Germaine Dulac Essays

Germaine Dulac Essays-23
Many of her later short films were based largely on poetic juxtapositions of images and the formal play of light and dark forms — “visual symphonies,” free of story and rooted in movement and rhythm.For Dulac, these films embodied the possibilities of what she and others were calling “pure” or “integral” cinema, and, while they represent a small proportion of her overall oeuvre, they hold a seminal place in it.

Many of her later short films were based largely on poetic juxtapositions of images and the formal play of light and dark forms — “visual symphonies,” free of story and rooted in movement and rhythm.For Dulac, these films embodied the possibilities of what she and others were calling “pure” or “integral” cinema, and, while they represent a small proportion of her overall oeuvre, they hold a seminal place in it.

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Germaine Dulac Essays Tunnel Diode Thesis

Like the surrealist filmmakers who came later, the impressionist filmmakers paid careful attention to the use of framing, composition, camera angles, rhythmic editing, and effects such as slow motion, distorting lenses, dissolves, and superimpositions.by more than a year), though the surrealists themselves welcomed neither the film nor Dulac into their fold.The film’s three figures play out a complex dance of desire, fantasy, and frustration in a number of eclectic scenes and bizarre settings with no logical explanation or connection, though some critics interpret them as the staging of an oedipal drama.In the late 1920s, Dulac began an intense period of radical aesthetic exploration and innovation in a series of shorter, independently-produced, low-budget films.(1927) leaves plot and point of view behind altogether in order to explore the disruptive, obsessive, and irrational nature of desire.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.Playwright, essayist, and actor Antonin Artaud wrote the script, in the hope of codirecting the film and playing the role of the clergyman.Dulac, however, insisted on directing the film alone.The film’s premiere in February of 1928 was greeted with a barrage of insults that disrupted the screening.Artaud had envisioned his script as “a film of pure images,” and although Dulac assiduously followed the script, Artaud and others criticized the resulting film for an over-reliance on special effects that they felt tamed the intended violence of his text.

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