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서울국제여성영화제

사이트맵

ARCHIVE

18th(2016)



Making an American Citizen

Alice GUY-BLACHÉ

  • USA
  • 1912
  • 11min
  • DCP
  • black and white
  • Fiction

Migration/Residence Classic

SYNOPSIS

Ivan and his wife decide to immigrate to America with a group of several others. Ivan is used to treating his wife roughly, and on arrival in America, he forces her to carry their baggage while he repeatedly prods her with his cane. A passer-by rebukes Ivan and forces him to carry the load. But this is only the first of several lessons that Ivan will learn in his new country.

Program Note

Ivan leaves his home and immigrates to America with his
 family. Filled with hopes, he instead finds himself confronting big obstacles.
 It is too long of a road for Ivan, who mistreats his wife, to become an
 American citizen. This film is a feministic one in the sense that it claims
 that a wife is not a husband’s property but an equal human-being. The agents of
 this reformation, however, are set to become Americans and the subjects to be
 reformed are immigrants, which could encourage a racist or America-centric
 prejudice. This film is very interesting in that it gives us a glimpse of
 contemporary ideas about nations, immigration, and feminism. [CHO HeyYoung]  

Director

  • Alice GUY-BLACHÉAlice GUY-BLACHÉ

    "Born in 1873 in Paris, France, Alice GUY-BLACHÉ was a pioneer of both French and American film. She first started out as the secretary to Léon GAUMONT, unknowingly stepping into the vortex from which cinema would be born. She, who was at the Lumière Brothers' first screening in 1895, realized that movies could do more than document workers leaving a factory. She asked her boss, GAUMONT, for permission to do something better: to tell a story. Despite her youth and inexperience, she wrote her own script and succeeded in making one of the first narrative films, The Cabbage Fairy, in 1896, which preceded the story films of Georges MÉLIÈS. She worked as head of film production for the Gaumont Film Company in Paris until 1907 when she moved to the United States. Three years later, she created her own company, Solax, and set up a studio in 1912, becoming the first woman to own and run a studio plant. Her innovative filmmaking career in France (1896-1907) and the United States (1910-1920), in which she employed color tinting, 'trick' photography, interracial casting, and synchronized sound, is comprised of more than a thousand films which she wrote, produced, or directed. Despite the depth of her work, her contribution in shaping early cinematic history has been overlooked, and she is often revered as a lost great visionary of cinema.

Credit