so, it analyzes the film’s style in the light of Germaine Dulac’s emphasis on cinema’s visual rhythms. Rather than providing us with a story or even presenting us with the psychological state of mind among its characters, it shows how Peixoto’s film “thinks” in pictures, movements, and angles, trying to intertwine diverse visual fields by using certain symbolic themes and variations. The chapter this shows how Limite accomplishes what Dulac had demanded in 1927: the “real” filmmaker should “divest cinema of all elements not particular to it, to seek its true essence in the consciousness of movement and visual rhythms.”
