LAFemmeFilmFestival

25 Search Results for "alice"

• Writer's Notes for YOUNG, SING

  • From: cwaterhouse1
  • Description:

    Writer’s Notes
    When Cathleen, our producer, asked me to write some writer’s notes for the
    website, I thought back on our journey and thought, “Where the &$#@!% do I
    start”.
    I remember being in acting class and my teacher at the time, Cameron Thor said
    something that really stuck with me….”Talent is Action.” At the time, the only
    acting I was getting to do was in class. I had no agent, no work, no… well, no
    career. So I decided to write a screenplay for myself. I noticed that my friends
    and I were going through a bumpy patch as far as men went. Bumpy isn’t the
    word, more like tumbling down Mount Everest. So I decided I would write a
    “Mocumentary” about dating.
    I was terrified to write. I had never written anything longer that a term paper
    and I wasn’t the most skilled essayist in my English class. So I decided to take
    the pressure off my first endeavor, I would expect this screenplay to be bad. I
    was a first-time writer and of course you would need a few bad ones under you
    belt before something decent came out…..it some how took all the pressure and
    anxiety off. That night I sat down and after three hours I had written 30 pages.
    I was lucky enough to have another supportive acting teacher, Alice Carter, who
    read my first draft and thought it was funny. My brother Richard is also an
    acting teacher so we always had a bevy of actor friends who would gather to
    read and workshop my screenplay every time I finished a draft.
    I needed a title. A couple of friends of mine had titled my circle of friends
    “Young, Single & Angry” and I had started a yearly tradition of having a “YSA”
    Party on Valentine’s Day. The name stuck….and to this day, we still celebrate
    even though, I’m not young, still single, but not so angry (lots of therapy).
    After a couple of years of work shopping and re-writing, I tried to sell it, but I
    had no luck. I decided I should make it myself….How hard could it be? (cough,
    cough)
    First I asked my brother, Richard, to direct the film. Richard had directed me
    before and I knew not only was he a wonderful director, but understood my
    sense of humor.
    Then I brought on our powerhouse of a producer, Cathleen Alexander. I knew
    she could get anything done, I mean ANYTHING…She is calm under pressure
    (unlike me) and had that Capricorn work ethic…she totally came through. And
    funnily enough, I didn’t have the yearning to act in it....I had my hands full with
    helping Cathleen with putting this “indy movie thing” together.
    Now I could continue for pages and pages (because I have some stories) but I’ll
    spare you. You can buy me a cocktail one evening and you won’t be able to
    shut me up.
    What I can say if you take the your first steps towards your dream, the Universe
    does conspire to help you along the way. We gathered an amazing group of
    people (cast, crew, colleagues, friends & family WHO I CAN’T THANK
    ENOUGH) to help us in the 8 long months it took us to shoot. They stuck with
    us through long hours, tense situations, a tiny budget, tears, laughter, and lots
    of rain (just a suggestion to new filmmakers, don’t shoot exteriors in January
    through April in Los Angeles).
    Making Young, Single & Angry was the hardest and the most wonderful thing
    I’ve ever done. Let’s raise a glass…..Cheers.
    Cheri Waterhouse
    

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• "Miss Dundee" Alice Guy

  • From: aliceguyjr
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    Miss Dundee and her 8 dogs Alice guy

    video miss dundee on dailymotiom wat tv youtube ...

    www.alice-guy-jr.blogspot.com

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• Miss Dundee and her 8 dogs

  • From: aliceguyjr
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    Miss Dundee and her 8 dogs Alice Guy "Cinemas Cinema 1erAlice Guy" dvd Autist Artist Associat 20?
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• Miss Dundee Alice Guy

  • From: aliceguyjr
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• Miss Dundee and her 8 dogs

  • From: aliceguyjr
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• Miss dundee

  • From: aliceguyjr
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• Alice Guy "La fee aux Choux" 1

  • From: aliceguyjr
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    Alice.guy.1896 La Fée
    1896 sorlie de"La fée aux choux" premier des + 600 films réalisées par Alice Guy Blaché
    Alice.guy.1896 key dates
    Publié le 07/07/2007 à 15:42

    Par Alice Guy Jr.

    CONTENT BEGINS HERE Key Dates in the Life of Alice Guy Blaché 1873 -- Alice Guy's French parents, Mariette and Emil Guy, live in Santiago, Chile, but Guy's mother travels to Paris to give birth to her fifth child. Guy is raised by her grandmother in Switzerland until she is three or four years old. 1877 (approx.) -- Her mother comes to collect her daughter and take her home to Santiago. In Santiago Guy meets her father for the first time. 1879 (approx.) -- Her father brings her back to France and enrolls her in the boarding school where two of her older sisters are already studying. 1884 (approx.) -- Her father's bookstore chain is bankrupted by a series of violent earthquakes, fires, and thefts. Her parents return to France and her older sisters quickly marry. Guy is transferred to a cheaper boarding school. Her brother dies after a long illness, and her father dies soon after. 1893 -- Guy has trained as a typist and stenographer and gets her first job as a secretary for a company that sells varnishing products. 1894 -- Guy is hired by La Gaumont, the "second-in-command" to work for Felix Richard's still-photography company. Soon after, Richard loses a patent suit and is forced to go out of business. Leon Gaumont buys the inventory and starts his own company, taking Guy with him. Guy is present when Georges Demenÿ demonstrates his phonoscope and offers Gaumont the patent for his biographe, a 60mm motion picture camera. March 22, 1895 -- Gaumont and Guy are invited by the Lumière brothers to witness a demonstration of their cinématographe, a 35mm motion picture camera, at the Société d'encouragement ˆ l'industrie nationale. Guy persuades La Gaumont to let her use the Gaumont camera to direct a story film. 1896 -- Guy writes, produces and directs La Fée aux choux (The Cabbage Fairy). 1897 --La Gaumont makes Guy head of film production, a post she holds until 1906. By 1906 she will have produced over 400 films . 1902 -- Gaumont demonstrates his chronophone, a synchronized-sound system. 1902-1906 -- Guy directs over 100 phonoscènes, films made for the chronophone. 1906 -- Herbert Blaché, a Gaumont manager, is assigned to serve as Guy's cameraman on Mireille. Later, Guy is sent to Berlin to oversee demonstrations of the chronophone and assist Blaché with sales. Christmas Day, 1906 -- Blaché and Guy are officially engaged. Guy is 33, Blaché is 24. Spring, 1907 -- Guy and Blaché marry. Gaumont sends Blaché to the U.S. to promote a chronophone franchise. Guy resigns her position to accompany her husband to the U.S. 1907 -- The Blachés spend nine months in Cleveland working with investors to promote a chronophone franchise. The effort is unsuccessful. 1908 -- Gaumont hires Herbert Blaché to manage his studio in Flushing, New York, for the production of phonoscènes in English. Lois Weber is among the performers hired, and she is later given the opportunity to direct phonoscènes herself. 1908 -- Guy gives birth to her daughter, Simone. 1910 -- Tempted by the Gaumont studio in Flushing, New York, that is underused, Guy creates her own company, Solax, and rents the Gaumont studio space. Her early films are melodramas and westerns. 1911 -- Guy gives birth to her son, Reginald. 1912 -- Solax is so successful that Guy builds a studio in Fort Lee New Jersey , said to cost over $100,000. Solax produces two one-reelers (10-15 minute films) a week and develops a stable of stars. Guy writes and directs at least half of these films and oversees all production. Her rate of production equals that of D.W. Griffith, working at Biograph just a few miles away. 1912 -- Gaumont has a falling out with George Kleine, a member of the Motion Picture Patents Company and his U.S. distributor. Gaumont moves over from the "licensed" side of distribution to join the ranks of the independents. Since Solax's films are distributed through Gaumont in both the U.S. and France, Solax joins the ranks of the independents along with Gaumont. March 1, 1913 -- Release date of Dick Whittington and His Cat. With a length of three reels (45 minutes), a $35,000 budget and elaborate staging (including burning a boat) and costuming, it is Guy's most ambitious Solax project. June 1913 -- Blaché's contract with Gaumont expires and Guy makes him president of Solax so that she can concentrate on writing and directing. After three months, Blaché resigns and starts his own film company, Blaché Features. Blaché Features uses Solax's plant, inventory and actors, making the two companies hardly distinguishable for a few months. Blaché Features' production eventually supersedes Solax production, so that by 1914 Solax is virtually defunct. August 1913-August 1914 -- Blaché and Guy alternate producing and directing longer films (three and four reels) for Blaché features. 1914-1916 -- The market now demands feature-length films (five reels or more). The Blachés join Popular Plays and Players, a production company which produces features for distributors such as Metro, Pathé, and World Film Corporation. These films are shot in the former Solax Studio in Fort Lee, which still belongs to the Blachés. 1916 -- The Blachés are dissatisfied with their distribution arrangement and decide to part ways with Popular Plays and Players. As the U.S. Amusement Corporation, they produce feature films and make their own distribution deals with the same distributors who bought the films from Popular Plays and Players. Guy directs seven features, including The Ocean Waif. 1917 -- The former Solax studio is now rented out to other companies, starting with Apollo Pictures. At age 44, Guy has an excellent reputation as a film director but her last few films have not been commercially successful. Blaché, who is 35, is enjoying the attention of young actresses. In the fall of 1917, Simone, age nine, and Reginald, age five, contract rougeola become seriously ill. Blaché sends his family to the healthier environment of North Carolina, where Guy cares for her children and takes part in the war effort by volunteering for the Red Cross while her husband continues to manage business in Fort Lee. 1918 -- Blaché finds his wife a job directing The Great Adventure for Pathé Players. The film, a comedy, is commercially successful. 1918 -- Blaché moves to Hollywood with Catrine Calvert, an actress who has starred in four films directed by Guy. Guy gives up her house in Fort Lee and moves into an apartment in New York City. 1919 -- Léonce Perret hires Guy to write and direct Tarnished Reputations, offering her $2,000 for six weeks of work. The film takes ten weeks to make and in the process Guy contracts Spanish influenza, which kills four of her colleagues. Blaché, passing through New York, is alarmed by her condition and invites her to join him in California. 1920 -- Guy moves into a small bungalow in Los Angeles with her children. Blaché does not live with them, but hires Guy as his directing assistant on The Brat and Stronger than Death, both starring Alla Nazimova. A few months later Guy is called back to Fort Lee to oversee the auction of the Solax properties. In the middle of bankruptcy arrangements, a polio epidemic sweeps the Northeast and Guy, imitating her friends the Capellanis, flees with her children to Canada. Tarnished Reputations opens March 14, 1920. It is Guy's last film. 1922 -- Bankruptcy proceedings are finished and the Blachés are divorced. Guy (now calling herself Alice Guy-Blaché) returns with her children to France. 1922-1927 Guy's efforts to work in the French film industry do not bear fruit. She returns to the U.S. in 1927 to try to find copies of her films to use to find work. She finds none, even at the Library of Congress where some of them were copyrighted. When the silent film era ends in 1929, it becomes clear that she will not make films again. She becomes financially dependent on her children, especially her daughter, Simone. 1930 -- Léon Gaumont publishes a history of the Gaumont company which does not mention any of the film production before 1907. Guy embarks on a deferential letter writing campaign to correct his omissions. Gaumont agrees to add to his document and corrects the manuscript himself, but it remains unpublished at his death in 1946. 1937 -- Guy's son Reginald returns to the U.S. Simone and Guy move to Paris , where Simone's work prospects are better. Guy supplements her daughter's meager income by writing children's stories and novelizations of films for women's magazines. 1940 -- Simone Blaché begins her career working for U.S. embassies in Europe. Guy follows her daughter on various assignments, first in Vichy (1940) then Geneva (1941-1947). 1947 -- Guy makes guest speaker appearances at high schools and women's clubs in Switzerland. The success of these informal appearances leads her to write her Memoirs. 1947-1952 -- Simone and Guy live in Washington D.C. In Georgetown Guy begins to seriously work on her memoirs and filmography, and renews the search for her films. She begins a correspondence with Louis Gaumont, Léon Gaumont's son. December 8, 1954 -- Louis Gaumont gives a speech in Paris on "Madame Alice Guy Blaché, the First Woman Filmmaker" whom, he says, "has been unjustly forgotten." Film historians such as: Jean Mitry, Georges Sadoul, René Jeanne and Charles Ford begin to take notice of her. 1955 -- Guy is awarded the Légion d'Honneur, France's highest non-military honor. March 16 1957 -- Guy is honored in a Cinémathèque Fran?aise ceremony which goes unnoticed by the press. 1958 -- Simone is transferred to the U.S. embassy in Brussels. 1963 -- Victor Bachy , the professor who initiated the academic study of cinema in Belgium, meets Guy by accident and begins researching her work. 1965 -- Guy and her daughter move to New Jersey. March 24, 1968 -- Guy dies in a nursing home in New Jersey, at the age of 95. 1976 -- Publication of Guy's Memoirs in French, with a filmography by Francis Lasassin. 1986 -- Publication of Guy's Memoirs in English, edited by Anthony Slide, translated by Roberta and Simone Blaché. 1994 -- Publication of Victor Bachy's Alice Guy-Blaché: La Première femme cinéaste du monde.

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• Alice Guy Blache

  • From: aliceguyjr
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    Alice Guy Blache All the Alice Guy Movies on Alice Guy Jr's Blogs alice-guy-jr,blogspot.com dailymotion youtube wat tv ....
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• Alice Guy Blache

  • From: aliceguyjr
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    Alice Guy Blache All the Alice Guy Movies on Alice Guy Jr's Blogs alice-guy-jr,blogspot.com dailymotion youtube wat tv ....
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• Alice Guy Blache

  • From: aliceguyjr
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    Alice Guy Blache All the Alice Guy Movies on Alice Guy Jr's Blogs alice-guy-jr,blogspot.com dailymotion youtube wat tv ....
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• Alice Guy Blache

  • From: aliceguyjr
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    Alice Guy Blache All the Alice Guy Movies on Alice Guy Jr's Blogs alice-guy-jr,blogspot.com dailymotion youtube wat tv ....
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• Alice Guy Blache

  • From: aliceguyjr
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    Alice Guy Blache All the Alice Guy Movies on Alice Guy Jr's Blogs alice-guy-jr,blogspot.com dailymotion youtube wat tv ....
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• Alice Guy Blacle

  • From: aliceguyjr
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    Alice Guy Blache Madame a des envies
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• Alice Guy Filmographie

  • From: aliceguyjr
  • Description:

    
    Nationality: French. Born: Born in Saint-Mandé, 1 July 1873. Also known as Alice Guy-Blaché and Alice Blaché. Education: Convent du Sacré-Coeur, Viry, France 1879–85; religious school at Ferney, and brief term in Paris; studied stenography. Family: Married Herbert Blaché-Bolton, 1907 (divorced 1922), two children. Career: La Gaumont, 1895; directed first film, La Fée aux choux, 1896 ; director of Gaumont film production, 1897–1907; using Gaumont "chronophone," made first sound films, 1900; moved to United States with husband, who was to supervise Gaumont subsidiary Solax, 1907; ceased independent production, lectured on filmmaking at Columbia University, 1917; assistant director to husband, 1919–20; returned to France, 1922; moved to United States, 1964. Awards: Legion of Honor, 1955. Died: In Mahwah, New Jersey, 24 March 1968.
    Films as Director and Scriptwriter:
    
    1896
    
    La Fée aux choux (The Cabbage Fairy)
    1897
    
    Le Pêcheur dans le torrent; Leçon de danse; Baignade dans le torrent; Une nuit agitée; Coucher d'Yvette; Danse fleur de lotus; Ballet Libella; Le Planton du colonel; Idylle; L'Aveugle
    1897/98
    
    L'Arroseur arrosé; Au réfectoire; En classe; Les Cambrioleurs; Le Cocher de fiacre endormi; Idylleinterrompue; Chez le magnétiseur; Les Farces de Jocko; Scène d'escamotage; Déménagement à la cloche de bois; Je vous y prrrends!
    1898/99
    
    Leçons de boxe; La Vie du Christ (11 tableaux)
    1899/1900
    
    Le Tondeur de chiens; Le Déjeuner des enfants; Au cabaret; La Mauvaise Soupe; Un Lunch; Erreur judiciaire; L'Aveugle; La Bonne Absinthe; Danse serpentine par Mme Bob Walter; Mésaventure d'un charbonnier; Monnaie de lapin; Les Dangers de l'acoolisme; Le Tonnelier; Transformations; Le Chiffonier; Retour des champs; Chez le Maréchal-Ferrant; Marché à la volaille; Courte échelle; L'Angélus; Bataille d'oreillers; Bataille de boules de neige; Le marchand de coco
    1900
    
    Avenue de l'Opéra; La petite magicienne; Leçon de danse; Chez le photographe; Sidney's Joujoux series (nine titles); Dans les coulisses; Au Bal de Flore series (three titles); Ballet Japonais series (three titles); Danse serpentine; Danse du pas des foulards par des almées; Danse de l'ivresse; Coucher d'une Parisienne; Les Fredaines de Pierrette series (four titles); Vénus et Adonis series (five titles); La Tarantelle; Danse des Saisons series (four titles); La Source; Danse du papillon; La Concierge; Danses series (three titles); Chirurgie fin de siècle; Une Rage de dents; Saut humidifié de M. Plick
    1900/01
    
    La Danse du ventre; Lavatory moderne; Lecture quotidienne
    1900/07
    
    (Gaumont "Phonoscènes", i.e. films with synchronized sound recorded on a wax cylinder): Carmen (twelve scenes); Mireille (five scenes); Les Dragons de Villars (nine scenes); Mignon (seven scenes); FaustPolin series (thirteen titles); Mayol series (thirteen titles); Dranem series of comic songs (twelve titles); Series recorded in Spain (eleven titles); La Prière by Gounod (twenty-two scenes);
    1901
    
    Folies Masquées series (three titles); Frivolité; Les Vagues; Danse basque; Hussards et grisettes; Charmant FrouFrou; Tel est pris qui croyait prendre
    1902
    
    La fiole enchantée; L'Equilibriste; En faction; La Première Gamelle; La Dent récalcitrante; Le Marchand de ballons; Les Chiens savants; Miss Lina Esbrard Danseuse Cosmopolite et Serpentine series (four titles); Les Clowns; Sage-femme de première classe; Quadrille réaliste; Une Scène en cabinet particulier vue à travers le trou de la serrure; Farces de cuisinière; Danse mauresque; Le Lion savant; Le Pommier; La Cour des miracles; La Gavotte; Trompé mais content; Fruits de saison; Pour secourer la salade
    1903
    
    Potage indigeste; Illusioniste renversant; Le Fiancé ensorcelé; Les Apaches pas veinards; Les Aventures d'un voyageur trop pressé; Ne bougeons plus; Comment monsieur prend son bain; La Main du professeur Hamilton ou Le Roi des dollars; Service précipité, La Poule fantaisiste; Modelage express; Faust et Méphistophélès; Lutteurs américains; La Valise enchantée; Compagnons de voyage encombrants; Cake-Walk de la pendule; Répétition dans un cirque; Jocko musicien; Les Braconniers; La Liqueur du couvent; Le Voleur sacrilège; Enlèvement en automobile et mariage précipite
    1903/04
    
    Secours aux naufragés; La Mouche; La Chasse au cambrioleur; Nos Bon Etudiants; Les Surprises del'affichage; Comme on fait son lit on se couche; Le Pompon malencontreux 1; Comment on disperse les foules; Les Enfants du miracle; Pierrot assassin; Les Deux Rivaux
    1904
    
    L'Assassinat du Courrier de Lyon; Vieilles Estampes series (four titles); Mauvais coeur puni; Magie noire; Rafle de chiens; Cambrioleur et agent; Scènes Directoire series (three titles); Duel tragique; L'Attaque d'un diligence; Culture intensive ou Le Vieux Mari; Cible humaine; Transformations; Le Jour du terme; Robert Macaire et Bertrand; Electrocutée; La Rêve du chasseur; Le Monolutteur; Les Petits Coupeurs de bois vert; Clown en sac; Triste Fin d'un vieux savant; Le Testament de Pierrot; Les Secrets de la prestidigitation dévoilés; La Faim . . . L' occasion . . . L'herbe tendre; Militaire et nourrice; La Première Cigarette; Départ pour les vacances; Tentative d'assassinat en chemin de fer; Paris la nuit ou Exploits d' apaches àMontamartre; Concours de bébés; Erreur de poivrot; Volée par les bohémiens (Rapt d' enfant par les romanichels); Les Bienfaits du cinématographe; P tissier et ramoneur; Gage d'amour; L'Assassinat de la rue du Temple (Le Crime de la rue du Temple); Le Réveil du jardinier; Les Cambrioleurs de Paris
    1905
    
    Réhabilitation; Douaniers et contrebandiers (La Guérité); Le Bébé embarrassant; Comment on dort á Paris!; Le Lorgnon accusateur; La Charité du prestidigitateur; Une Noce au lac Saint-Fargea u; Le Képi; Le Pantalon coupé; Le Plateau; Roméo pris au piége; Chien jouant á la balle; La Fantassin Guignard; La Statue; Villa dévalisée; Mort de Robert Macaire et Bertrand; Le Pavé; Les Maçons; La Esmeralda; Peintre et ivrogne; On est poivrot, mais on a du cœur; Au Poulailler!
    1906
    
    La Fée au printemps; La Vie du marin; La Chaussette; La Messe de minuit; Pauvre pompier; Le Régiment moderne; Les Druides; Voyage en Espagne series (fifteen titles); La Vie de Christ (25 tableaux); Conscience de prêtre; L'Honneur du Corse; J'ai un hanneton dans mon pantalon; Le Fils du garde-chasse; Course de taureaux à Nîmes; La Pègre de Paris; Lèvres closes (Sealed Lips); La Crinoline; La Voiture cellulaire; La Marâtre; Le Matelas alcoolique; A la recherche d'un appartement
    
    1907
    
    La vérité sur l'homme-singe (Ballet de Singe); Déménagement à la cloche de bois; Les Gendarmes; Sur la barricade (L'enfant de la barricade)
    1910
    
    A Child's Sacrifice (The Doll)
    1911
    
    Rose of the Circus; Across the Mexican Line; Eclipse; A Daughter of the Navajos; The Silent Signal; The Girl and the Bronco Buster; The Mascot of Troop "C"; An Enlisted Man's Honor; The Stampede; The Hold-Up; The Altered Message; His Sister's Sweetheart; His Better Self; A Revolutionary Romance; The Violin Maker of Nuremberg
    1912
    
    Mignon or The Child of Fate; A Terrible Lesson; His Lordship's White Feather; Falling Leaves; The Sewer; In the Year 2000; A Terrible Night; Mickey's Pal; Fra Diavolo; Hotel Honeymoon; The Equine Spy; Two Little Rangers; The Bloodstain; At the Phone; Flesh and Blood; The Paralytic; The Face at the Window
    1913
    
    The Beasts of the Jungle; Dick Whittington and His Cat; Kelly from the Emerald Isle; The Pit and the Pendulum; Western Love; Rogues of Paris; Blood and Water; Ben Bolt; The Shadows of the Moulin Rouge; The Eyes that Could Not Close; The Star of India; The Fortune Hunters
    1914
    
    Beneath the Czar; The Monster and the Girl; The Million Dollar Robbery; The Prisoner of the Harem; The Dream Woman; Hook and Hand; The Woman of Mystery; The Yellow Traffic; The Lure; Michael Strogoff; or The Courier to the Czar; The Tigress; The Cricket on the Hearth
    1915
    
    The Heart of a Painted Woman; Greater Love Hath No Man; The Vampire; My Madonna; Barbara Frietchie (co-d)
    1916
    
    What Will People Say?; The Girl with the Green Eyes; The Ocean Waif; House of Cards;
    1917
    
    The Empress; The Adventurer; A Man and the Woman; When You and I Were Young; Behind the Mask
    1918
    
    The Great Adventure
    1920
    
    Tarnished Reputation
    
    Other Films:
    
    1919
    
    The Divorcee (asst d); The Brat (asst d)
    1920
    
    Stronger than Death (asst d)
    
    
    
    Publications
    
    By GUY: book—
    
    Autobiographie d'une pionnière du cinéma 1873–1968, Paris, 1976; published as The Memoirs of Alice Guy-Blaché, edited by Anthony Slide, Metuchen, New Jersey, 1986.
    By GUY: articles—
    
    "Woman's Place in Photoplay Production," in The Moving Picture World (New York), 11 July 1914.
    
    Letter in Films in Review (New York), May 1964.
    
    "La Naissance du cinéma," in Image et Son (Paris), April 1974.
    
    "Tournez, mesdames . . . ," in Ecran (Paris), August/September 1974.
    On GUY: books—
    
    Slide, Anthony, Early Women Directors, New York, 1977.
    
    Elsaesser, Thomas, and Adam Barker, editors, Early Cinema: Space-Frame-Narrative, London, 1990.
    
    Bachy, Victor, Alice Guy-Blaché, 1873–1968: La première femme cinéaste du monde, Perpignan, France, 1993.
    
    On GUY: articles—
    
    Levine, H.Z., "Madame Alice Blaché," in Photoplay (New York), March 1912.
    
    Ford, Charles, "The First Female Producer," in Films in Review (New York), March 1964.
    
    Smith, F.L., "Alice Guy-Blaché," in Films in Review (New York), April 1964.
    
    Lacassin, Francis, "Out of Oblivion: Alice Guy-Blaché," in Sight and Sound (London), Summer 1971.
    
    Mitry, Jean, "A propos d'Alice Guy," in Ecran (Paris), July 1976.
    
    Deslandes, J., "Sur Alice Guy: polémique," in Ecran (Paris), September 1976.
    
    Peary, Gerald, "Czarina of the Silent Screen," in Velvet Light Trap (Madison, Wisconsin), Winter 1977.
    
    Dixon, W.W., "Alice Guy: Forgotten Pioneer of the Narrative Cinema," in New Orleans Review, vol. 19, no. 3–4, 1992.

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• "La Fee aux Choux" 1896 Alice

  • From: aliceguyjr
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  • 1 year ago
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• Festival de films de Femmes de

  • From: aliceguyjr
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    FESTIVAL FILMS DE FEMMES DE BRUXELLES 18 AU 21 SEPTEMBRE

    Le 22 septembre à 18h15
    Musée du Cinéma (bis),
    rue Ravenstein 60, 1000 Bruxelles,
    02 551 19 19
    
    
    Une visionnaire oublié
    
    Plus de 100 ans après ses débuts de cinéaste, les films et l'œuvre d’Alice Guy Blaché (1873-1968) suscitent la controverse ainsi que le mystère.
    Considérée comme la première femme realisatrice, elle a été une des figures clés dans la naissance du film narratif. Elle a également joué un rôle majeur dans la production des premiers films sonores.. Elle est aussi la première femme - et à ce jour la seule - ayant dirigé son propre studio de cinéma (The Solax Studio à Fort Lee, New York) entre 1910 en 1914.
    Sa carrière, qui débuta en 1896, dura jusque'en 1920, plus longtemps que celle de beaucoup de ses contemporains: les frères Lumière, George Méliès, Edison... Ce qui témoigne de sa capacité d'adaptation aux demandes changeantes de l'industrie.
    
    Pionnière dans l'âme
    
    Elle a réalisé des centaines de films, et elle en a produit des centaines en plus. Elle aurait été presque la seule responsable de chaque détail qui apparaissant devant la caméra dans les films qu'elle tournait chez Gaumont, avant la construction du studio en 1905. Les idées pour les films venaient d'elle, elle parcourait sans relâche les régions autour de Paris pour trouver des locations, elle partait elle-même à la recherche des accessoires?? et de costumes, et elle fabriqua beacoup de costumes elle-même. Elle poussait ses amis à jouer des rôles, louait des set designers, et jouait ell-même dans des films. Plus tard, dans sa propre maison de production Solax aux Etats-Unis, elle avait le contrôle total de chaque film, du script à la direction artistique ou le montage.
    
    Hommage au Musée du Cinéma
    
    De tous ses films seulement une centaine survivent aujourd'hui. Elle décède en 1968, sans la moindre considération ou reconnaissance. Ses films sont éparpillés dans des archives un peu partout dans le monde. Pas tous sont disponibles pour être vu, même par des chercheurs, et beaucoup ont grand besoin d'être conservés et préservés.
    
    Le Musée du Cinéma et le festival Elles Tournent rendent hommage à cette grande dame du cinéma sous la forme d’une courte rétrospective.

    
    FESTIVAL FILMS DE FEMMES DE BRUXELLES
    18-21 septembre 2008 Festival de films de femme de Bruxelles
    www.ellestournent.be
    du 18/09/2008 au 21/09/2008
    
    "Tournez, mesdames !" disait en 1914 Alice Guy-Blaché, la première femme réalisatrice. Et c’est ce qu’elles continuent à faire.
    
    Pendant 4 jours et avec 35 films, le festival "Elles tournent" présente au Botanique avant-premières, inédits, grands classiques et perles cachées, documentaires et fictions.
    
    Les réalisatrices viennent de tous les coins du monde, de toutes les cultures. Elles résistent et inventent, cassent les stéréotypes, dérangent et stimulent, elles changent notre façon de voir.
    
    Ce premier festival est une fenêtre sur des cinéastes qui interrogent avec humour, colère, originalité et insolence la place des femmes dans la société, partout dans le monde.
    
    Une occasion unique d'apprécier et de participer à un autre regard sur le monde.
    
    Ce premier festival Elles tournent est un espace où des réalisatrices interrogent avec humour, originalité et insolence la société dans laquelle elles vivent.
    Elles viennent de tous les coins du monde, de toutes les cultures. Elles résistent et inventent, cassent les stéréotypes, dérangent et stimulent, elles changent notre façon de voir.
    Pas moins de 40 films à l'affiche: inédits, avant-premières, grands classiques et perles cachées, activismes et analyses, drames, romances et comédies, documentaires et fictions.
    Une occasion unique d'apprécier et de participer à un autre regard sur le monde.
    
    Inscrivez-vous à notre newsletter pour être au courant de tout ce qui se passe !
    ELLES TOURNENT
    
    * Le festival de films de femmes
    Pendant 4 jours, avec 40 films à l'affiche, courts et longs-métrages.
    * Rencontres et échanges
    De nombreuses réalisatrices et des intervenant-e-s nous font partager leur passion. Elles/ils donnent un éclairage particulier aux films présentés lors d'échanges de points de vue à l'issue des projections.
    Le festival est un lieu de rencontres avec diverses associations qui œuvrent pour un monde plus égalitaire.
    * Le prix "Cinégalité"
    Le prix Cinégalité, décerné par le Conseil de Femmes Francophones de Belgique et la SCAM, sera remis à un film d'étudiant-e.
    * L'action "Penser l'égalité au cinéma"
    Une séance pour les élèves des écoles secondaires propose une lecture différente de l'image
    * Soirée Alice Guy Blaché
    En partenariat avec le Festival, le Musée du Cinémaprésente une soirée consacrée à Alice Guy Blaché, première femme réalisatrice qui "tourna" 600 films entre 1894 et 1920. Ses films rarement projetés nous font découvrir la création au féminin dans ce nouvel art balbutiant: le cinéma.
    * D-Jane Party:
    Des D-Janes bruxelloises mixent à la soirée concoctée par les Girly Mondays au Café Bota.

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• Festival Films de Femmes de Br

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• Alice Guy Premier Cinema Auteu

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    Alice Guy directed the premier narrative motion picture,

    Alice Guy premier cinema auteur

    " Cinema premier Alice Guy"dvd SOLAX gaumont AUTIST ARTIST ASSOCIAT PRODUCTION DISTRIBUTION
    Alice Guy not only directed the first narrative motion picture, but was the first to use close ups, (something usually attributed to D.W. Griffin), she was the first to film a motion picture in color. First is a word that remains synonymous with Alice Guy. She did the first film noir, the first gay themed film, she was the first to step out from behind the camera to direct actors, at the time all directors handled the camera themselves, and she made extensive use of wax cylinders to give many of her short films a sound track, in other words they were talkies before anyone had coined that term.
    
    Moving to America,Alice Guy ran the largest pre-Hollywood studio in the country. Over her lifetime Guy wrote and directed over six hundred films and yet this Grand Lady of cinema has been all but ignored. It is time that this wrong is righted and Alice Guy given her due as the pioneer among pioneers in film.

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• Alice Guy Blacle

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• Alice Guy Blache

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    Alice Guy Blache
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