From an Avant-garde Perspective: Film Form in the Writings and Films of Germaine Dulac
Małgorzata Radkiewicz
m.radkiewicz@uj.edu.plJagiellonian University (Poland)
https://orcid.org/0000-0001-6387-0810
Abstract
The text presents Germaine Dulac’s ideas on cinema and film form, as discussed in her writings from 1919-1937. As a filmmaker and member of the avant-garde movement, Dulac addressed the issue of cinema as a new art form, and its original aesthetics. As an active director, lecturer, writer and editor of texts, she followed and commented on current discussions on abstract film, the role of color, sound, and new film professions that had to be defined. Moreover, Dulac was interested in film education, educating the audience, as well as in the development of film market and film industry.
Keywords:
film form, film theory, avant-garde, Germaine DulacReferences
Dulac, G. (2002). Istota kina – wizualizacja myśli (tłum. I. Dembowski). W: A. Gwóźdź (red.), Europejskie manifesty kina. Od Matuszewskiego do Dogmy. Antologia (ss. 170-178). Warszawa: Wiedza Powszechna.
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Dulac, G. (2018). Writings on Cinema (1919-1937) (red. P. Hillairet, tłum. S. Hammen, edycja Kindle). Paris: Paris Expérimental.
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Hillairet, P. (2018). Germaine Dulac: A Modern Filmmaker (Preface 2018). W: G. Dulac, Writings on Cinema (1919-1937) (red. P. Hillairet, tłum. S. Hammen, edycja Kindle, lok. 113-232). Paris: Paris Expérimental.
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Authors
Małgorzata Radkiewiczm.radkiewicz@uj.edu.pl
Jagiellonian University Poland
https://orcid.org/0000-0001-6387-0810
Professor at the Institute of Audiovisual Arts at the Jagiellonian University (Kraków, Poland). Her research concerns contemporary cinema, gender, and women’s work in the areas of film, photography, and the arts. She published a book about women filmmakers (2001), and another one on Polish cinema of the 1990s (2006). In her book Władczynie spojrzenia. Teoria filmu a praktyka reżyserek i artystek [Female Gaze: Film Theory and Practice of Women Directors and Artists] (2010), she addresses women’s cinema and art in terms of feminist theory. In Oblicza kina queer [Faces of Queer Cinema] (2014), she analyses selected films dealing with queerness, sexuality and gender. Her latest book, Modernistki o kinie. Kobiety w polskiej krytyce i publicystyce filmowej 1918-1939 [Women Modernists on Cinema: Women in Polish Film Criticism 1918-1939] (2016), presents Polish female film critics of the 1920s and 1930s, quoting original articles and archive materials.
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