tag:blogger.com,1999:blog-41415506291590719202024-02-08T05:14:14.050-08:00"La vie du CHRIST" Alice Guy ElGe ©riginal memoirs 1906"La vie du CHRIST"1906 Alice Guy Blache Cinema Pioneer Whitney Museum 2009 "La vie du CHRIST"1906 Alice Guy Blache Cinema Pioneer Whitney Museum 2009 "La vie du CHRIST"1906 Alice Guy Blache Cinema Pioneer Whitney Museum 2009 "La vie du CHRIST"1906 Alice Guy Blache Cinema Pioneer Whitney Museum 2009Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-4141550629159071920.post-12808459131143911392019-09-19T01:19:00.000-07:002019-09-19T02:51:25.226-07:00Alice Guy Elge 1906 La vie du Christ. https://www.facebook.com/aliceguyblache/<div dir="ltr" style="text-align: left;" trbidi="on">
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-90855302975179457202019-08-30T08:36:00.000-07:002019-08-30T08:39:10.149-07:00Alice Guy Blache La vie... https://www.facebook.com/aliceguyblache/<div dir="ltr" style="text-align: left;" trbidi="on">
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-2485981740105856302018-08-12T03:29:00.000-07:002019-06-29T12:55:19.434-07:00La vie du Christ Alice Guy ElGe 1906 Photographer: Albert Gilibert<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #999999; font-size: x-large;"> La vie du Christ Alice Guy 1906 Photographer: Albert Gilibert</span><br />
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<h1 class="singlePageTitle" style="background: rgb(255, 255, 255); border: 0px; color: #cd1713; font-family: 'trebuchet ms', arial, sans-serif !important; font-size: 30px; font-stretch: normal; font-weight: normal !important; letter-spacing: -2px; line-height: 1em; margin: 0px 0px 8px; outline: 0px; padding: 0px; vertical-align: baseline;">
<br class="Apple-interchange-newline" />Alice Guy’s <i style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>: A Feminist Vision of the Christ Tale</h1>
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<strong style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></strong><br />
By <strong style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Gwendolyn Audrey Foster</strong>.</div>
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Alice Guy is a filmmaker whose body of work is still a site of contestation for modern critics; after all these years, her name is nearly unknown. Yet her output was prodigious. Of the nearly four hundred films Guy directed between 1896 and 1920, Guy has two main periods of work as a director: for Leon Gaumont’s studios, where she began her career after breaking out of the secretarial pool in 1896 to become, within a short space of time, the principal director for the studio; and in the United States for her own company, Solax, which flourished for a few brief years after the turn of the century in Fort Lee, New Jersey. Yet much of her work is lost. For a long time, only a handful of Guy’s many films were thought to have survived, among them<i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Les Cambrioleurs</i> (1898), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Surprise d’une maison au petit jour (Episode de la Guerre de 1870)</i> (1898),<i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Les Maçons</i> (1905), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Le Fils du garde-chasse</i> (1906), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Le Noël de monsieur le Curé</i> (1906), and <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Course à la saucisse</i> (1907).</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />Yet Alice Guy is in the forefront of cinema history by any measure, working in sync-sound, hand tinted color, and making films of relatively epic length when the medium was still in its infancy. Indeed, close readings of the films of Alice Guy place her work at the center of cinema history. For the most part, the films of Alice Guy have been overlooked by film historians who incorrectly assume that Guy’s films represent a footnote to film history, rather than being one of the first major bodies of work in narrative cinema. Indeed, as one of the first persons to direct a film with a narrative structure, and thus to direct actors to convey the essence of the narrative through gestures and actions, Alice Guy is one of the originators of filmic acting, both in theory and in practice. Indeed, she is the first real auteur of the cinema.</span>However, in 2009, Gaumont released a shockingly well-preserved DVD of more than sixty of Alice Guy’s films made between 1987 and 1913, including <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Baignade dans le torrent</i> (1897), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Chez le magnétiseur </i>(1898), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La bonne absinthe</i> (1899), her remake of her 1896 hit <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Fée aux choux, ou la naissance des enfants </i>(1900), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Faust and Mephistopheles</i> (1903), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Consequences of Feminism</i>(1906), <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">On the Barricade</i>(1907) and <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>(1906), at 33 minutes one of the most ambitious films made up to that point in cinema history, long before D.W. Griffith even stepped behind the camera to direct his first one-reel film, <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Adventures of Dollie</i> (1908). But history has not treated Alice Guy kindly, or even fairly; even with the release of the 60 films on this disc, she is still marginalized from most conventional cinema histories, and new articles appear on an almost annual basis “discovering” her for the first time, even as her films go unscreened in film history classes.</div>
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Alice Guy was born in Paris in 1873. She was raised in a middle-class family, the youngest of four daughters of a bookseller. Educated at a convent in Switzerland, she was hired as a secretary by Leon Gaumont. It was not very long afterward that she began to take on more duties at the studio. In fact, she would later help her employer build the first Gaumont studio in France. Gaumont experimented with moving cameras and projectors, eventually building a 35mm (standard theatrical gauge) camera combined with a projector. In 1896, Alice Guy directed <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Cabbage Patch</i>, or <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Fée aux choux</i>, one of the world’s first films with a plot. Best described as a picture postcard that springs to life, the film tells the story of how children are “born” in a cabbage patch; the French version of babies being delivered by a stork in American culture. Alice Guy shot the film with the help of her friend Yvonne Mugnier-Serand, in the garden of Gaumont’s house, with a few backdrops for sets, and the help of some friends as actors. The film displayed the French style of light humor, and an appreciation for magic and the fantastic, similar to that of Georges Méliès and other early French film directors. (<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Cabbage Patch</em>was remade by Guy in 1900 when the original prints from 1896 wore out. The remake has been the cause of much confusion by film historians.)</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />Among the numerous works that Alice Guy directed during her early years, one of her major accomplishments was the production of</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i><span style="font-size: 13.2px; line-height: 17.16px;"> </span><span style="font-size: 13.2px; line-height: 17.16px;">(1906). The film was an</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><a href="https://plus.google.com/photos/112859328247156564082/albums/5202785487306948161/5202785491601915474?banner=pwa&pid=5202785491601915474&oid=112859328247156564082" style="background: transparent; border: 0px; color: #cd1713; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">ambitious spectacle</a><span style="font-size: 13.2px; line-height: 17.16px;"> </span><span style="font-size: 13.2px; line-height: 17.16px;">that utilized lavish budgets, large crews, and hundreds of extras, in settings designed and executed by Henry Ménessier. Alice Guy managed to skillfully incorporate the use of extras to give added depth to her work, the same way that the American director D. W. Griffith did many years later in</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Birth of a Nation</i><span style="font-size: 13.2px; line-height: 17.16px;">(1915) and</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Intolerance</i><span style="font-size: 13.2px; line-height: 17.16px;"> </span><span style="font-size: 13.2px; line-height: 17.16px;">(1916). Indeed, for its period,</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i><span style="font-size: 13.2px; line-height: 17.16px;"> </span><span style="font-size: 13.2px; line-height: 17.16px;">was considered an exceptionally lavish production, on which Guy spared no expense to bring her vision to the screen.</span>After her first narrative film, Guy began to make films with well-known French opera singers and clowns. She tackled many different genres: fairy-tales, fantasy films, horror films, comedies, and trick-films, making dozens of films for Gaumont. For example, in her 1904 film, <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The First Cigarette</i>, or <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Prèmiere cigarette</i>, Alice Guy was already using close-ups to heighten dramatic effects. She also included “reaction” shots, that is, shots showing actors reacting to one another. In another short film, <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Pierrot’s Christmas </i>(1900), Alice Guy used novel cinematic devices such as “masking” and “double exposure.” In short, Alice Guy was one of the originators of filmic grammar, syntax and structure, as well as one of the first directors to conceive of the idea of modern film acting, instructing theatrically trained performers on how to effectively address the camera. In this, she was very much against the stylized, pantomime approach to direction that she perceived in her nascent contemporaries of the era. In instructing her actors, Alice Guy asked them to behave as “naturally” as possible, that is, to incorporate the performative strategies of everyday social intercourse into the infant fabric of filmic narrative signification. She intuitively began blending nineteenth century theatrical acting styles with more “naturalist” twentieth century modes of cinematic performance.</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />In addition to the film’s formalist concerns, Guy’s version of the life of Christ betrays a feminist perspective towards the subject, which blends spectacle and realism in an unprecedented manner. I view this film within a theoretical and historical perspective, which highlights Alice Guy and her role in the development of a cinematic style that embraces and problematizes notions of “realism” and “artifice” in gendered performativity. Like many other silent films of the era, Guy readily mixes staged studio settings with natural location shooting, a practice which continues to the present day. However, the extreme stylization of Guy’s vision in </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i><span style="font-size: 13.2px; line-height: 17.16px;"> effectively creates an alternative universe, in which the protagonists of the film seem enshrined by each of the carefully framed compositions. Indeed, Guy’s film is almost a moving painting, in which the prescient naturalism of the performers seems at times strikingly removed from the constructed settings which dominate most of the production.</span>Alice Guy’s <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> was released in Paris in April, 1906, and subsequently released with newly translated intertitles in May, 1907 in the United States. Seen today, the film seems brief, running 2,164 35mm feet, or slightly more than an half an hour in length. It is divided, like Jean-Luc Godard’s much later films, into 25 separate scenes, from the arrival in Bethlehem, in which Joseph and Mary are turned away from the stable (this sequence runs 131 35mm feet in length), to the burial of Christ, (which is the longest sequence in the film, at 147 35mm feet). Nevertheless, by the standards of the period, <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> was both ambitious and lavish in production, as well as epic in running time, in an era in which most films lasted only a few minutes. In each of the sequences of <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>, Guy seeks to formalize and ritualize the life and death of Christ as a series of naturalistic, humanist sequences, told through gesture and silence alone, in which the stations of Christ’s life can be segmented into a series of <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">tableaux</i>.</div>
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In <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>, women are foregrounded as central characters and witnesses to the spectacle of Christ’s birth. Christ himself is feminized and eroticized. In general, performances are unlike those of other films of the same period. Characters are suffused with familiarity, carnality and corporeality. Sets combine highly artificial indoor <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">tableaux vivantes</i> with outdoor scenes and neorealist staging. This skillful use of diegetic space is accented by widely differing acting styles. Scenes of family life are intercut with scenes of pageantry, yet the naturalistic acting in <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>disdains theatrical performativity and artifice. In this departure from recognized classics of the period, Guy refigures the performance of gender in the Christ parable, emphasizing and privileging women and children as active participants who perform in a spectacle that combines theatricality with an almost neorealist and decidedly feminist vision.</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />Looking at the film, one is struck by the manner in which Guy combines the elements of “natural” or “real” with “artificial” and “theatrical.” Obviously, Guy expects her audience to accept the casual mixing of outdoor photography and natural lighting with beautifully rendered and highly stylized interior set designs, for example. From a twenty-first century perspective, the variation of design and performance styles in the film is jarring, but nevertheless compelling. Perhaps this accounts, to some extent, for the paucity of scholarship or interest in Alice Guy’s life of Christ. But it is important to remember that Alice Guy, like many other silent film pioneers, straddled the aesthetics of the old world and the new, and the public and private spheres. Guy’s ability to combine these two disparate spheres of performance is indicative of a cultural moment that is an essential point of transition in understanding the cultural changes between the nineteenth and early twentieth century.</span>Artists and filmmakers whose work dares to step out of the boundaries of critical schools and artificially defined aesthetic codes often find themselves categorically removed from the center of discursive fields of inquiry. One example of just such an artist is Jacques Joseph Tissot, a nineteenth century painter who is celebrated for his Victorian renderings of elegant women, but who is casually derided for his extensive, highly successful, and influential Bible illustrations. These Bible illustrations, published in the highly popular and influential Tissot Bible, were the inspiration behind Alice Guy’s lengthy filmic portrayal of the life of Christ, known alternatively as <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>, <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Passion</i>, and <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Passion du Christ</i>. Tissot’s Bible and Alice Guy’s <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> share a preoccupation with performing the life of Christ in a style that combines realism, spiritualism and literalism that perhaps seems crude, violent or graphic compared to other films of the period. The flogging of Christ by the centurions, for example, is presented in a near-documentary manner, despite the conscious artificiality of the settings and costumes. This unusual juxtaposition of the real and the constructed is emblematic of Guy’s directorial style in <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i>.<span style="font-size: 13.2px; line-height: 17.16px;">Tissot’s Bible was perfectly acceptable to his nineteenth century audience precisely because it accurately performed the hybridity that viewers were experiencing in the nineteenth century culture, which was split between science and religion. As Christopher Wood notes of Tissot’s scene of the Passion, “although it may seem in dubious taste today, it is precisely this brand of vulgarity, realism and mysticism that appealed to the Catholic faithful of the 1890s” (1986: 150). Tissot himself underwent a spiritual conversion during the late nineteenth century Catholic revival in France. His work displays its cultural origins in a mixture of Catholicism and spiritualism that was deeply concerned with realism and authenticity and oddly enough its opposite, spirituality and the sublime. Just as Tissot traveled to Egypt, in order to copy the “original sites” of the New Testament, Alice Guy used the Tissot Bible to capture a sense of the “real” and/or “authentic” life of Christ. As Guy remembers in her memoirs:</span></div>
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<i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“I had long wanted to make a film about the fine drama of the Passion. At the 1900 Exposition [Universelle in Paris], Tissot had published a very beautiful Bible illustrated after the sketches he had made in the Holy Land. It was ideal documentation, for decors, costumes and even local customs.”</i> (Guy 1986: 42)</div>
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Indeed, Guy borrowed and appropriated Tissot’s compositions. She found outdoor exteriors in the forest of Fontainebleau that mimicked Tissot’s sketches. She also instructed Henri Ménessier to construct twenty-five sets after Tissot’s Bible. She employed hundreds of extras, and with her assistant, Victorin Jasset (who was later falsely credited as the director), Alice Guy began to film her lavish production of the life of Christ for the Gaumont company.</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />Alice Guy designed shots that use deep screen space within the frame. Actors enter scenes from the reverse and from the angle of the camera itself, effectively breaking with the traditional theatrical fourth wall. Although the camera moves little and adheres to the style of proscenium arch directing (popularized in the early twentieth century), the development of multi-planed spaces that are populated by hundreds of onlookers and participants is impressive. The sets highlight the use of forced perspectives, reminiscent of illuminated medieval manuscripts. Actions often take place at the borders of the frame, to further the sense of extra-diegetic space. The shot compositions are often unusually complex and involve staged designs that center around columns, arches, and multiple-level platforms with extraordinarily complex designs. The only use of a close-up in the film is a tight close up of the face of Christ, again emphasizing the corporeality of the subject.</span>The staged <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">tableaux vivant</i>scenes in <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> are, as Judith Butler notes in another context, “performative in the sense that the essence or identity that they otherwise purport to express are fabrications manufactured and sustained through corporeal signs” (1990: 136). The corporeal signs of Jesus as a living being are stressed by the use of scores of children, obviously non-actors, who pervade the entire spectacle. The baby Jesus is just that, a baby brought onto the set and surrounded by onlookers. Jesus and Mary are distinctively unkempt, human; they reek of sensuality and corporeality. Women and children predominate in the composition. The viewer is startled by the degree to which Alice Guy portrays the spectacle of the birth and life of Christ as a family affair, with children present at all times. Children and women witness and take part in events, as do Africans. Guy goes to great effort to use and fill space with humanity, and humanity is not defined here as white male.</div>
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<i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> freely juxtaposes images that partake of the supernatural with scenes of the mundane. In this manner, the nature of the film articulates the nineteenth century Christian opinion that seeing is believing, or, as Michel de Certeau writes, “the ancient postulate of the invisibility of the real has been replaced by the postulation of its invisibility” (1984: 187). The scenes of the life of Christ are performed in an arena of the real and the sublime. The design of the film demonstrates de Certeau’s postulate that “the fabrication of simulacra provides the means of producing believers” (1984: 186). The fabrication of the simulacra of Jesus Christ is a central preoccupation of the film, but the simulacra, the copy without an imaginable original, is here a complicated matter: here Jesus is both human and ordinary and sublime and extraordinary as are the events in his life. Perhaps this is one of the most significant achievements of the film. Theologians have long struggled with the question of how to emphasize the mundane corporeality of Christ and convincingly portray the fantastic and miraculous life of Christ. <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> as spectacle is productive, or, as Miranda Joseph notes, “performance is just as well able to bear value (use, exchange, surplus, status) and to produce subjects and social formations as any material commodity, arguably better able” (1998: 53).</div>
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The intrinsic value of Alice Guy’s <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> is not only important because of its ability to corporealize Jesus Christ but, I’d argue, it is one of the few times that the life of Christ is infused with the life of women and children as spectators, actors and performers of the spectacle itself, as angels, or as common women. Guy’s images explode with light and movement, as hundreds of extras flow through the frames of<i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> on a variety of simultaneous planes of action. The large number of women and children further encourage audience identification with the film, and open up the finished production to a wider viewing audience.</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />Guy’s feminism may seem unusual to the late twentieth century viewer. The film is populated by women and girls as angels, much in keeping with proscribed notions of femininity, yet these angels carry along the plot; they are not devoid of subjectivity. Perhaps</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i><span style="font-size: 13.2px; line-height: 17.16px;"> </span><span style="font-size: 13.2px; line-height: 17.16px;">may be viewed as a site of transformative value in its depiction of performing women. As Lynda Hart notes,</span>Instead of being centered on the figure of Christ, with all the other performers drifting into the background, Guy constructs a living world in which all the participants are equally important to the gaze of the camera. Guy populates the symbolic imagination of her Biblical illustrations with a female gaze that includes the manufacture of a life of Christ that is significantly feminist in nature and takes place in the feminized, privatized home-like sphere. Women and children are numerous and ever-present in Guy’s interpretation of Christ’s life. One could easily view this as Guy’s apparent response to the absence of women and children in then-contemporary cinema, and the stereotypical renderings of women and children in the Victorian era. In contrast to the idealization of the feminine and infant forms in other films of the period, Guy’s women and children are fully human; they look at the camera, directly address the viewer, and engage in interactions between themselves that are entirely incidental to the film’s central narrative. In addition, Guy’s performers range across a wide variety of ethnic backgrounds, which constitutes a further departure from Victorian pictorial signification.</div>
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<i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“One response to the impossibility of the feminine taking a place within the symbolic has been an effort to recover, or postulate, a prediscursive body, a critical effort to free the female body from its overdeterminations as a body saturated with sex, site of pleasure for (an)other, subjected and devoid of subjectivity.</i> (1993: 5)</div>
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Thus, Alice Guy’s women move away from overdeterminism, though they are certainly not devoid of subjectivity. The subjectivity of women and children is rendered in a striking design of female enunciation. Indeed, this life of Christ is told through the eyes of the girl angels who guide us through the story. Each <em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">tableaux</em>begins with a title card held up by three girls dressed as angels. This is a life of Christ told not only from the point of view of these angels, but a tale that is <em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">performed</em> and<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">enacted</em> by women and children throughout the entire narrative. In the scene of “Le Sommeil de Jesus” (in the American version, “The Infant Jesus’ Sleep”), there is only one male adult to be found. The baby Jesus is surrounded by eight girl angels and one woman figure (presumably Mary).</div>
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These girl angels are reminiscent of the Angel of the House of the nineteenth century. They are not passive, fainting, impossibly ethereal presences, but instead diligently hard-working musicians in an unusual rendering of the common icon of the sleeping baby Jesus. These young women look directly at the viewer, as if to invite her/him into the manufactured spectacle of realism, in a display of the redemptive possibilities of performance and decorative film space. Between the real and the fantastic, the angels invite the participant to witness an event that is both sublime and familial, earthy and unearthly.</div>
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In the <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">tableaux</i> of the Garden of Olives, or “Au Jardin des Oliviers,” we find another manifestation of the female gaze of Alice Guy, as she works to place women in the symbolic logocentric arena. Here the outdoor setting is brilliantly illuminated in natural light. Nature itself is presented as a site of redemption, but, significantly, a young girl, dressed as an angel, presides over the life of Christ. Here, the collision of artifice, theatricality, and the obviously constructed filmic corporeal female meets the space of real and “authentic” nature, perhaps best illustrating Alfred Jarry’s unusual pronouncement that “decor is a hybrid, neither natural nor artificial” (1996: 210). In her construction of the film’s decor, Alice Guy renders a “natural” outdoor setting as a hybridized, artificial space.</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />Indeed, Alice Guy was so successful in her melding of the real and the fantastic in</span><span style="font-size: 13.2px; line-height: 17.16px;"> </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i><span style="font-size: 13.2px; line-height: 17.16px;"> </span><span style="font-size: 13.2px; line-height: 17.16px;">that the film was later credited to other directors such as Victorin Jasset, who was in actuality the assistant director. Guy herself straddled the world of the Victorian Angel of the House and the newly emerging New Woman, and she seems to have been able to draw, in life, from these seemingly incongruent models of feminine comportment. She has been unfairly dismissed by some critics as a non-feminist, apparently because her practical, direct feminism does not fit categorically within prescribed late twentieth century models of feminist discourse. In performing her own style of feminism, Guy, like many other women of her time, was able to embody both the archetype of the New Woman, and also of the Angel of the House, paving the way for the modern woman of the twenty-first century.</span>In the fluid simulation of events of Christ’s corporeality, Alice Guy values the painted backdrop as much as she does the natural “backdrop” of the forests of Fontainebleau. Similarly, Guy values the supernatural girl “Angels” as much as she does the other numerous “real” women and children in the film. Indeed, the sheer number of women in the twenty-five scenes of <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i> seem designed to convey the feminization of the life of Christ. Similarly, Christ’s crucifixion is attended by scores of women and children. When Christ rises from the dead, the spectacle of the resurrection is seemingly facilitated by several young girls, who apparently <i style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">will</i> the event through the power of their gaze. As Guy recounts in her memoirs, this scene was also a technical challenge, involving multiple superimpositions to achieve the desired effect: “The Angel presenting the chalice to our Lord, the climb up Calgary, the Entombment, all these scenes succeeded. Jesus rising from the sepulcher was one of our best superimpositions” (Guy 1986: 43).</div>
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<span style="font-size: 13.2px; line-height: 17.16px;"><br />The home of the photoplay is the home of the performing woman in </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Vie du Christ</i><span style="font-size: 13.2px; line-height: 17.16px;">, which itself is a “homey” version of the life of Christ. It beckons to the gaze of the female audience and invites her to make herself at home in the symbolic arena of the celestial, even as it represents the celestial as decidedly familial and home-like. Thus, Guy’s film offers a useful counterpoint to such patriarchally dominated narratives as Cecil B. De Mille’s </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Ten Commandments</i><span style="font-size: 13.2px; line-height: 17.16px;"> (both the silent 1923 version, and the 1956 remake) or Nicholas Ray’s </span><i style="background: transparent; border: 0px; font-size: 13.2px; line-height: 17.16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">King of Kings</i><span style="font-size: 13.2px; line-height: 17.16px;"> (1961). In re-envisioning the Christ tale as a fable in which the re-gendered Christ is seen as the savior of all humanity, not just a male-defined and dominated cultural and pictorial landscape.</span>In fact, Alice Guy transcended these proscribed binaries. She continues to transcend them in her work, leaving a legacy of filmmaking that began with the dawn of cinema and continued until the early teens. As an early French filmmaker, and later an early American filmmaker, she was able to skillfully combine the real and the fantastic. In her now famous essay, “A Woman’s Place in Photoplay Production,” reprinted in her memoirs, we can view her as a performing self that draws together the Angel of the House and the New Woman. It is the same woman who is now credited with having directed some hundreds of films who uses the Angel to sweep the New Woman in the door of the motion picture industry in a wonderful example of female rhetoric: “A woman’s magic touch is immediately recognized in a real home. Is it not just as recognizable in the home of the characters of a photoplay?” (Guy 1986: 128).</div>
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<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">An earlier version of this essay originally appeared in the journal </em>Film Criticism<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">. A good biographical source on Alice Guy is the 1995 documentary </em><a href="http://www.nfb.ca/film/lost_garden_life_cinema_alice_guy_blache/" style="background: transparent; border: 0px; color: #cd1713; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">The Lost Garden: The Life and Cinema of Alice Guy-Blaché</a><em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> directed by Marquise Lepage. The film includes footage of interviews with Guy and her family members as well as film historians. It also features a plethora of previously unseen clips from her films in all genres, many of them sound and color tinted. Also see the </em>Gaumont Treasures, Vol I<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">DVD box set from Kino (2009). Alongside the work of Louis Feuillade and Léonce Perret, the box contains </em>La vie du Christ<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> as well as many of the previously “lost” films of Alice Guy. Many are handtinted and some are sound films recorded on wax cylinder. </em>The Consequences of Feminism<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">, 1906 is a hilarious send up of feminism itself and a must see. The set does not include the original </em>La Fée au choux<em style="background: transparent; border: 0px; font-size: 13.2px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">, but it does include the remake of 1900.</em></div>
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-16211351834500038442018-03-15T05:08:00.003-07:002018-12-30T01:44:00.891-08:00Alice Guy Blache Festival de Cannes 2018 Be Natural the untold story Jodie Foster Robert Redford Hugh Hefner production<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://2.bp.blogspot.com/-0G1Xn9uAbMs/WqphCBUXn9I/AAAAAAAAdAI/I1xS3UCIqNU9fj_i4gGiv3bxDcFDOuUdwCLcBGAs/s1600/cannes%2B71st%2Ba%2Byear%2Bof%2Bchange%2B2018%2Balice%2Bguy%2Bblache.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="793" data-original-width="590" src="https://2.bp.blogspot.com/-0G1Xn9uAbMs/WqphCBUXn9I/AAAAAAAAdAI/I1xS3UCIqNU9fj_i4gGiv3bxDcFDOuUdwCLcBGAs/s1600/cannes%2B71st%2Ba%2Byear%2Bof%2Bchange%2B2018%2Balice%2Bguy%2Bblache.jpg" /></a><span style="background-color: red; text-align: left;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-large;"><u>Alice Guy Blache Festival de Cannes 2018 Be Natural the untold story Jodie Foster Robert Redford Hugh Hefner production<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-size: large;">Alice Guy Fondation</span></h2>
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-20534811605967851012017-07-05T05:20:00.000-07:002017-07-05T05:20:17.613-07:00Alice Guy Blache dirige La Vie du Christ 1906<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: magenta;"><span style="font-size: x-large;">Alice Guy Blache dirige La Vie du Christ 1906</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: magenta;"><span style="font-size: x-large;">Alice Guy Blache La Vie du Christ 1906 in Be Natural original autobiopic</span></span></td></tr>
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-5767709512658702422015-05-29T01:46:00.001-07:002015-05-29T01:46:37.411-07:00Gaumont 120 ans; depuis que le cinéma existe Alice Guy Passion Play sortie dec. 1907 Chicago New York Montréal Canada Kleine Optical Co.<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://4.bp.blogspot.com/-VGxSy71S4-c/VWgkN8cj6BI/AAAAAAAAaJA/d2eiUkI7tLM/s1600/120%2Bans%2Bgaumont%2BChrist%2B1906%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"></span></a><br /></td></tr>
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<a href="http://4.bp.blogspot.com/-VGxSy71S4-c/VWgkN8cj6BI/AAAAAAAAaJA/d2eiUkI7tLM/s1600/120%2Bans%2Bgaumont%2BChrist%2B1906%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;">Gaumont 120 ans;</span> <span style="background-color: cyan;"><span style="color: red;"><span style="font-size: x-large;"> depuis que le cinéma existe Alice Guy Passion Play sortie dec. 1907 </span></span></span>Chicago New York Montréal Canada Kleine Optical Co.</a></div>
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-49627531058936110052013-04-21T14:44:00.002-07:002019-01-17T01:34:05.282-08:00La vie du Christ alice guy 1906 Inventing the movie Alice Guy<div dir="ltr" style="text-align: left;" trbidi="on">
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<h2 style="text-align: left;">
<span style="color: #9fc5e8;"><span style="font-size: large;">La vie du Christ alice guy 1906 Inventing the movie Alice Guy </span></span></h2>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #c27ba0; font-size: x-large;">https://www.facebook.com/aliceguyblache/ Alice Guy Fondation</span></td></tr>
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-84272150694459400792013-04-16T07:11:00.000-07:002013-04-16T07:11:45.045-07:00GiFestival 2014 Alice Guy Inventing the movie, Be Natural Madame Director 1896<div dir="ltr" style="text-align: left;" trbidi="on">
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<h2 style="text-align: left;">
<span style="background-color: red;"><span style="color: #cccccc;"><span style="font-size: x-large;">GiFestival 2014 Alice Guy Inventing the movie, Be Natural Madame Director 1896</span></span></span></h2>
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-83159302914616265612012-05-04T13:13:00.000-07:002013-04-16T07:16:19.037-07:00With those two simple words [BE NATURAL] Alice Guy-Blaché transformed the art of screenacting for all time. - Anthony Slide, film historian<div dir="ltr" style="text-align: left;" trbidi="on">
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With those two simple words [BE NATURAL] Alice Guy-Blaché transformed the art of screenacting for all time.
- Anthony Slide, film historian<br />
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-58064416887450226712012-05-02T04:33:00.000-07:002018-03-15T05:12:17.166-07:00With those two simple words [BE NATURAL] Alice Guy-Blaché transformed the art of screenacting for all time. - Anthony Slide, film historian<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.facebook.com/alice.guyjr">http://www.facebook.com/alice.guyjr</a><span style="background-color: #edeff4; color: #333333; font-family: "lucida grande" , "tahoma" , "verdana" , "arial" , sans-serif; font-size: 11px; line-height: 14px;">With those two simple words [BE NATURAL] Alice Guy-Blaché transformed the art of screenacting for all time.</span><br />
<span style="background-color: #edeff4; color: #333333; font-family: "lucida grande" , "tahoma" , "verdana" , "arial" , sans-serif; font-size: 11px; line-height: 14px;">- Anthony Slide, film historian</span><br />
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Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-40778013761717798112008-09-20T23:49:00.001-07:002016-04-27T01:53:33.440-07:00"La Vie du Christ"1906 Alice Guy Blache Cinema Pioneer<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: red;"><span style="font-size: x-large;">NETTOYAGE GAUMONT</span></span></div>
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<span style="color: red;"><span style="font-size: x-large;"> L'INTREPIDE ALICE GUY V/S Gaumont/Seydoux&Co. since 1912</span></span></div>
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<a href="http://www.wat.tv/playlist/1105879"><b>alice-guy-jr</b></a> sélectionnée dans <a href="http://www.wat.tv/guide/cinema" title="Cinéma">Cinéma</a> et <a href="http://www.wat.tv/guide/drama-cinema" title="Ciné Drame">Ciné Drame</a> </div>
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<span style="color: red;"><span style="font-size: x-large;">NETTOYAGE GAUMONT</span></span><br />
Les anges au cinéma LES ANGES AU CINEMA<br />
Une enquête de Guy Reynaud <br />
Alice Guy, le Sommeil de Jésus, 1906<br />
<a href="http://bp1.blogger.com/_27SfK27aNNQ/SFFV2Snd2vI/AAAAAAAAA6Y/f-7HyDSzGnc/s1600-h/cinema-premier-alice-guy-29a.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="524" id="BLOGGER_PHOTO_ID_5211040635043044082" src="https://bp1.blogger.com/_27SfK27aNNQ/SFFV2Snd2vI/AAAAAAAAA6Y/f-7HyDSzGnc/s640/cinema-premier-alice-guy-29a.jpg" style="display: block; margin: 0px auto 10px; text-align: center;" width="640" /></a><br />
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Les sujets religieux, et notamment la vie de Jésus, inspirent très tôt les cinéastes : Vie et passion du Christ, Lumière, 1897. Méliès dès 1897 mettait en scène Méphistophélès, l’ange déchu… Alice Guy, artiste qu’on redécouvre, est considérée comme la première femme à exercer le métier de cinéaste. Elle travaillait pour Gaumont. En 1906 elle réalise un moyen métrage en 25 tableaux avec trois cents figurants et deux jésuites comme conseillers bibliques : La Naissance, la vie et la mort du Christ. C’est une œuvre importante mais qui aujourd’hui frappe surtout par sa naïveté. Un des tableaux s’intitule Le Sommeil de Jésus. L’enfant Jésus dort devant la demeure de ses parents qui se sont retirés à l’intérieur, maison qui ressemble davantage à un cuvage beaujolais ou mâconnais qu’à une habitation palestinienne d’il y a deux mille ans. Huit anges musiciens apparaissent alors qui vont bercer le sommeil de l’enfant.<br />
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Cet épisode du sommeil de Jésus est inventé par la réalisatrice. Il ne figure dans aucun évangile. Le concept d’ange musicien est postérieur au texte biblique : David, le joueur de harpe, n’est pas un ange ; les sonneurs de trompe de l’Apocalypse sont des annonceurs : leur fonction est plus utilitaire que musicale. Par contre on trouve des anges chanteurs : le Gloria de la naissance de Jésus, le Sanctus des séraphins (Isaïe 6). C’est le Moyen-âge qui va inventer l’ange musicien qu’on trouve partout dans les fresques des églises, les vitraux, les chapiteaux, les stalles (miséricordes), les enluminures. Les peintres du XV° siècle en feront un sujet favori : Jan van Eyck (polyptique de L‘Adoration de l’agneau mystique, Gand), Piero della Francesca (L’Adoration des bergers, Londres), Filippo Lippi…, tout comme Hans Memling ou les peintres de la Renaissance italienne, tels Raphaël ou Léonard de Vinci. Cette représentation connaît un fort ralentissement après le Concile de Trente, sévère à l’égard de la musique religieuse, au milieu du XVI° siècle. Néanmoins les peintres continueront à illustrer ce thème jusqu’aux Préraphaëlites ou à Maurice Denis.<br />
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<span style="color: red;"><span style="font-size: x-large;">NETTOYAGE GAUMONT>></span></span><br />
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<b><a href="http://www.dailymotion.com/video/x86qrb_la-vie-du-christ-2_shortfilms">La vie du Christ 2</a></b><br />
<i>envoyé par <a href="http://www.dailymotion.com/aliceguyjr">aliceguyjr </a></i><a href="http://www.dailymotion.com/aliceguyjr"><br /></a><br />
<span style="color: red;"><span style="font-size: x-large;"><br /></span></span>
<span style="color: red;"><span style="font-size: x-large;">NETTOYAGE GAUMONT>></span></span></div>
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<a href="http://www.wat.tv/playlist/1105879"><b>alice-guy-jr</b></a> sélectionnée dans <a href="http://www.wat.tv/guide/cinema" title="Cinéma">Cinéma</a> et <a href="http://www.wat.tv/guide/drama-cinema" title="Ciné Drame">Ciné Drame</a> </div>
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<span style="color: red;"><span style="font-size: x-large;"><br /></span></span>
<span style="color: red;"><span style="font-size: x-large;">NETTOYAGE GAUMONT></span></span><br />
Si on regarde de près la scène apocryphe tournée par Alice Guy, on voit que les anges jouent précisément des instruments qui figuraient dans les représentations moyenâgeuses. Il y a là des flûtes à bec, une vièle à archet, un psaltérion, un luth. Alice Guy s’inscrit donc dans une tradition icono-musicale. Mais ses anges ailés, vêtus d’aubes blanches et couronnés de fleurs évoquent plutôt l’influence de l’esthétique sulpicienne. On pense au vêtement des communiantes de l’époque, qui perdurera longtemps jusqu’au milieu du XX° siècle, témoins les images de première communion encore en usage dans les années cinquante. Mais pourquoi cette association millénaire entre la musique et les anges ? Sans doute parce que, dès ses origines, dès les temps orphiques, elle s’est voulue porteuse de bonheur, de plénitude, figurative en quelque sorte d’une perfection qui ne peut venir que de cet au-delà dont les anges sont les annonciateurs. Parce que, disait Olivier Messiaen, elle est porteuse de rêve, de mystère.<br />
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"Alice Guy Cinema Pioneer" Whitney Museum retrospective 2009</div>
Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-58651567375316048592008-06-12T09:55:00.001-07:002009-02-21T06:59:04.712-08:00Une Invention Du Diable?: cinéma des premiers temps et religion<span style="font-weight:bold;">Une Invention Du Diable?: cinéma des premiers temps et religion</span> - Page 289<br />de Canada Association internationale pour le développement de la recherche sur le cinéma des premiers temps Colloque international 01 Québec, Roland Cosandey, André Gaudreault, Tom Gunning, Domitor (Association). International Conference - 1992 - 383 pages<br />One sometimes finds Alice Guy- ... 1907 La Vie et la Passion du Christ (The Life<br />and Passion of Christ), is illustrated in .<br /> Page 358<br />... several miracles are added to make nine episodes, and the order to the scenes is retained. However, the 1906 Gaumont, produced by Alice Guy- ...<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_27SfK27aNNQ/SaATI0PdKBI/AAAAAAAAF90/qEasiHsTkvk/s1600-h/aaaa-vieChrist-11.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://3.bp.blogspot.com/_27SfK27aNNQ/SaATI0PdKBI/AAAAAAAAF90/qEasiHsTkvk/s400/aaaa-vieChrist-11.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305261403225794578" /></a><br /><span style="font-weight:bold;">Films de femmes: six générations de réalisatrices </span>- Page 13<br />de Jackie Buet - 1999 - 143 pages<br />... La Vie du Christ ( 1 906) en 25 tableaux d'une longueur de 640 mètres, ...<br />Alice Guy sera pendant un temps l'unique réalisatrice de cinéma au monde. ...<br /><span style="font-weight:bold;">Écran - Page 7</span><br />Alice Guy affirme que ce fut son premier film et qu'il fut tourné en 1896,<br />... et à LA VIE DU CHRIST se trouvaient dans son article de Ciné-Journal, ...<br /><span style="font-weight:bold;">Louis Feuillade </span>- Page 27<br />de Louis Feuillade, Francis Lacassin - 1964 - 205 pages<br />L'exécution de La Vie du Christ nécessitait le maniement de trois cents<br />personnes; ... la Télévision, Alice Guy en était devenue la directrice<br />artistique. ...<br /><span style="font-weight:bold;">Histoire du cinéma mondial des origines à nos jours </span>- Page 59<br />de Georges Sadoul - 1966 - 721 pages<br /> Alice Guy, assura longtemps les mises en scène. ... collabora<br />avec Alice Guy à une Vie de Noire-Seigneur Jésus-Christ, le film destiné à ...<br /><span style="font-weight:bold;">Musidora, la dixième muse </span>- Page 23<br />de Patrick Cazals, Francis Lacassin - 1978 - 231 pages<br />Gaumont accepta et Alice Guy devint ainsi la première réalisatrice française de<br />... de Victor Hugo, et LA VIE DU CHRIST qui, pour ses vingt- cinq tableaux, ...<br /><span style="font-weight:bold;">Anthologie du cinéma</span> - Page 249<br />C'est pour ces tableaux vivants qu'Alice Guy s'est, sans doute, ... à la<br />réalisation de LA VIE DU CHRIST<br /><span style="font-weight:bold;">Le Cinéma: grand dictionnaire illustré</span><br />de Jean-Pierre Tubergue, Michèle Caillot - 1985<br />... l'accompagne aux États-Unis quand il est nommé représentant de la Gaumont.<br />En 1910, Alice Guy- ... 1906 La Vie du Christ; La Ffe Printemps. 1907 Carmen. <br /><span style="font-weight:bold;">Histoire du cinéma muet: vie et mort du cinématographe </span>(1895-1930) - Page 237<br />de Pierre Leprohon - 1982 - 288 pages<br />Bulletin de L'I.D.H.E.C. - Page 1<br />de Institut des hautes études cinématographiques (France) - 1946<br />Après avoir débuté au cinéma en assistant Alice GUY pour h réalisation de<br />de Gilles Delluc, Jean-Charles Tacchella - 2002 - 482 pages<br />Alice Guy (1873-1968) est la première femme réalisatrice et une pionnière ... Sa<br />Vie du Christ (1906) est un plus long film, animé par trois cents figurants ...<br /><span style="font-weight:bold;">Ecrits autobiographiques: souvenirs et conseils d'un parvenu, de Pathé</span> ... - Page 307<br />de Charles Pathé, Pierre Lherminier - 2007 - 351 pages<br />Elle produit par ailleurs une Vie et Passion du Christ (deux versions, en neuf<br />ou seize tableaux), sujet traité quelques mois auparavant par Alice Guy chez ...<br /><span style="font-weight:bold;">Femmes cinéastes: ou, Le triomphe de la volonté</span> <br />de Charles Ford - 1972 - 254 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_27SfK27aNNQ/SaATIo6n4cI/AAAAAAAAF9s/a2mXNlY39Sg/s1600-h/aaaa-vie-Christ-14.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://4.bp.blogspot.com/_27SfK27aNNQ/SaATIo6n4cI/AAAAAAAAF9s/a2mXNlY39Sg/s400/aaaa-vie-Christ-14.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305261400185627074" /></a><br />En France où, à la suite d'Alice Guy et de Germaine Dulac, ... j'ai été<br />impressionnée par le personnage du Christ et son destin, mais j'ai été<br /><span style="font-weight:bold;">La Revue du cinéma, image et son</span><br />de Ligue française de l'enseignement et de l'éducation permanente - 1974<br />GUY-BLACHE Alice (1973-1968) : 1896 : La fée aux choux. ... La Vie du Christ.<br />Descente dans les mines à Fumay. 1906 : Mireille. (Um centaine de films pour ...<br /><span style="font-weight:bold;">Alice Guy Lost Visionary of the Cinema </span>- <br />Did it have her La Vie du Christ (Gaumont, 1906)? The answer was yes, ... by the<br />National Film and Television Archive which are now linked to Alice Guy. ...<br /><span style="font-weight:bold;">Visions of Paradise: Images of Eden in the Cinema </span>- Page 134<br />de Wheeler W. Dixon - 2006 - 220 pages<br />... Alice Guy's The Birth, Life, ana Death of Our Lord Jesus Christ (La<br />naissance, la vie, et la mort de Notre Seigneur Jésus-Christ, 1906), better<br />known ...<br /><span style="font-weight:bold;">Women Film Directors: An International Bio-critical Dictionary</span> - Page 161<br />de Gwendolyn Audrey Foster - 1995 - 443 pages<br />One of the most famous works that Alice Guy directed during her early years was<br />La vie du Christ (1905), an ambitious production that utilized a lavish ...<br /><span style="font-weight:bold;">Kinomata.</span> - Page 170<br />de Annabella * Miscuglio, Miscuglio / Daopoulo, Rony * Daopoulo, Judita * Hribar - <br />Le vie du Christ. Regia: Alice Guy; produzione: Gaumont; origine: Francia 1898-<br />1899; bianco e nero, muto, m. 220. Le tondeur de chiens. Regia: Alice Guy ... <br /><span style="font-weight:bold;">Performing Whiteness: Postmodern Re/constructions in the Cinema</span> - Page 56<br />de Gwendolyn Audrey Foster - 2003 - 180 pages<br />Making an American Citizen is not the only example of Alice Guy ... Her version<br />of the life of Christ, La Vie du Christ (1906), is similarly imbalanced in ...<br /><span style="font-weight:bold;">The Silent Feminists: America's First Women Directors</span> - Page 16<br />de Anthony Slide - 1996 - 160 pages<br />When Gaumont became involved in cinematography in 1896, Alice Guy asked if she<br />... and one of the longest — running some 600 meters — is La Vie du Christ ...<br /><span style="font-weight:bold;">Scream Queens: Heroines of the Horrors </span>- Page <br />de Calvin Thomas Beck - 1978 - 343 pages<br />With the exception of a few 1904 and 1905 titles, every one-reel film from<br />Gaumont up to 1905 was directed by Alice Guy. She made special-effect trick<br />films ...<br /><span style="font-weight:bold;">Films by Genre: 775 Categories, Styles, Trends, and Movements </span>Defined, with ... - Page 251<br />de Daniel López - 1993 - 495 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_27SfK27aNNQ/SaASBlrunjI/AAAAAAAAF9k/uWsrTULCkrw/s1600-h/aaaa-vie-Christ-13.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://3.bp.blogspot.com/_27SfK27aNNQ/SaASBlrunjI/AAAAAAAAF9k/uWsrTULCkrw/s400/aaaa-vie-Christ-13.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305260179547135538" /></a><br />Christ Films (Life of Christ Films) These films could be classed amongst the<br />hagiographies or the biblical films, ... La Vie du Christ (F 06) Alice Guy, ...<br /><span style="font-weight:bold;">The Film Encyclopedia: The Most Comprehensive Encyclopedia of World Cinema </span>...<br />de Ephraim Katz - 1994 - 1496 pages<br />By 1917 Alice Guy-Blache' gave in to the pressures of competition and pulled ...<br />La Esmeralda, Rehabilitation 1905; La Vie du Christ<br /><span style="font-weight:bold;">La lucarne de l'infini: Naissance du langage cinématographique</span><br />de Noël Burch - 2007 - 305 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_27SfK27aNNQ/SaASBadA6wI/AAAAAAAAF9c/jOoiNTPM7Ow/s1600-h/aaaa-vie-Christ-12.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://4.bp.blogspot.com/_27SfK27aNNQ/SaASBadA6wI/AAAAAAAAF9c/jOoiNTPM7Ow/s400/aaaa-vie-Christ-12.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305260176532630274" /></a><br />Ferdinand Zecca, ds mai 1902, 140 m, (81) La Vie du Christ, France, sp Léon<br />Gaumont et Compagnie, r. Alice Guy/Georges Hatot/Victorin-Hyppolite ... <br /><span style="font-weight:bold;">The Centenary of Cinema: Women's Path Through European Film History</span> - Page 5<br />de Jackie Buet, Elisabeth Jenny - 1996 - 48 pages<br />... L'Enfant de la barricade (1906) and Vie du Christ in 25 scenes, measuring<br />640 metres - a real feat at the time. Alice Guy-Blache also produces numerous <br /><span style="font-weight:bold;">Reference Guide to Fantastic Films: Science Fiction, Fantasy, & Horror </span>- Page 359<br />de Walt Lee - 1972<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_27SfK27aNNQ/SaASBeJOVXI/AAAAAAAAF9U/KX_2BMiulFk/s1600-h/aaaa-vie-Christ-10.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://2.bp.blogspot.com/_27SfK27aNNQ/SaASBeJOVXI/AAAAAAAAF9U/KX_2BMiulFk/s400/aaaa-vie-Christ-10.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305260177523365234" /></a><br />F_ (wound by spear which pierced body of Christ can be cured only by recovery of<br />... Passion (La Vie du Christ) 1906 French, Gaum sll 2320 Dir: Alice Guy, .. <br /><span style="font-weight:bold;">Bazin at Work: Major Essays & Reviews from the Forties & Fifties</span> - Page 72<br />de André Bazin, Bert Cardullo, Alain Piette - 1997 - 252 pages<br />La Vie du Christ (1906; dir. Alice Guy-Blache), and Mater Dolorosa (1910; dir.<br />Louis Feuillade). 2. Editor's note: For example, in Italy: Quo ...<br /><span style="font-weight:bold;">French-speaking Women Film Directors: A Guide</span> - <br />de Janis L. Pallister - 1997 - 250 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_27SfK27aNNQ/SaASBHMkNSI/AAAAAAAAF9M/mhkzDqHkY0U/s1600-h/aaaa-vie-Christ-09.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://3.bp.blogspot.com/_27SfK27aNNQ/SaASBHMkNSI/AAAAAAAAF9M/mhkzDqHkY0U/s400/aaaa-vie-Christ-09.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305260171363366178" /></a><br />Le Jardin oublie: La Vie et I'oeuvre d 'Alice Guy-Blache (1995; 53 mins. ... Les<br />Fees aux choux; photos; documents; an analysis of La Vie du Christ by Prof. ...<br /><span style="font-weight:bold;">Reel Women: Pioneers of the Cinema, 1896 to the Present </span>- Page 11<br />de Ally Acker - 1991 - 374 pages<br />ALICE GUY BLACHE 1896 Cabbage Fairy, The 1897 Bewitched Fiance, ... The Paris<br />Night 1906 A House Demolished and Rebuilt La Vie du Christ 1912 Call of the ...<br /><span style="font-weight:bold;">Historia del cine mundial: Desde los orígenes </span>- <br />de Georges Sadoul, Florentino M. Torner - 1992 - 828 pages<br />Su secretaria, Alice Guy, aseguró durante mucho tiempo las puestas en escena.<br />... d'opium colaboró con Alice Guy en una Vie de Notre-Seigneur Jésus- Christ, <br /><span style="font-weight:bold;">Les cinémas de l'Inde</span><br />de Yves Thoraval, Catherine Clément - 1998 - 543 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_27SfK27aNNQ/SaASBeJOVXI/AAAAAAAAF9U/KX_2BMiulFk/s1600-h/aaaa-vie-Christ-10.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://2.bp.blogspot.com/_27SfK27aNNQ/SaASBeJOVXI/AAAAAAAAF9U/KX_2BMiulFk/s400/aaaa-vie-Christ-10.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305260177523365234" /></a><br />Bouleversé en 1910 à Bombay par une des versions du film "La Vie du Christ", à l<br />'époque projetée de par le monde (était-ce celui de la Française Alice Guy ...<br />Les cinémas de l'Inde<br />Par Yves Thoraval, Catherine Clément<br />Publié par L'Harmattan, 1998<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_27SfK27aNNQ/SaASBDZCmpI/AAAAAAAAF9E/PFhll_-h2Wo/s1600-h/aaaa-vie-Christ-08.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://1.bp.blogspot.com/_27SfK27aNNQ/SaASBDZCmpI/AAAAAAAAF9E/PFhll_-h2Wo/s400/aaaa-vie-Christ-08.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305260170341948050" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_27SfK27aNNQ/SaAQkSy9qLI/AAAAAAAAF80/Z_K7L4W5nA8/s1600-h/aaaa-vie-Christ-06.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://1.bp.blogspot.com/_27SfK27aNNQ/SaAQkSy9qLI/AAAAAAAAF80/Z_K7L4W5nA8/s400/aaaa-vie-Christ-06.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258576749373618" /></a><br /><span style="font-weight:bold;">Women and Film </span>- Page 79<br />The first woman to direct films anywhere was Alice Guy (b. .... and American-<br />born dancer Loie Fuller collaborated on the fairy tale, Le Lys de la vie, ...<br /><span style="font-weight:bold;">Cartelera del cine en México</span>, 1904<br />de Juan Felipe Leal - 2007 - 262 pages<br />Por su parte, Alice Guy filmó para Léon Gaumont, también en 1897-1898, La Vie du<br />Christ en 1 1 escenas, a saber: 1. El nacimiento en Belén. 2. ...<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_27SfK27aNNQ/SaAQkTNDIrI/AAAAAAAAF88/bWlJldCm3h0/s1600-h/aaaa-vie-Christ-07.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://3.bp.blogspot.com/_27SfK27aNNQ/SaAQkTNDIrI/AAAAAAAAF88/bWlJldCm3h0/s400/aaaa-vie-Christ-07.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258576858784434" /></a><br /><span style="font-weight:bold;">Cinema e sacro: divinità, magia e mistero sul grande schermo</span> - Page 18<br />de Ermelinda M. Campani - 2003 - 158 pages<br />... la regia è di Alice Guy- ... Nel 1902, Charles Pathé affidò il grandioso<br />progetto de La Vie et la Passion de Jésus Christ a Ferdinand Zecca con la ..<br />Nel 1906, Leon Gaumont produsse una Vie du Christ (30 minuti, b/n, 35mm, per 660 metri di pellicola) che è un affresco in 25 quadri, ispirati sia a 350<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_27SfK27aNNQ/SaAQkbQW9wI/AAAAAAAAF8s/YD21K17OTpY/s1600-h/aaaa-vie-Christ-03.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://2.bp.blogspot.com/_27SfK27aNNQ/SaAQkbQW9wI/AAAAAAAAF8s/YD21K17OTpY/s400/aaaa-vie-Christ-03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258579020150530" /></a><br />Nel 1902, Charles Pathé affidò il grandioso progetto de La Vie et la Passion de Jésus Christ a Ferdinand Zecca con la collaborazione di Lucien ...<br /><span style="font-weight:bold;">The Bible on Film: A Checklist, 1897-1980</span> -<br />de Richard H. Campbell, Michael R. Pitts - 1981 - 214 pages<br />LA VIE DU CHRIST (The Life of Christ) 1906 France Gaum 2320 feet B/W Directors:<br />Alice Guy, ...<br /><span style="font-weight:bold;">French Cinema </span>- Page 25<br />de Roy Armes - 1985 - 310 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_27SfK27aNNQ/SaAQkbQW9wI/AAAAAAAAF8s/YD21K17OTpY/s1600-h/aaaa-vie-Christ-03.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://2.bp.blogspot.com/_27SfK27aNNQ/SaAQkbQW9wI/AAAAAAAAF8s/YD21K17OTpY/s400/aaaa-vie-Christ-03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258579020150530" /></a><br />... who had already assisted Alice Guy in 1 906 on La Vie du Christ and Descente<br />dans les mines de Fumay ...<br /><span style="font-weight:bold;">Take One </span>- Page 33<br />de Ontario Arts Council, Canada Council - 1966<br />Miss Guy sat down and wrote a script, designed the sets, and shot the movie. She<br />subsequently shot about 100 more, including a Vie du Christ (she was strong ...<br /><span style="font-weight:bold;">Historia general del cine: Orígenes del cine </span>- <br />de Jordi Costa, Jacques Aumont, Marisa Barreno, Jenaro Talens, Gustavo Domínguez, Carlos F Heredero, Santos Zunzunegui, Casimiro Torreiro - 1998 - 348 pages<br />Hemos aludido ya a los comienzos de Alice Guy, que no sólo ha sido la ...<br />inspirada en No- tre-Dame de París de Hugo, y La vie de Jesús- Christ (1 906), <br /><span style="font-weight:bold;">The International Encyclopedia of Film</span><br />de Roger Manvell - 1972 - 574 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_27SfK27aNNQ/SaAQkbQW9wI/AAAAAAAAF8s/YD21K17OTpY/s1600-h/aaaa-vie-Christ-03.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://2.bp.blogspot.com/_27SfK27aNNQ/SaAQkbQW9wI/AAAAAAAAF8s/YD21K17OTpY/s400/aaaa-vie-Christ-03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258579020150530" /></a><br />... La Vie a Deux (1957). Guy-Blache, Alice Bom 1873 in Paris, France. ... Le<br />Voleur Sacrilege (1903), Paris la Nuit (1904), La Vie du Christ (1906). ... <br /><span style="font-weight:bold;">Filmens historia: De första hundra åren från zoopraxiscope till video</span> - Page 167<br />de Rune Waldekranz - 1985<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_27SfK27aNNQ/SaAQkNCypgI/AAAAAAAAF8k/v1goTBLg0yk/s1600-h/aaaa-vie-Christ-02.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://1.bp.blogspot.com/_27SfK27aNNQ/SaAQkNCypgI/AAAAAAAAF8k/v1goTBLg0yk/s400/aaaa-vie-Christ-02.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258575205148162" /></a><br />Alice Guy (1873—1965), filmhistoriens första kvinnliga filmregissör, ... version<br />konkurrerande film om Jesu liv (La Vie de ...<br /><span style="font-weight:bold;">Contemporary French Cinema: An Introduction </span>- <br />de Guy Austin - 1996 - 190 pages<br />Guy directed numerous films before setting up a branch of Gaumont in New York in<br />1907. After Guy's departure, her co-director on La Vie du Christ (1906), .<br /><span style="font-weight:bold;">Griffithiana</span> - Page 36<br />de Cineteca D.W. Griffith, Cineteca del Friuli - 1993<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_27SfK27aNNQ/SaAQkGixRII/AAAAAAAAF8c/SFXbHgn4Jlo/s1600-h/aaaa-vie-Christ-01.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 328px;" src="http://4.bp.blogspot.com/_27SfK27aNNQ/SaAQkGixRII/AAAAAAAAF8c/SFXbHgn4Jlo/s400/aaaa-vie-Christ-01.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5305258573460227202" /></a><br />... Alice Guy. Prima di lasciare il posto a Louis Feuillade, che gli era più ...<br />Descente dans les mines de Fumay (suo paese natale), La Vie du Christ, ..<br /><span style="font-weight:bold;">Cinéma sans frontières, 1896-1918</span>: aspects de l'internationalité dans le ... - Page 350<br />de Roland Cosandey, François Albera, Richard Abel - 1995 - 383 pages<br />La Vie du Christ. 1906, France, Gaumont. Attribué à Alice Guy. NFTVA 604 069 A/<br />Joye Rome 9 A. 35 mm, ...<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp3.blogger.com/_27SfK27aNNQ/SFFV2j7OrcI/AAAAAAAAA6g/wl7WGlOtYEs/s1600-h/cinema-premier-alice-guy-27.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://bp3.blogger.com/_27SfK27aNNQ/SFFV2j7OrcI/AAAAAAAAA6g/wl7WGlOtYEs/s400/cinema-premier-alice-guy-27.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5211040639689338306" /></a><br /><span style="font-weight:bold;">Film Directors: 16th Edition</span> - Page 286<br />de The Staff of Lone Eagle Publishing - 2002 - 632 pages<br />... Productions 1993 ALICE GUY BLACHE Alice Guy-Alice Blache b, July 1, ...<br />Gaumont 1905 French REHABILITATION Gaumont 1905 French LA VIE DU CHRIST Gaumont <br /><span style="font-weight:bold;">Griffithiana</span><br />de Cineteca D.W. Griffith - 2004<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp3.blogger.com/_27SfK27aNNQ/SFFV2oRu55I/AAAAAAAAA6o/sxiqvUjDyxc/s1600-h/cinema-premier-alice-guy-30ajpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://bp3.blogger.com/_27SfK27aNNQ/SFFV2oRu55I/AAAAAAAAA6o/sxiqvUjDyxc/s400/cinema-premier-alice-guy-30ajpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5211040640857466770" /></a><br />... forte l'oppone- va al padrone, e il suo temperamento alla pudica Alice Guy.<br />... La Vie du Christ, la celebre Passione Gaumont (costata 25.000 franchi ...<br />Obras pioneras del cine mudo: Orígenes y primeros pasos(1895-1917) - Page 153<br />de Luis Enrique Ruiz, Luis Enrique Ruiz Alvarez, María Teresa Arteta - 2000 - 495<br />... Señor Jesucristo (Vie de Notre- Seigneur Jésus-Christ, 1905), que dirigen<br />Alice Guy ...<br /><span style="font-weight:bold;">Britannica Concise Encyclopedia: The One-Volume</span> Desk Reference That Covers ...<br />de Encyclopaedia Britannica, inc, Dale H. Hoiberg, Encyclopedia Britannica, Theodore N. Pappas - 2003 - 2067 pages<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp1.blogger.com/_27SfK27aNNQ/SFFV3Yhdt9I/AAAAAAAAA64/MG-2efquA3M/s1600-h/cinema-premier-alice-guy-31.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://bp1.blogger.com/_27SfK27aNNQ/SFFV3Yhdt9I/AAAAAAAAA64/MG-2efquA3M/s400/cinema-premier-alice-guy-31.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5211040653808351186" /></a><br />Guwahati See GAUHATI Guy-Blache, Alice (1873-1968) Pioneer of French and<br />American film industries. ... and La Vie du Christ (1906; "The Life of Christ"). <br /><span style="font-weight:bold;">The Film Buff's Catalog</span> - Page 156<br />de William R. Meyer - 1978 - 432 pages<br />Guy-Blache, Alice (1873-1965)(1896-1920)(Fr., Amer.) A pioneer director, Guy-<br />Blache lensed ... 04; La Vie du Christ, 06; Shadows of the Moulin Rouge, 14).Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-77218153080348402582008-05-21T04:22:00.001-07:002008-05-21T04:24:31.488-07:00"LA VIE DU CHRIST" ALICE GUY 1906<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp2.blogger.com/_27SfK27aNNQ/SDQGIM18_nI/AAAAAAAAAo4/RtXQKWoV1ak/s1600-h/looking-for-alice-guy!-1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://bp2.blogger.com/_27SfK27aNNQ/SDQGIM18_nI/AAAAAAAAAo4/RtXQKWoV1ak/s400/looking-for-alice-guy!-1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5202790207476006514" /></a>Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0tag:blogger.com,1999:blog-4141550629159071920.post-75200385989979695802008-05-21T03:56:00.000-07:002008-05-21T04:13:44.050-07:00"La vie du Christ" Alice Guy 1906<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp0.blogger.com/_27SfK27aNNQ/SDQB1s18_lI/AAAAAAAAAoo/Phxsdnxwfqw/s1600-h/gaumont-cinema-premier-alice-guy-6.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://bp0.blogger.com/_27SfK27aNNQ/SDQB1s18_lI/AAAAAAAAAoo/Phxsdnxwfqw/s400/gaumont-cinema-premier-alice-guy-6.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5202785491601915474" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp0.blogger.com/_27SfK27aNNQ/SDQB1s18_mI/AAAAAAAAAow/GpbIuJPHTeI/s1600-h/premieralice558.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://bp0.blogger.com/_27SfK27aNNQ/SDQB1s18_mI/AAAAAAAAAow/GpbIuJPHTeI/s400/premieralice558.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5202785491601915490" /></a><br />"LE CINEMA PREMIER ALICE GUY"Alice Guy Jr.http://www.blogger.com/profile/15119742864074734732noreply@blogger.com0