Many of her works reflected her feminist stance and questioned the status quo of traditional women’s roles.
Versatile, prolific, opinionated, and politically engaged, Dulac was among the most tireless practitioners and advocates of film as an independent art form in the history of cinema.
Born Germaine Saisset-Schneider in 1882, she grew up mainly in Paris, where she married Albert Dulac, worked as a journalist and theater critic for various feminist publications, and directed three feature-length films between 19.
Her collaboration with film critic and theorist Louis Delluc on , 1919) drew her increasingly closer to a vision of film as an independent art form with its own language.
Merrin Print Source Cinémathèque Française ) France, 1927 • Directed by Germaine Dulac Cast Alexandre Allin (Priest), Gènica Athanasiou, a.k.a.
Let us learn to look, let us learn to see, let us learn to feel.
For tickets and more information, visit Film Society at Lincoln Center’s website.
France, 1922 • Directed by Germaine Dulac Cast Germaine Dermoz (Madame Beudet), Alex Arquillière (Monsieur Beudet), Jean d’Yd (Monsieur Lebas), Grisier (The Maid), Madeleine Guitty (Madame Lebas), Raoul Paoli (The Tennis Champion), Thirard (The Employee) Production Marcel Vandal, Charles Delac, Aubert (Film d’Art) Scenario Andre Obey, from the stage play by Denys Amiel and Andre Obey Photography A.
In 1928, Dulac made her last commercial feature, (1936), composed of archival footage with a voice-over narration extolling the potential of film to record history, is one of her last completed films, and many of her writings of the 1930s address the educational potential of the newsreel and documentary film.
Dulac’s last years were much less productive due to illness.