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서울국제여성영화제

사이트맵

ARCHIVE

18th(2016)



The Consequences of Feminism

Alice GUY-BLACHÉ

  • France
  • 1906
  • 7min
  • HD
  • black and white
  • Fiction

Comedy Classic

SYNOPSIS

Gender roles are reversed. A woman pretends to be a man and a man pretends to be a women.


Program Note

What if the gender roles changed under the influence of
 feminism, a new invention of modern times? The near future that Alice
 GUY-BLACHÉ, a new woman in the early 20th century, imagined is marvelous. Under
 the influence of feminism, while men are swamped with parenting and all kinds
 of house chores, women stick their nose in the air doing nothing but smoking
 cigarettes in the women’s only salon. The unilateral and violent sexual
 relationships are to be changed accordingly. Will suffering men resist or put
 up with this situation? On the surface, this film is not totally supporting
 feminism. The overly exaggerated portrait could function rather as a mockery or
 travesty of feminism. The detailed mirroring practices of gender roles in this
 film, however, lead us to speculate on the unfair and unreasonable situation in
 which women are stuck. In the end, feminism is something that needs to be
 supported. [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