Author: Roberta and Simone BlachéPublish On: 1996-05-07
Complementing the text are reprints of contemporary articles on Alice Guy BlachZ from the American trade press, a reminiscence by her daughter, a brief evaluation of the career of her husband, Herbert BlachZ and a complete filmography.
Author: Roberta and Simone Blaché
Publisher: Scarecrow Press
Category: Performing Arts
Provides an original, first-hand view of the potential that motion pictures offered women from the Victorian era, and how, ultimately, the industry rejected one of its first and most important pioneers. Alice Guy BlachZ was not only the world's first female director, but in 1896, she became the first of either sex to direct a fictional film. As the first director with the Gaumont Company in Paris, Alice Guy BlachZ served as an influential figure in French film history, making more than 300 films, including some of the earliest sound subjects from the turn of the century. She continued her career in the United States, founding the Solax Company in 1910, and producing and directing 350 more films. Complementing the text are reprints of contemporary articles on Alice Guy BlachZ from the American trade press, a reminiscence by her daughter, a brief evaluation of the career of her husband, Herbert BlachZ and a complete filmography.
But as more of these films become available, it is obvious that Alice Guy Blaché should be considered a prominent ... Yet, she basically ignores them in her Memoirs, perhaps being too concerned at the time with her husband's infidelity.
Author: Anthony Slide
Publisher: Rowman & Littlefield
This fascinating memoir of influential French filmmaker Alice Guy Blaché features a new foreword and provides original insight into one of the industry's most important pioneers. Guy Blaché was not only the world's first female director, producing and directing hundreds of films, but she was also the first of either sex to direct a fictional film.
The first English version was published without the introductory chapter as The Memoirs of Alice Guy Blaché (1986), translated by Roberta and Simone Blaché, daughter-in-law and daughter of Alice Guy, and edited by Anthony Slide.
Author: Alison McMahan
Publisher: Bloomsbury Publishing USA
Category: Social Science
Alice Guy BlachT (1873-1968), the world's first woman filmmaker, was one of the key figures in the development of narrative film. From 1896 to 1920 she directed 400 films (including over 100 synchronized sound films), produced hundreds more, and was the first--and so far the only--woman to own and run her own studio plant (The Solax Studio in Fort Lee, NJ, 1910-1914). However, her role in film history was completely forgotten until her own memoirs were published in 1976. This new book tells her life story and fills in many gaps left by the memoirs. Guy BlachT's life and career mirrored momentous changes in the film industry, and the long time-span and sheer volume of her output makes her films a fertile territory for the application of new theories of cinema history, the development of film narrative, and feminist film theory. The book provides a close analysis of the one hundred Guy BlachT films that survive, and in the process rewrites early cinema history.
DIRECTORS FROM THE DAWN OF HOLLYWOOD 11 Slide, Anthony, Ed. The Memoirs of Alice Guy-Blaché. Roberta and Simone Blaché, Trans. The Scarecrow Press, 1996, 1. 12 Slide. The Memoirs of Alice Guy-Blaché. 26–27. 13 Slide.
Author: Kevin Brownlow
Publisher: Aurora Metro Publications Ltd.
Category: Performing Arts
The first ever overview of women's contributions to the dawn of cinema looking at a variety of roles from writers and directors to film editors and critics. Why have women such as Alice Guy-Blache, the creator of narrative cinema, been written out of film history? Why have so many women working behind the scenes in film been rendered invisible and silent for so long? Silent Women, pioneers of cinema explores the incredible contribution of women at the dawn of cinema when, surprisingly, more women were employed across the board in the film industry than they are now. It also looks at how women helped to shape the content, style of acting and development of the movie business in their roles as actors, writers, editors, cinematographers, directors and producers. In addition, we describe how women engaged with and influenced the development of cinema in their roles as audience, critics, fans, reviewers, journalists and the arbiters of morality in films. And finally, we ask when the current discrimination and male domination of the industry will give way to allow more women access to the top jobs. In addition to its historical focus on women working in film during the silent film era, the term silent also refers to the silencing and eradication of the enormous contribution that women have made to the development of the motion picture industry. “The surprise of the essays collected here is their sheer volume in every corner of a business apparently better able to accommodate female talent then than now..” Danny Leigh, Financial Times, July 2016 “ It's a fascinating journey into the untold history of a largely lost era of film..” Greg Jameson, Entertainment Focus, March 2016 "This book shows how women's voices were heard and helped create the golden age of silent cinema, how those voices were almost eradicated by the male-dominated film industry, and perhaps points the way to an all-inclusive future for global cinema..” Paul Duncan, Film Historian “Inspirational and informative, Silent Women will challenge many people's ideas about the beginnings of film history. This fascinating book roams widely across the era and the diverse achievements and voices of women in the film industry. These are the stories of pioneers, trailblazers and collaborators - hugely enjoyable to read and vitally important to publish.” Pamela Hutchinson, Silent London “Every page begs the question - how on earth did these amazing women vanish from history in the first place? I defy anyone interested in cinema history not to find this valuable compendium a must-read. It's also a call to arms for more research into women's contribution and an affirmation of just how rewarding the detective work can be.” Laraine Porter, Co-Artistic Director of British Silent Film Festival “An authoritative and illuminating work, it also lends a pervasive voice to the argument that discrimination and not talent is the barrier to so few women occupying the most prominent roles within the industry." Jason Wood, Author and Visiting Professor at MMU “I was amazed to discover just how crucially they were involved from not just in front of the camera but in producing, directing, editing and much, much more. An essential read.” Neil McGlone. The Criterion Collection
Memoirs. of. Alice. Guy-Blaché. ButforallthatInowknewthatIwasnotinanyofthe houses of which the ignorance of the waking moment had, in a flash, if not presented me with a distinct picture, at least persuaded me of the possible presence, ...
Author: Jennifer M. Bean
Publisher: Duke University Press
Category: Performing Arts
A Feminist Reader in Early Cinema marks a new era of feminist film scholarship. The twenty essays collected here demonstrate how feminist historiographies at once alter and enrich ongoing debates over visuality and identification, authorship, stardom, and nationalist ideologies in cinema and media studies. Drawing extensively on archival research, the collection yields startling accounts of women's multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinema's capacity for presenting a stable visual field, often at the expense of racially, sexually, or class-marked bodies. While fostering new ways of thinking about film history, A Feminist Reader in Early Cinema illuminates the many questions that the concept of "early cinema" itself raises about the relation of gender to modernism, representation, and technologies of the body. The contributors bring a number of disciplinary frameworks to bear, including not only film studies but also postcolonial studies, dance scholarship, literary analysis, philosophies of the body, and theories regarding modernism and postmodernism. Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topics—from the dangerous sexuality of the urban flâneuse to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva films—looking along the way at birth-control sensation films, French crime serials, "war actualities," and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic. Contributors. Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang Zhen
In addition to Guy's own memoirs (Alice Guy Blaché, The Memoirs of Alice Guy Blaché, ed. Anthony Slide, trans. Roberta Blaché and Simone Blaché (Metuchen, NJ: Scarecrow Press, 1986) see Victor Bachy, Alice Guy Blaché (1873–1968): La ...
Author: David Shepherd
While Jesus has attracted the sporadic interest of film-makers since the epics of the Sixties, it is often forgotten that between the advent of motion pictures in the 1890s and the close of the "silent" era at the end of the 1920s, some of the longest, most expensive and most watched films on both sides of the Atlantic were focused on the Life and Passion of the Christ. Drawing upon rarely seen archival footage and the work of both the era’s most important directors (e.g. Alice Guy, Ferdinand Zecca, Sidney Olcott, D.W. Griffith, Carl Dreyer, and C.B. DeMille) and others who have been all but forgotten, this collection of essays offers a representative survey of the Silents of Jesus, illustrating the ways in which the earliest films and those which followed were influenced by a multiplicity of factors. Written by leading scholars in biblical and early film studies this collection explores the ways in which the Silents of Jesus were shaped not only by the performing and visual arts of the nineteenth century and the technological challenges and opportunities of a new medium and industry, but also by the artistic, theological and ideological predilections of studios and directors, and the expectations of audiences as the genre evolved. Taken together, the essays collected here offer a seminal treatment of the genesis and early evolution of the cinematic Jesus.
Marquise Lepage, 53 minutes, National Film Board of Canada, 1996 (MOMA). 86. Alison McMahan, Alice Guy Blaché: Lost Visionary of the Cinema (New York: Continuum, 2002), 22. 87. Alice Guy Blaché, The Memoirs of Alice Guy Blaché, ed.
Author: Karen Ward Mahar
Publisher: JHU Press
Women Filmmakers in Early Hollywood explores when, how, and why women were accepted as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the early film industry as an industry—a place of work—Mahar not only unravels the mystery of the disappearing female filmmaker but untangles the complicated relationship among gender, work culture, and business within modern industrial organizations. In the early 1910s, the film industry followed a theatrical model, fostering an egalitarian work culture in which everyone—male and female—helped behind the scenes in a variety of jobs. In this culture women thrived in powerful, creative roles, especially as writers, directors, and producers. By the end of that decade, however, mushrooming star salaries and skyrocketing movie budgets prompted the creation of the studio system. As the movie industry remade itself in the image of a modern American business, the masculinization of filmmaking took root. Mahar's study integrates feminist methodologies of examining the gendering of work with thorough historical scholarship of American industry and business culture. Tracing the transformation of the film industry into a legitimate "big business" of the 1920s, and explaining the fate of the female filmmaker during the silent era, Mahar demonstrates how industrial growth and change can unexpectedly open—and close—opportunities for women.
1965 Guy Blaché and her daughter move to New Jersey . 1947-52 Simone and Guy Blaché live in Washington , D.C. In Georgetown , Guy Blaché begins to seriously work on her memoirs and filmography and renews the search for her films .
Author: Joan Simon
Alice Guy Blaché was the first woman to produce & direct motion pictures, first in Paris for Gaumont & later in the US, where she founded her own company. this volume celebrates her achievements as a pioneer of motion picture techniques & technologies.
Anthony Slide, ed., The Memoirs of Alice Guy Blaché (Lanham: Scarecrow, 1986), Appendix 1, 143–62. 13. Gwendolyn Audrey Foster, “Performity and Gender in Alice Guy's La Vie du Christ,” FCm 23 (1998): 7. 14. Alison McMahan, Alice Guy ...
Author: Carol A. Hebron
Publisher: Bloomsbury Publishing
At the beginning of the 20th century, Judas was characterised in film as the epitome of evil: the villainous Jew. Film-makers cast Judas in this way because this was the Judas that audiences had come to recognize and even expect. But in the following three decades, film-makers - as a result of critical biblical study - were more circumspect about accepting the alleged historicity of the Gospel accounts. Carol A. Hebron examines the figure of Judas across film history to show how the portrayal becomes more nuanced and more significant, even to the point where Judas becomes the protagonist with a role in the film equal in importance to that of Jesus'. Hebron examines how, in these films, we begin to see a rehabilitation of the Judas character and a restoration of Judaism. Hebron reveals two distinct theologies: 'rejection' and 'acceptance'. The Nazi Holocaust and the exposure of the horrors of genocide at the end of World War II influenced how Judaism, Jews, and Judas, were to be portrayed in film. Rehabilitating the Judas character and the Jews was necessary, and film was deemed an appropriate medium in which to begin that process.
On a November morning in downtown Ft. Lauderdale, Alice Guy Blaché, an attractive woman in her forties, boarded a launch called City of Lauderdale ... In The Memoirs of Alice Guy Blaché, she wrote: “The citrus planters urged me to buy.
Author: Stuart B. McIver
Publisher: Rowman & Littlefield
Florida has long been a mecca for those looking for a change of scenery, pace, or fortune. One way or another, all who enter Florida are "Touched by the Sun." Its powerful rays leave them with a sense of well-being, better health, or maybe just a sunburn. Come meet some of the glorious sun-drenched characters. In this third volume of the Florida Chronicles, a continuing series on the states history, author Stuart B. McIver tells his tales of Florida through the often tangled lives of people who could never be brushed aside as ordinary. These players in that great theatrical production called Florida include presidents, cowboys, gangsters, baseball players, writers, politicians, captains of industry, inventors, movie stars, and even a fire chief. See all of the books in this series