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Alice Guy’s Great Cinematic Adventure
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This chapter rethinks Alice Guy's legacy by analying her adaptation of the paternalist practices of Gaumont Film Company, where she began, to the matriarchal organization of her own film studio in America, Solax. It tackles a number of questions arising from the figure of Alice Guy: for example, whether she was a feminist; whether her husband Herbert Blaché was responsible for the failure of Solax; whether she directed La Fée aux choux (The Cabbage Fairy), which, according to her, was her directorial debut, made in 1896; or whether she directed her first film in 1902, the two-shot Sage-femme de première classe (First Class Mid-Wife). In historicizing Guy's practice, this chapter reconceptualizes her creativity in terms not of “auteur” but of metteur-en-scène—thereby recognizing her generative role in managing the creative output of her studio. It also examines the role of fantasy in creating a feminist historiography or a feminist Alice Guy.
Title: Alice Guy’s Great Cinematic Adventure
Description:
This chapter rethinks Alice Guy's legacy by analying her adaptation of the paternalist practices of Gaumont Film Company, where she began, to the matriarchal organization of her own film studio in America, Solax.
It tackles a number of questions arising from the figure of Alice Guy: for example, whether she was a feminist; whether her husband Herbert Blaché was responsible for the failure of Solax; whether she directed La Fée aux choux (The Cabbage Fairy), which, according to her, was her directorial debut, made in 1896; or whether she directed her first film in 1902, the two-shot Sage-femme de première classe (First Class Mid-Wife).
In historicizing Guy's practice, this chapter reconceptualizes her creativity in terms not of “auteur” but of metteur-en-scène—thereby recognizing her generative role in managing the creative output of her studio.
It also examines the role of fantasy in creating a feminist historiography or a feminist Alice Guy.
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