thebaldian: alice guy blache
Alice was born in 1873 at Saint-Mandé, France, and was brought up in France, Chile and Switzerland.
A friend of the Lumière brothers, unlike them she believed that filmed images could be used to tell stories.
She made more than 1000 films and was a major actress, director and producer in France and the US.
Le Fee aux Choux was her rst lm and it was a huge success when it was brought out in 1896. To such an extent that the Lumière brothers and Melies stopped making films of just images and started telling stories in their movies.
In 1907 she married cameraman Herbert Blache and they moved to the States. They made hundreds of films with the stars of the day.`
The cinema owes a lot to her many inventions. On the technical side still shots and fast cameras, camera movements... In terms of narrative innovations, the greatest was her skill at lming ction (crime stories, science fiction...)
Women were not a backdrop to men in her films and there are also social concerns in some of her films. This comes out in the book she wrote in 1913: Woman ́s place in photoplay production.
And she was right: until very recently, this woman’s work – so important and successful in her time – had been kept hidden.
A friend of the Lumière brothers, unlike them she believed that filmed images could be used to tell stories.
She made more than 1000 films and was a major actress, director and producer in France and the US.
Le Fee aux Choux was her rst lm and it was a huge success when it was brought out in 1896. To such an extent that the Lumière brothers and Melies stopped making films of just images and started telling stories in their movies.
In 1907 she married cameraman Herbert Blache and they moved to the States. They made hundreds of films with the stars of the day.`
The cinema owes a lot to her many inventions. On the technical side still shots and fast cameras, camera movements... In terms of narrative innovations, the greatest was her skill at lming ction (crime stories, science fiction...)
Women were not a backdrop to men in her films and there are also social concerns in some of her films. This comes out in the book she wrote in 1913: Woman ́s place in photoplay production.
And she was right: until very recently, this woman’s work – so important and successful in her time – had been kept hidden.
