mercredi 7 mai 2008

TV Movies about Alice Guy

film about alice guy
Publié le 12/08/2007 à 12:51
Par Alice Guy Jr.

Qui est Alice Guy 1975

Portrait d'Alice Guy réalisatrice du premier film de fiction La fée aux choux (1896) et des centaines d'autres productions
en France et aux Etats-Unis

14 minutes documentaire France
Réalisation et scenario Nicolle Lise Bernheim
Production INA

Suivi de The girl in the armchair

Elle voulait faire du cinema 1983

avec Christine Pascal (Alice Guy)
André Dussolier (Léon Gaumont)
Rosy Varte (Mme Guy)
Roland Blanche (Georges Demery)
Réalisation: Caroline Hupper
Scénario: D'aprés la vie d'Alice Guy : Caroline Hupper

N.B: Seule invention du scénario de Caroline Hupper, par rapport a l'autobiographie d'Alice Guy; Alice Guy était la maitresse de Leon Gaumont, fantasme trés personnel , coucher avec le patron pour réussir, qui sent bon le vécu.

Le jardin oublié + la vie et l'oeuvre d'Alice Guy 1995

documentaire (53mn)
Réalisation: Marquise Lepage
Scénario: Marquise Lepage
Musique : Robert Lepage

Un documentaire qui réhabilite la mémoire de la première femme cinéaste au monde, morte oubliée de tous, au New Jersey, en 1968, à l'âge de 95 ans. Le film reconstitue l'univers de cette femme remarquable grâce à des entrevues réalisées par les télévisions européennes autour des années 60, des extraits de ses films, des archives familiales, des témoignages de personnes qui l'ont connue, d'universitaires et d'historiens du cinéma

Josée Beaudet

Maison de production
Office national du film du Canada

Adrienne Blaché-Channing
Roberta Blaché
Nicolas Seydoux
André Gaudreault
Alan Williams
Alison McMahan
Anthony Slide
Regine Blache Bolton

Lancé à l'occasion du centenaire du cinéma, Le Jardin oublié ñ La Vie et l'Oeuvre d'Alice Guy-Blaché (1995), documentaire en hommage à la première femme cinéaste, est sélectionné par plusieurs festivals en Asie, en Europe et en Amérique et recueille le Prix Bronze Apple du National Media Competition d'Oakland (Californie), le Génie 1996 du meilleur documentaire d'auteur, ainsi qu'une mention au Festival de Columbus (Ohio). En 1998, Pour la vie, court métrage de fiction, recoit le Prix Denise-Lefebvre du meilleur document vidéo dans la catégorie promotion et éducation à la santé, décerné par le Festival international du multimédia et de la vidéo santé (Canada).

Marquise Lepage

"The Lost Garden - The Life and Cinema of Alice Guy Blache" is Marquise Lepage's third documentary. Produced by Regards de femmes, the National Film Board of Canada's French women's studio, it is a work of cinematic archaeology, in which Lepage lovingly resurrects the memory of the world's first woman filmmaker.

Un film de Florida Sadki

Betacam - coul. + archives N/B - 52' - docum.

Réalisation et scénario : Florida Sadki
Images: Franck Rabel, Julien Weiller
Son: Gérard Achille, Raphaelle Gosse-Gardet et Patrice Dodin
Montage: Lionel Hayet
Musique : Serge Roux
Production: Cine-Cinefil, Centre Georges Pompidou, Les Films de la Passerelle, Triangle Production, Lobster Films, Zeaux productions, RTBF, le CNC et la Communauté française de Belgique.

Alice Guy est une pionnière du cinéma. Elle fut notamment la collaboratrice de Louis Gaumont à la fin du 19 ème siècle.Elle réalisa un grand nombre de films en France puis en Amérique. Tombée dans l'oubli jusqu'en 1955, elle fut redécouverte notamment par Victor Bachy, professeur belge de cinéma.


Synopsis :
A la fin du 19 eme siècle, dans les années 1895-98.
La vie d'Alice Guy, fille d'un bibliotéquaire français, installée au Chili.
A travers le récit de cette femme, c'est aussi un peu l'histoire du cinéma que l'on veux raconter.
Sa naissance, sa venue au monde, ses premiers pas.
L'histoire commence dans un endroit pour finir dans un autre,
en passant par ci par là,
comme une ballade - main dans la main, entre une femme, le Cinéma et les hommes qui ont traversé sa vie.
C'est aussi un récit romanesque avec ses épopées, ses hasards et ses erreurs;
celle du récit lui même, de l'auteur ... de la vie.

celle du récit lui même, de l'auteur ... de la vie.
Une multitude de perles

Reel models: The first women of film 2000

Barbara Streisand produces this documentary look at four early cinematic female innovators -- Alice Guy, Lois Weber, Frances Marion, and Dorothy Arzner -- narrated by Shirley MacLaine, Susan Sarandon, Hilary Swank, and Minnie Driver, respectively. ~ Jonathan Crow, All Movie Guide

Run Time:
1 hr. 0 min.
Shirley MacLaine, Susan Sarandon, Hilary Swank, Minnie Driver, Barbra Streisand
Christopher Koch
Biography, Gender Issues, Film, TV & Radio, Film & Television History

Barbra Streisand, executive producer of ''Reel Models'' with Cis Corman, should know that achievement speaks for itself, but in her earnest introduction she seems a little too eager to sell us on the whole idea. And that tone lingers over the program as Shirley MacLaine, Susan Sarandon, Hilary Swank and Minnie Driver narrate segments on the four pioneers.

First we hear about Alice Guy, an early director and producer who made hundreds of short films in France and the United States beginning in 1896. There is plenty to credit her for: realizing very early the possibilities of close-ups and fade-outs; even hand-tinting films long before color. Some of these things have been erroneously credited to men who came later. But here as elsewhere in this program there is a tendency to go overboard. Ms. MacLaine, for instance, implies that Guy alone came up with the concept of using film to tell a story rather than simply to record real life; surely this was so obvious a step that it occurred spontaneously to many who were there at cinema's creation.

Ken Nared Feb 13, 2001

In the history of film little has been mentioned about the women pioneers who stood shoulder to shoulder with men in the development of both the technology and technique of cinema. American Movie Classics has presented an excellent program in its original program series that details the lives of three women pioneers of cinema, the most remarkable being the life of Alice Guy.

To say that Guy’s life affected film would be like saying Henry Ford had something to do with cars. Alice Guy (pronounced “Gee”) started movies as we know them today. Certainly there have been great innovators along the way improving film, but Guy got the whole ball of wax rolling.

Guy was working as a secretary at the Gaumont Company in France who along with other contemporaries such as the Pathe’ brothers, and Louis Lumiere made motion picture cameras. Guy managed to convince Gaumont to give her a crack at filmmaking so he would have a product to entice people to buy his cameras and in short order she was promoted to the head of the filmmaking division of that company. And here is the remarkable thing, Guy not only directed the first narrative motion picture, but was the first to use close ups, (something usually attributed to D.W. Griffin), she was the first to film a motion picture in color. First is a word that remains synonymous with Alice Guy. She did the first film noir, the first gay themed film, she was the first to step out from behind the camera to direct actors, at the time all directors handled the camera themselves, and she made extensive use of wax cylinders to give many of her short films a sound track, in other words they were talkies before anyone had coined that term.

Moving to America, Guy ran the largest pre-Hollywood studio in the country. Over her lifetime Guy wrote and directed over three hundred films and yet this Grand Lady of cinema has been all but ignored. It is time that this wrong is righted and Alice Guy given her due as the pioneer among pioneers in film.

My thanks to Barbra Streisand and AMC for bringing the deeds of Alice Guy and other women of cinema to light. For more information on Alice Guy a search on the Internet will turn up several pages of information about this remarkable woman.

TELEVISION REVIEW; Lionizing 4 Little-Known Women Behind the Lens
Article Tools Sponsored By
Published: May 30, 2000

So narrowly white-male is our perception of the past that it is tempting to construct a Television Documentary Subject Generator, one of those comic charts that would let a producer choose randomly from Column A and Column B. ''Our documentary will explore the long-overlooked role of blacks/Asian-Americans/southpaws/vegetarians in Vietnam/early baseball/medicine/the Industrial Revolution. . . .''

That such programs have become somewhat formulaic is a good thing; slowly, our view of who shaped today's world is being made more inclusive. But with each revisionist nudge the bar gets higher: the more sophisticated our view of the past becomes, the more we demand from the revisionists.

So ''Reel Models: The First Women of Film,'' tonight's historical corrective on AMC, has the burden of doing more than simply telling us that women have been overlooked in the history of cinema. Unfortunately the program seems content merely to identify four female pioneers and gush about them.

Barbra Streisand, executive producer of ''Reel Models'' with Cis Corman, should know that achievement speaks for itself, but in her earnest introduction she seems a little too eager to sell us on the whole idea. And that tone lingers over the program as Shirley MacLaine, Susan Sarandon, Hilary Swank and Minnie Driver narrate segments on the four pioneers.

First we hear about Alice Guy, an early director and producer who made hundreds of short films in France and the United States beginning in 1896. There is plenty to credit her for: realizing very early the possibilities of close-ups and fade-outs; even hand-tinting films long before color. Some of these things have been erroneously credited to men who came later. But here as elsewhere in this program there is a tendency to go overboard. Ms. MacLaine, for instance, implies that Guy alone came up with the concept of using film to tell a story rather than simply to record real life; surely this was so obvious a step that it occurred spontaneously to many who were there at cinema's creation.

Ms. Sarandon tells of Lois Weber, who by 1916 was a top director at Universal, making daring films on social themes like birth control and child labor. She was a bit too committed to these subjects, as it turned out; in the 1920's public taste took a mindless turn and her films ceased to draw crowds.

Ms. Swank introduces Frances Marion, a screenwriter who, we're told in one of the program's funnier factoids, got her start writing lines for extras to mouth in silent films in case anyone in the audience could read lips. Here, though, the program veers from the theme of women who did not get their due. Marion won Oscars in 1930 and 1931 and, as the program acknowledges, was the highest-paid writer in Hollywood for years. There is a difference between being disenfranchised and simply fading into history.

Last, courtesy of Ms. Driver, comes Dorothy Arzner, a director who gave Katharine Hepburn and other future legends their first starring roles. She was, the show says, the only female director who managed to find a place in Hollywood's studio system.

Certainly ''Reel Models'' leaves no doubt that these four women made major contributions (and some of their films will be shown on AMC after the program). But it gives little sense of them as people.

Was Weber a domineering type of director or the kind who worked collaboratively with her actors? Was Marion a brooding writer or a zany, fun-loving one? The few times the program does provide personal glimpses it gets timid. After hearing Guy and Weber portrayed as strong, accomplished women, we are told that they both basically fell apart when their husbands left them; the incongruity is left unexplored.

In short, the program commits what is surely a cardinal sin in Ms. Streisand's book: it puts the four women on pedestals. They don't have any flaws; no one is that wonderful.

The First Women of Film
AMC, tonight at 8

Barbra Streisand and Cis Corman, executive producers; directed and produced by Susan and Christopher Koch. For American Movie Classics: Marc Juris and Jessica Falcon, executive producers.

Reel Models - First Women of Film," which received a 2000 Emmy and the Gracie Allen Award from American Women in Radio and Television.

Barbra Streisand's AMC Special in May
Posted/Updated: 27 July 2003 19:27

Barbra Streisand hosts and executive produces a brand-new TV documentary special called Reel Models: The First Women of Film, which premiered on American Movie Classics (AMC) on Tuesday, May 30, 2000 (8:00-9:00 p.m.). Co-executive produced with Cis Corman and directed by Emmy Award winners Susan and Christopher Koch (City of Hope), the program profiles the cinema's earliest female pioneers - Oscar-winning directors Dorothy Arzner (in whose name Women In Film presented Streisand with a special award in 1992), Lois Weber (actually the very first woman to direct, produce, write, and act in a theatrical feature back in the early silent era), and Alice Guy (a French film pioneer who invented the director's job), and screenwriter Frances Marion (a two-time Oscar winner who penned Garbo's first spoken words). Academy Award-winning actresses Shirley MacLaine, Susan Sarandon, and Hillary Swank, and Minnie Driver provide on-screen narration for each of the documentary's four segments. Barbra handles the opening and closing segments. AMC repeats the program on June 25 at 2:00 p.m.

Barbra Streisand hosting Reel Models: The First Women of Film, May 2000AMC aired the documentary to introduce and inaugurate a 10-hour film series dedicated to women pioneer filmmakers. Titles include The Sewer (1911), Algie the Miner (1912), The Hypocrites (1912), Polyanna (1920), and three others. Reel Models repeated on May 31 at 2:00 a.m. In conjunction with the documentary, AMC presented film festivals in L.A. on May 15 and in New York on May 22 that showcased films made by Arzner, Guy, Marion, and Weber.
Hosted by AMC and New York Women in Film & Television, the New York film festival took place at the Clearview Chelsea Theater, 260 W. 23rd Street, on May 22 at 10:00 a.m. and 2:00 p.m. A screening of Reel Models: The First Women of Film occured at the same theater at 7:30 p.m., with a panel discussion following at 8:30 p.m. The panel was hosted by Cis Corman, President, Barwood Films. Panelists include: MoMA Curator Mary Lea Bandy; moderator; Director Martha Coolidge; author Olivia Goldsmith; film historian Anthony Slide; Former Academy President Fay Kanin; film critic Molly Haskell; and Reel Models director Susan Koch. Both events benefit the Women's Film Preservation Board.

Alice Guy

Alice Guy was one of the world's first film makers. She was a pioneer of the story film. She also helped to define the role of the director, and to become an early studio head. The fascinating documentary, First Women of Film (2000), looks at her work and that of Lois Weber.
Algie The Miner

Algie The Miner (1912) is an early comedy about gay people. Guy's films are often focused on intimate feelings of her characters, especially women. Her first film was about the Cabbage Fairy who brings babies to people, with Guy playing the father of the baby's family in men's clothes. Here she extends her point of view to gay men. Algie is a very effeminate Easterner, who goes out West, and hooks up with a tough miner as a partner. Far from being in over his head, Algie eventually triumphs out West. The film is a most unusual and sympathetic look at gay people. In fact, its directness and open minded point of view could give pointers to modern film makers. The linking of gay people and the West is not so unusual as it sounds. One finds similar subject matter in the prose stories of Bret Harte, who was at the peak of his popularity at the time of Guy's films.

Guy likes characters who move into difficult environments that are completely unfamiliar to them. Easterner Algie goes out West here; in The Sewer the hero is abandoned by crooks into the frightening underground passages of the title. They usually do well, but they have to show plenty of grit and face down serious opposition.

Guy likes scenes with six or seven people, all in movement and with individual bits of business. Such shots were far more common in early silent cinema than in later works. Often her hero is in determined opposition to the other characters in such a scene, and has to struggle against their approach and goals. Guy's conception of cinema here is very people centered.

Much of Guy's staging revolves around doors. Characters are always entering or leaving through them, as a main element of a scene. One sees this later in Feuillade, who was a protégé of Guy - she hired him and gave him his first film jobs at Gaumont. Occasionally, there are secret doors in walls in both filmmakers. Both directors also like vertical staging, where characters move in vertical lines up or down the sides of buildings or cliffs. This gives a 3D element to their work. The cliff bank in Algie is one of the best staged scenes in the film, with the good guys below and the bad guys sneaking up on them at the top of the bank. One can see other common elements between Guy's and Feuillade's films. Children are strong, independent and not easily intimidated characters. They seem extremely intelligent and alert, always ready to intervene in grown-up's affairs with surprising effectiveness. Heroes have strong family lives, and often live with a parcel of relatives and spouses. These are all sympathetic characters. These are not loner heroes, like so much of the later and current cinema.

Guy employs a great deal of panning within a scene. The camera is often not stable, but is being slowly re-directed here and there, to look at different elements of a scene. This means that Guy is often not deeply interested in composition. Unlike say Fritz Lang, or Lois Weber, she does not anchor her camera to a fixed view that provides a fascinating composition. Instead, her camera is often poking around the scene.
The Sewer

The Sewer (1911) is an early crime film. It is a member of a genre that was big in the 1910's, but which has little contemporary equivalent: the slum crime tale. These stories all take place in the slums of large American cities. There are four main types of characters in such films: 1) members of two-bit slum crime gangs, often known as gangsters or musketeers, who are mainly male; 2) honest dwellers in the slums, often noble minded, innocent women or children; 3) social workers, who are middle class people who visit the slums and who try to rescue their inhabitants. Such social workers can be noble, as they are in The Sewer and in Raoul Walsh's The Regeneration (1915); or they can be despicable, as are the meddlesome, religious fanatics of D.W. Griffith's Intolerance (1916); 4) policemen: Guy, like Feuillade, likes scenes set at police stations. All of these characters remind one somewhat of Charles Dickens' prose treatments of slum crime, in such novels as Oliver Twist (1838). The innocent little boy being pressured to steal here by the gang is even called Oliver, just as in Dickens' novel.

The first half of The Sewer is pretty minor. The emphasis on crooks trying to break into homes through windows reminds of Feuillade, but this could simply reflect standard real life burglar tactics of the time. The film gets more interesting when the hero is abandoned in the sewer, and is forced to flee from the bandits there. These vivid scenes can be interpreted in all sorts of ways, as a descent into the unconscious, and as a wallowing in all the discarded sides of life.

The sewer scenes have a more stable camera set-ups than those in Algie The Miner. The elaborate, geometric sets seem designed to be looked at from a fixed point of view. Guy anchors her camera to a single composition and leaves it there. The strange, purely geometric quality of the space through which the hero moves anticipates later avant-garde movies, such as German Expressionism and Aelita, Queen of Mars.

The hero here, like Algie, is terrific with arm gestures, and postures that change the location of his upper body. His arms are in continuous motion, and much of the emotion of the scene is expressed through them. They are fascinating to watch, both as an abstract dance, and as a emotional commentary on the story.

When The Sewer was shown on cable recently, it was called an early example of film noir. It certainly is a crime movie, but I doubt if it is directly related in any way to the noir movies of the 1940's and 1950's. However, its sewer finale does anticipate that of Anthony Mann's He Walked By Night (1948). Guy's film certainly does spring from many of the same impulses that lead to noir.
The Making of an American Citizen

This film is related in approach to Algie the Miner (1912). In both films, people from one environment immigrate into a different region, and gradually learn an entirely new way of life. In both films, this transformation deeply affects their gender roles. This plot toes up the personal inner world of feelings, personality and behavior with the outer world of a culture and its way of life.
An Ocean Waif

An Ocean Waif (1916) is a not too clearly preserved feature. There are clearly gaps in the print, and decayed scenes. None of this prevents An Ocean Waif from being a charming story and an absorbing experience. The best part of the film is the love story between the heroine and hero. This largely takes place at a shut up mansion to which the lower class heroine has run to for refuge from her abusive family. These scenes at the house have a fascination that pulls one in.

An Ocean Waif shows some resemblance to The Sewer. In both, a character finds themselves alone in a huge and somewhat spooky architectural complex. Both films scare the protagonist by showing rats scurrying around. Both films have a noble protagonist menaced by lower class, violent people.

2000 - Bruno (r. Shirley MacLaineová);Reel Models: The First Women of Film (TV, D - Roztočené modely: První ženyfilmu; r. Susan Kochová, Christopher Koch);J

ardin des Lettres
films, productrion Jardin des Lettres
Avec le soutien de l’Association Beaumarchais

de Dorine HOLLIER
Mise en lecture Sébastien RAJON. Son Arnaud JOLLET
Avec Claude PERRON et Jacques FRANTZ
La recherche de la mémoire à travers la vie d’une pionnière du cinéma, Alice Guy, première réalisatrice du monde, auteur de plus de huit cents films, productrice inventive, créatrice à l’imagination débordante, femme de tête et de cœur au destin extraordinaire, morte amnésique en 1968, oubliée des hommes, oubliée de l’histoire, oubliée d’elle-même

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