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Beyond impressions: The life and fi...

Williams, Tami Michelle.

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Beyond impressions: The life and films of Germaine Dulac from aesthetics to politics.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Beyond impressions: The life and films of Germaine Dulac from aesthetics to politics./
作者:	Williams, Tami Michelle.
面頁冊數:	366 p.
附註:	Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 9000.
Contained By:	Dissertation Abstracts International69-01A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3299554
ISBN:	9780549440796

Beyond impressions: The life and films of Germaine Dulac from aesthetics to politics.
Williams, Tami Michelle.

Beyond impressions: The life and films of Germaine Dulac from aesthetics to politics. - 366 p.

Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 9000.

Thesis (Ph.D.)--University of California, Los Angeles, 2007.

This dissertation examines the life and films of French feminist, socialist and pioneer filmmaker, Germaine Dulac (1882-1942). During her film career (1915-1942), Dulac played a founding role in the evolution of cinema as art and social practice. She directed more than 30 fiction films, many marking new cinematic tendencies (from "Impressionist" to "abstract"), and an equivalent number of newsreels and documentaries. To date, most research has approached her work through the lens of contemporary feminist theory, and has been limited to textual analyses of a few fiction films, namely her Impressionist The Smiling Madame Beudet (1923), and her Surrealist The Seashell and the Clergyman (1927). Their isolated consideration has obscured her broader contributions to cinema and feminism. Several conferences (principally Frankfurt, 2002; Berkeley, 2003), as well as the Dulac anthology, which I edited based on the Paris 2005 retrospective (Paris: AFRHC/Cineteca Bologna, 2006), have begun to broaden this focus, although still predominantly through textual analyses.

ISBN: 9780549440796Subjects--Topical Terms:

854529
Cinema.

Beyond impressions: The life and films of Germaine Dulac from aesthetics to politics.
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245 1 0 $a Beyond impressions: The life and films of Germaine Dulac from aesthetics to politics.
300 $a 366 p.
500 $a Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 9000.
500 $a Adviser: Janet Bergstrom.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2007.
520 $a This dissertation examines the life and films of French feminist, socialist and pioneer filmmaker, Germaine Dulac (1882-1942). During her film career (1915-1942), Dulac played a founding role in the evolution of cinema as art and social practice. She directed more than 30 fiction films, many marking new cinematic tendencies (from "Impressionist" to "abstract"), and an equivalent number of newsreels and documentaries. To date, most research has approached her work through the lens of contemporary feminist theory, and has been limited to textual analyses of a few fiction films, namely her Impressionist The Smiling Madame Beudet (1923), and her Surrealist The Seashell and the Clergyman (1927). Their isolated consideration has obscured her broader contributions to cinema and feminism. Several conferences (principally Frankfurt, 2002; Berkeley, 2003), as well as the Dulac anthology, which I edited based on the Paris 2005 retrospective (Paris: AFRHC/Cineteca Bologna, 2006), have begun to broaden this focus, although still predominantly through textual analyses.
520 $a Making extensive use of Dulac's personal papers, untranslated secondary sources, and archival film prints, this critical feminist historiography analyzes her approach to cinema in terms of the socio-political and artistic movements that shaped it. The first chapter documents the influence of Dulac's early experiences as a feminist journalist, theater critic, socialist activist and apprentice filmmaker. It also examines her exposure to paradigmatic alternatives such as 19th century naturalism and symbolism, as they anticipate her conception of a "pure cinema." The second chapter explores Dulac's approach to cinema, and to feminism, through her writings, films, and the historical conditions of their production. In light of her personal influences, it traces the development of her avant-garde techniques inspired by painting, theater, music and dance. This analysis shows how Dulac's strategies, from reflexive narrative structures and performance styles to symbolic technical effects and abstract visual associations, were employed as a critique of conservative perceptions of gender and sexuality. The third and final chapter demonstrates the complex evolution of Dulac's approach across a crucial, but largely ignored period of her career as a newsreel and documentary filmmaker during the early sound era, and from the Popular Front to Vichy.
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