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.
Comments Germaine Dulac Essays
Germaine Dulac Writings On Cinema 1919-1937.
These seminal texts by pioneering filmmaker and feminist Germaine Dulac will be of great interest to film scholars and cinephiles alike. From theoretical essays.…
Dulac and Deren Avant-garde Early Women Filmmakers.
Flicker Alley is proud to present this guest essay by Dr. Sabina Stent on avant-garde directors Germaine Dulac and Maya Deren. La Cigarette.…
Germaine Dulac's - jstor
In the story essay, "Street Haunting A London Adventure" 1927. Virginia Woolf 's. is evocative of the surrealist images of French filmmaker Germaine Dulac's.…
The First Feminist Film, Germaine Dulac's The Smiling Madame
Yesterday we featured The Seashell and the Clergyman, the first surrealist film, directed by Germaine Dulac in 1928. Given Dulac's gender, for.…
Germaine Dulac Video Essay - YouTube
Exploring techniques used to make some of her films both French Impressionist and pre-Surrealist.…
Cinematic Riots Feminism and Surrealism in Germaine.
By Chelsea Phillips-Carr Essays July 28, 2017. Germaine Dulac's La Coquille et le Clergyman The Seashell and the Clergyman was.…
Pure Cinema Selected Writings of Germaine Dulac caboose
A pioneering feminist and experimental filmmaker in 1920s and 30s France—before French women got the vote—and an influential critic and theorist, Germaine.…
The Importance of Being a Film Author Germaine Dulac and.
In November of 1927, Germaine Dulac wrote a letter to the editor of La. In his introduction to an anthology of French essays on cinema from.…
A Surrealist Filmmaker's Legacy of Feminism and Cinematic.
Germaine Dulac may have just been too far ahead of her time as a queer woman filmmaker, and too prodigious in her output to receive proper.…