{"id":11435,"date":"2022-08-04T16:02:40","date_gmt":"2022-08-04T16:02:40","guid":{"rendered":"https:\/\/theamericanfrenchfilmfestival.org\/?page_id=11435"},"modified":"2022-10-02T18:32:08","modified_gmt":"2022-10-02T18:32:08","slug":"alice-guy-the-first-female-filmmaker","status":"publish","type":"page","link":"https:\/\/theamericanfrenchfilmfestival.org\/alice-guy-the-first-female-filmmaker\/","title":{"rendered":"ALICE GUY, THE FIRST FEMALE FILMMAKER (ALICE GUY, L\u2019INCONNUE DU 7EME ART)"},"content":{"rendered":"
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ALICE GUY, THE FIRST FEMALE FILMMAKER
\n(ALICE GUY, L\u2019INCONNUE DU 7EME ART)<\/h1>\n

Followed by a program of 11 restored short films attributed to Alice Guy<\/strong><\/h4>\n[\/vc_column_text][mk_padding_divider size=”20″][vc_separator color=”custom” accent_color=”#ea1300″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1663371685195{margin-bottom: 0px !important;}”]\n

Thursday, October 13 – <\/b>Renoir Theater – 1:00 pm
\n<\/b>(Screening ends at 2:45 pm)<\/em>
\n<\/b><\/p>\n

DOCUMENTARY, CLASSIC SERIES<\/strong><\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1664735520739{margin-bottom: 0px !important;}”]\n

Presented in Association with:
\n<\/span>Arte France
\nTitrafilm
\nWomen in Film<\/p>\n[\/vc_column_text][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2018\/03\/free-sn-rsvp-1.jpg” image_size=”full” align=”center”][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”20″][vc_separator color=”custom” accent_color=”#ea1300″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1661636028387{margin-bottom: 0px !important;}”]North American Premiere<\/b><\/span> | France\u00a0|\u00a02022\u00a0|\u00a0Documentary |\u00a052\u00a0min\u00a0|\u00a0In English\u00a0<\/span><\/p>\n

Directed by<\/b>:<\/span> Nathalie Masduraud, Val\u00e9rie Urrea
\n<\/span>Written by<\/b>: Nathalie Masduraud, Val\u00e9rie Urrea
\n<\/span>Illustrator<\/b>: Catel Muller
\n<\/span>Produced by<\/b>: Victor Robert (10.7 Productions), Arte<\/span>
\n<\/span>Film Editing<\/b>: Nathalie Amsellem
\n<\/span>Cast<\/b>: Alice Guy, Gustave Eiffel, L\u00e9on Gaumont, Gustave Lumi\u00e8re, Louis Lumi\u00e8re
\n<\/span>International Sales<\/b>:<\/span> Arte France
\n<\/span>Original Broadcast<\/b>: Arte France and Arte Germany, January 2022<\/span><\/p>\n

Alice Guy<\/strong>‘s inimitable imagination, quick-witted humor, poetic eye, social conscience, and her boundless energy and passion for visual storytelling led her to write and direct almost one thousand films.\u00a0 It all began in 1896, at the tender age of 23, while working as L\u00e9on Gaumont’s secretary in Paris, when she literally invented narrative filmmaking, to become its very first director \u2014 male or female!\u00a0 Guy eventually followed her husband to New York, where they created Solax Studios in Flushing, becoming the first woman film producer and studio head, and the highest-paid businesswoman in the U.S. at the time.\u00a0 Averaging two two-reelers a week, she was the first director to use stuntmen or to make a film with an all-Black cast.\u00a0 She created the Hollywood star system before Hollywood even existed.\u00a0 Then she was literally \u2014 deliberately \u2014 erased from cinema history by the very men who unwittingly launched her career.\u00a0 This is her story, in her own words, and inventively told through a plethora of film clips, clever animation and an illuminating filmed interview with Guy herself.<\/span><\/p>\n

Nathalie Masduraud<\/b> is a documentary filmmaker whose work has often focused on women artists, like singer Ella Fitzgerald or writer Fran\u00e7oise Sagan.\u00a0 <\/span>Val\u00e9rie Urrea<\/b>‘s documentaries have focused on autism, gender and racial issues, and dance, including several films on the work of choreographer Mathilde Monnier.\u00a0 Both women began making films in the late 1990s, but have more recently joined forces, co-directing <\/span>Afrique du Sud, portraits chromatiques<\/span><\/i> (2014); <\/span>Focus Iran, l’audace au premier plan<\/span><\/i> (2017); <\/span>Pornotropic, Marguerite Duras ou l’illusion coloniale<\/span><\/i> (2020); <\/span>H24, 24 Heures dans la vie d’une femme<\/span><\/i> (2021).\u00a0 <\/span>Alice Guy, the First Female Filmmaker<\/i><\/b> is presented at The American French Film Festival with a program of films attributed to Alice Guy, recently restored by Gaumont.\u00a0<\/span><\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2022\/08\/alice_guy-bleue.png” image_size=”full” frame_style=”gray_border” align=”center”][mk_padding_divider size=”20″][mk_custom_box bg_color=”#efefef”][vc_column_text css=”.vc_custom_1661636952788{margin-bottom: 0px !important;}”]\n

A PROGRAM OF FILMS ATTRIBUTED TO ALICE GUY<\/b><\/h4>\n

This program of eleven whimsical, acerbic, poetic and downright funny films \u2014 including the one that started it all: The Cabbage-Patch Fairy<\/span><\/i> (1901), deemed the first narrative film of all time \u2014 is not to be missed. It offers a rare peek into the massive film oeuvre attributed to Alice Guy, as well as a glimpse into her inventiveness, wit and point of view. Many of the films focus on the feminist themes of motherhood, pregnancy and gender roles, but also on mechanization, medicine and certainly the burlesque. The program even includes a music video and the very first making of, in which we see Alice herself, in 1906, on a sound stage, directing the opening ballet for <\/span>Romeo and Juliet<\/span><\/i>. The program includes the following films:<\/span><\/p>\n

Madame\u2019s Cravings<\/b> (Madame a des envies)<\/i><\/b> (1906), 4:30 min.
\n<\/span>The Cabbage-Patch Fairy<\/b> (La F\u00e9e aux choux)<\/i><\/b> (1901), 1:15 min.
\n<\/span>Midwife to the Upper Class<\/b> (Sage-femme de premi\u00e8re classe)<\/i><\/b> (1902), 4:38 min.
\n<\/span>On the Barricade (Sur la barricade)<\/i><\/b> (1907), 4:29 min.
\nAlice Guy Directs a “Phonosc\u00e8ne” <\/i><\/b>(1906), 2:02 min.
\nF\u00e9lix Mayol Performs<\/b> “Indiscreet Questions” (Questions indiscr\u00e8tes)<\/i><\/b> (1906), 3:21 min.
\nAutomated Hat-Maker and Sausage-Grinder (<\/b>Chapellerie et charcuterie m\u00e9caniques)<\/i><\/b> (1900) – 1:06 min.
\nThe Consequences of Feminism (Les R\u00e9sultats du f\u00e9minisme)<\/i><\/b> (1906) – 7:39 min.
\nCook and Rilly\u2019s Trained Rooster<\/b> (Le coq dress\u00e9)<\/i><\/b> (1910), 2:32 min.
\nTurn-of-the-century Surgery (Chirurgie fin de si\u00e8cle)<\/i><\/b> (1900), 2:17 min.
\nThe Race for the<\/b> Sausage (La Course \u00e0 la saucisse)<\/i><\/b> (1907), 4:30 min.[\/vc_column_text][\/mk_custom_box][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][mk_padding_divider][vc_column_text css=”.vc_custom_1663686256620{margin-bottom: 0px !important;}”] ALICE GUY, THE FIRST FEMALE FILMMAKER (ALICE GUY, L\u2019INCONNUE DU 7EME ART) Followed by a program of 11 restored short films attributed to Alice Guy [\/vc_column_text][mk_padding_divider size=”20″][vc_separator color=”custom” accent_color=”#ea1300″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1663371685195{margin-bottom: 0px !important;}”] Thursday, October 13 – Renoir Theater – 1:00 pm (Screening ends at 2:45 pm) DOCUMENTARY, CLASSIC SERIES [\/vc_column_text][\/vc_column][vc_column […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-11435","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages\/11435","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/comments?post=11435"}],"version-history":[{"count":24,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages\/11435\/revisions"}],"predecessor-version":[{"id":13105,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages\/11435\/revisions\/13105"}],"wp:attachment":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/media?parent=11435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}